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.

1982

Having studied drumming under the tutelage of Chandler and piano beneath other backwashed musicians, for several years, Primordial Funkenstuff began jamming with Primordial Fishfoot and the two formed a band to proselytize the virtues of Heavy Metal music.

At this time, Proto Fishfoot studied guitar with Rubaton, and also a guy from a band named   Steeplechase.

P. Stuff and P. Foot could be seen sitting outside of the studio of a rockin band named Hi-Fly, listening to the jams in the midst of a snowstorm, and being kicked out of the entrance into the snowstorm by the bands manager, while being given a placard of upcoming shows the band was scheduled to make. He was a nice guy just doin his job. Stuff and Foot walked around in the snowstorm and laughed at the experience. Shortly thereafter, P. Stuff and P. Foot would also get kicked out of Sam Ash music store in White Plains N.Y. They got on the 60 bus and got a nickel bag in The Bronx.

It didn’t seem logical at the time, but in hindsight, the old adage of “Nothing comes for Free” was ingrained in the mindset of the two aspiring musicians.

Primordial Foots’ unique individual stage presence was initiated by capitalizing on the straightening of his hair with chemicals, sporting black spandex pants, white capezio shoes and utilizing a Flying V knockoff guitar made by D’agastino. In later days he would dye his hair a shade of purple plum and performed wearing nothing but a jockstrap. Present day Fishfooot claims no knowledge of these accoutrements.

The House of Music in New Rochelle was the place to get electric guitars. D’agastino had left Gibson and had few outlets for his work. The House of Music was one outlet for these sorta Gibson American/Japanese made knock-offs. Foot and Stuff would have lengthy conversations with the owner/operator at House of Music, Phil was his name, proprietor of a murky enterprise midtown of New Rochelle, N.Y., and Stuff/Foot would leave the dank store wondering what Phil had been telling them. Music business did not suit their ideas about music. Phil was an old timer and knew what he was talking about. He had left Gibson in the mid seventies because the business was corrupted.

Foot rocked. So he got the D’agastino Flying V at The House of Music. Stuff did not rock. Stuff cleaved to athletic musicianship, studied Peart and speed.

Fishfoot interpreted musical expression in combinations of sexual allure and technical prowess coupled directly with tremendous dexterity-true stage presence-he correctly interpreted how to get laid in a rockin style and utilized the knowledge to its full extent..

Located deep within the fervor, Fishfoot implored Stuff to get a red pair of spandex pants to wear whilst performing.

Stuff rebuffed this design, saw no logic in this as drummers cannot generally be seen below the waist. Stuff’s sister remarked that you could tell a man’s religion when he was sporting spandex, and Primordial Stuff decided against the future of Fishfoot inspired reality. However the two did go to 8th St. in Manhattan and looked for apparel and got into the scene at that time.

They worked at Trilogy Studios in New Rochelle, N.Y..

Trilogy Studios was located underground by the train station. Beneath a Mexican Strip Club named EL Tequila that had plumbing dysfunction. The overhead women’s bathroom there would continuously leak sewage into the rehearsal room of Stuff and Foot.

Trilogy Studios was also located beneath The Renaissance Project, an addiction recovery counseling center, and by sidewise towards North Ave. extension, Franks Music Store.

Frank was a great man and repaired the wind instruments for the local schools bands and also sold guitar strings, obscure fine vinyl records, such as Art Tatum collections and Duke Ellington live recordings. Stuff still listens to and shares those vinyls to this day.

And Frank had several rooms for instrument lessons. Primordial Stuff took lessons there and jammed with Chandler off the clock. The thumpin bongo solos and guitar animosity on a Saturday morning got the store recognized as the place to be if you wanted real music,

Walking into Frank’s music store was a natural progression into the possibilities of loving music.

P. Stuff would get his sticks and heads and cymbals from Frank, take weekly lessons from Chandler and Pierce. As well, P. Foot got his strings and picks, as did everyone from Trilogy studios- Frank would always make the time to do a sale while wearing his workin mans smock-in the midst of repairs. Drums, guitars and pianos were being blasted out of the rehearsal rooms while Frank very casually did sales. You cannot underestimate Frank’s influence. He is a great man as he lives on in today’s outgrowth of musicality. P. Stuff and P. Foot never got kicked out of Frank’s music.

Undaunted by the old fogeys gabbing at Frank’s, who always laughed at the kids trying to play music, Primordial Foot and Primordial Stuff would rehearse the metal act in P. Stuffs parental units basement and then rented a studio at Trilogy- and jammed non metal style with Big John, the guitarist of Trilogy who liked the presence of the two aspiring musicians.

Big john ROCKED! He was too good and old for the kid music, but did cover Duran Duran and Flock of Seagulls as was required by his night job. It was these between sessions that outlined what spontaneous music felt like for the newbies, and Primordial Stuff began using a hand held Emerson slightly sub-par boom box cassette recorder to capture the moments. In time, Primordial Stuff also accumulated cheesily taped sessions with the Heavy Metal Band and the degradation of the Heavy Metal Project by Ego Enhanced Denunciations. Big John would wait for the Metal Act to finish rehearsing/squabbling and then tell P. Foot and P. Stuff to “Get Back in There!”

P. Stuff and P. Foot would listen to the tapes while eating crappy snack food and drinking cheap beer bought at the bodega up the street from Trilogy. La Muchacha.

They spent their nights rewinding key moments and laughing hysterically as the other members of the act expressed themselves in moments of pure lameness. Then delve into the sessions with Big John. Big John was a smokin guitarist who played a lefty white Gibson SG, with a Marshall Stack. Primordial Fishfoot saved his paychecks from Caldors and got a Marshall Stack after experiencing Big John.

There were thirteen rehearsal rooms at Trilogy studios and a beer vending machine that sold canned whiz brew for a U.S. Dollar. P. Stuff and P. Foot were 14 and 16 years old at the time. After rehearsal, they would get a cold canned whiz brew and tour the studio with Carl their bass player. Carl was an attendant of the studio and beneath the management of Costa, who ran the place as Trilogy.

Costa did a great Robert Plant Voice and was an accomplished bassist. At that time Trilogy was very busy in the music scene, but everyone in the band had a day job, due to the fact that Trilogy had absolutely no stage presence.

Carl collected the rent and had the keys to all the rehearsal rooms and would inspect them after hours with P. Stuff and P. Foot. Recounting the antics of all the different acts, including Black Lace, Absolute Zero and Trilogy, Stuff was particularly intrigued by the room belonging to Anthrax. It had been carved out below the street and was not within the structure of the building.

The foundation of Trilogy Studios had a hole popped through it and the Anthrax Rehearsal room was a cave with bedrock and dirt floor, located beneath Memorial Highway by the train station. Stuff believed this was not possible, but accepted it as reality. Anthrax had a dry room with boulders, carpeting and natural everything that fit the rock vibe. Trucks would thunder overhead and shake the space. Anthrax had all of their equipment dry and tidily stowed- and Stuffs Slingerlands were immersed in mold breeding Mexican titty bar sewage.

After playing an incredibly loud bunch of Scorpions, Iron Maiden covers and the like, at their first gig, Stuff and Foot threw their legendary lead guitar players Mesa Boogie amp down two flights of stairs into Trilogy Studios in response to him being too busy to move his own gear and absolutely having to go out to dinner with his parents, when returning from performing at The Rising Sun in Yonkers, N.Y. There was an effluvium from the other members of the band that Stuff/Foot both met and got to disdain. Small potatoes had no presence in their decision to make it big.

Shortly after the tossing of the amp, Stuff and Foot returned to The Rising Sun to meet Rodney, a young accomplished Bassist who they had wanted to jam with. Rodney agreed to jam and get the music going in a rockin direction, would never be seen again after ordering a Scotch-very progressive for a sixteen year old-minutes later, Stuff was unsuccessful in an attempt to share a joint with Cliff Burton of Metallica as he performed on the same stage visited by the lame Heavy Metal act a few weeks prior.

Soon thereafter, Stuff and Foot were picked up outside of The Rising Sun by the Yonkers Police, in a bid to get info on where the fake I.D.s were coming from. Stuff and Foot clammed up but demanded that THE HEAT wait for Foots’ Dad, as they were really just coming back from the bowling alley across the street from The Rising Sun.

“No dice punk!” Stuff/Foot were put in the back of the prowler/squad car and taken two hundred yards from the club before getting stopped by Foots Dad in his Brown Ford 4 –door, bewildered, and asking..”What the heck is goin on ovah heah?” The HEAT let the kids go and Foots Dad was dismayed that two teenagers couldn’t go party and maybe get laid.

The Rising Sun was run by an old, short, sloppily dressed balding guy named Moe. He had coke bottle glasses and a breast pocket full of pens and pencils wrapped in a plastic pocket protector. He would not lend pens or pencils to anyone but enjoyed showing them off. The marquee of The Rising Sun had ancient promo pics of Twisted Sister, Richie Scarlet, TT Quick., Raven and Black Lace-and a brand new photo of Metallica without Dave Mustaine.

Such were the times.

Stuff auditioned for Trilogy but flubbed a few riffs on Working Man. He would later shag Trilogy’s new drummers’ girlfriend and get threatening phone calls for being on the wrong side of the fence.

Primordial Stuff determined that music biz success was relative, acronymical, completely out of reach, full of weird people. He began accumulating musical instruments in lieu of actual fiduciary, business, and social recognitions. He did have long hair and a beard, but getting laid for tawdry metal skills was dehumanizing.

Fishfoot began to study Syd Barrett, went to the Bronxville movie house every Saturday at midnight to watch The Wall or The Song Remains The Same- and approached music from the point of view of indifferent recognition of excellence. Carl became hip to Stuff and Foots disillusionment and decided that Stuff would be kicked out of the Heavy Metal Act. Fishfoot did have the spandex, a 600 watt Marshall Cabinet and D’agastino Fying V, and Carl wanted him in the act, but Foot and Stuff had decided to pursue smoking weed, jamming with various local musicians and recording in the basement of Stuffs parental units house.

1983

Meeting Scott in high school introduced Slack to Stuff.(Scott is the voice of Satan on What Is This Inside Of Me) Stuff invited Slack to jam with Fishfoot and himself in the basement of a house on the South side of New Rochelle, N.Y. U.S.A..

Slack arrived with a Fender Super Twin cabinet that had been modified technologically to house four JBL 15 inch speakers, a 1972 Sunburst Stratocaster, echoplex tape loop device-Slack picked up his amp from the backseat of a mid seventies mint green Thunderbird, with an 8-track audio player promulgating Hendrix 9 to The Universe, carried the amp down a flight of stairs into Stuffs basement, and began toking weed with a meticulously cleaned red contempo bong. He then introduced himself verbally/sonically to Funkenstuff and FishFoot..

Foot and Stuff had never seen that many nickel bags of weed in one place.

The ensuing incredibly loud session culminated with Stuffs parental units coming home from a PTA meeting and Slack packing up his gear, leaving the Fender Super Twin and taking the weed, although he left a few hits as decorum.

Undaunted, Slack returned a few weeks later with his Portastudio, several sides of essential vinyl, including live Shakti/Mahavishnu, and thus the recording career of The Steaming Pigs began.

Stuff and Foot were intrigued by the autonomic resonance of Slacks wingbones to denote crucial highlights of My life In the Bush Of Ghosts whilst listening and toking and absorbing the cuts. Slack was so into the music that he could good groove on it physically while ingesting massive clouds of Bronx weed smoke.

In the interest of fair play, Stuff offered several sides of vinyl to Slack and as Slack began to re-assimilate the New York mentality, he would never return the vinyl. Included in this unspoken agreement was Ambient 4 by Eno and Music From the Body, by Ron Geesin and Roger Waters. Slack left the Twin and Portastudio at Stuffs basement, Stuff and Foot lost several great mint vinyls. But recorded seminal tracks surreptitiously on the Portastudio.

To this day Slack has the Twin, Portastudio and all the vinyls.

Recordings at that time were channeled through three cheap as hell radio shack microphones given as a Christmas Present from Stuffs brothers and sisters, and a hand held tape recorder that Stuff swiped from Bob. Stuff would put the hand held cassette recorder in the drain sink of the family washing machine to record in mono. Joan did laundry one afternoon and soaked the recorder, but the tape kept going underwater. Seeming impossible, Stuff has the tape to this day and recognizes Steamy as having ordained him as a made Squatch.

In time, Slack and Foot and Stuff would coalesce into mind altered introspection surrounding Ron Geesin recordings purchased at Mad Platters.

Fishfoot lived across the highway from Mad Platters and through his pubescent explorations he had found the motha lode of trippy vinyl recordings. Difficult as it was. Stuff and Foot would diligently explore the overstuffed Platter bins, save money to buy the rare Pink Floyd, Zeppelin and Geesin vinyl bootlegs.

Fishfoot got a ride to the mall one day and an anonymous dyed black/blue haired Freek told him to check out Fred Frith. Foot was with his dad, an accomplished harmonica player who entertained his crew in the U.S. Navy in WW2. His dad gave him the money to get a Fred Frith vinyl titled –Speechless- at Mad Platters..

Foot may or may have not introduced Slack to Frith-due to wariness of unreturned vinyl. And lack of resources. He probably made a cassette copy for Slack to chew on.

When Slack did get his ears/mitts on Fred Frith everything let go. The Steaming Pigs got into something where there was no return.

In all of this psycho-consumerism Heavy Metal played a role-and Stuff and Foot would get Tygers of Pantang and Ozzy, Iron Maiden Vinyl at Mad Platters. Foot sold the Flying V and picked up a Les Paul copy, then a sweet 72 Fender Strat. Again, through the help of his Dad. Foot senior was a great man.

Slack existed outside of this paradigm and insisted on taking down the Black Sabbath Posters in Stuffs studio and getting into Mahavishnu and Return to Forever cuts. Larry Fast, Allan Holdsworth and Sebicas were other considerations. At the time, the trio was playing drum brushes on paint gallon can tops, blasting killer jams, recording tool sheds utilized percussively, and chanting methodically into cheesy radio shack microphones. The introduction of a third guitarist named Dug created the typical lament for lack of a dedicated bassist so sorely felt by any improvisational band at that time. But the jams were solid.

Fishfoot had had enough of New York.

Foot left the East Coast and pursued a career in California.

In California, He telephoned Stuff late one night, told that he was freaking out on LSD and asked to speak with someone who could “Get out here Man!”.

Foot then returned to NYC in the Summer of 1985 and in the Spring of 1986 the Steaming Pigs performed their first live Show.

1984

Throughout 1984 Stuff and Slack recorded sporadically on the Portastudio. There are no notes from these sessions. But “Choo Choo Birdie Train” remains as a seminal expression.

The tapes existed and each Freek took turns playing with them. Slack began studying at The Acting Big Institute for Sonic Achievement in Manhattan, N.Y..

Stuff and George met in high school and jammed a few times. George left his gear at Stuffs studio and Slack swiped Georges’ electro- harmonics micro synth guitar processor and never returned it. George was o.k. with that because Slack ROCKED!. Slack would later save Georges life in a remote location as George had seizures, so the micro synth isn’t very important relative to the story.

The micro synth became the cornerstone defining sound of The Freeks. Several volumes of recordings from those sessions became the keystone of an education in studio discipline that Stuff taught himself.

Stuff and George then followed Slack to The Acting Big Institute for Sonic Achievement and were flummoxed by the schools’ denial for an education in Digital Technology-Creaky outdated Analog was the edge of affordable gear at the education facility at the forefront of technology- The Institute was benign to anything outside of Digital Theory. At that time a Sony digital multitrack tape machine was prohibitively priced at 500 thousand U.S. dollars. The idea of letting students even touch such a device was anathema to the profit incentive of disingenuous education. Stuff George and Slack were taught how to design and build circuits and interfaces to mate -10 and +4 db devices that plagued the audio industry as it was recalcitrant towards integration. Further circuit design was also a point of flummuxation-becoming a barista was a better choice of career for students at The Acting Big Institute for Sonic Achievement.

Stuff and George laboriously edited old David Crosby interviews and well worn 2 inch tapes to receive their passing grades at the vocational school in lower Manhattan. They did not intern or otherwise participate in the schools version of scholastic sonic industrial achievement.

Slack interned as a technician and got coffee for Billy Joel and Laurie Anderson-meanwhile Johnny Blade had retrieved caffeinated beverage enhancements and become engineer for a budding Miami Sound Machine and Julio Iglesias. Pork decided to leave Panama and reside in N.Y.C. to study visual arts. Thick woodshedded and honed his ability to greaze anywhere at any time, but that is in dispute.

The Steaming Pigs proper did not exist prior to Pork Bottom Jones. However Jones did exist prior to 1985.

THE JONES

The concept of Jones was initiated by Darrow on a drive home from high school where he enunciated that he was, “Jonesin on Jones Street!” In New Rochelle, N.Y. and indeed he was. Due to various inebriants he was exiting school, driving Stuff home in a crappy Volvo and looking forward to a revitalization of the inebriants. He then swiped several Pink Floyd Vinyls from Funkenstuff and earned the moniker of “Jones.”

Other famous Jones includes Boz Skaggs reciting “You jones for this you jones for that but baby jonesin aint where it’s at”, Issac Hayes admonishing that giving it up for a fifty dollar Jones is just bad soul…. As well, Me and Mrs. Jones by Billy Paul.

Oran Juice Jones was not a factor at that time but Ed “Too Tall” Jones figured heavily in Stuffs subconscious. As did Deacon Jones slapping hands with Oscar Madison. Stuff observed without introspection that every pro football team has a player named Jones. He decided that professional sports was jonesing, and by extension, athletic musicianship, outside of half- time marching band spectacles, was also jonesing.

Pork may well have been aware of the concept, but Darrow cemented the reality. Upon becoming aware of The Jones through Post Primordial Proto Stuffs description of it, Pork stowed the concept and would later elucidate deep heartfelt truth regarding its presence.

The Steaming Pigs became aware of The Jones in the mid 1980’s. Pork has been discerned in deep recordings insisting that the Tao Jones of it all is the motivating force of the universe.

In time, the Proto Pigs sorted through reality in sporadic causational instances and developed the philosophy of artistic integrity that is their hallmark. Tripping on mushrooms one night they decided to divest themselves of all Jones.

“Toke all of it, all of it. It’s the only way!” Slack demanded that Pork finish the bags as Stuff fell asleep. Stuff awoke to a tray of brownies nicely cooled in the wee hours of the night. Pork and Slack were asleep and Stuff was left deciding what to do. He ate several brownies and waited for the hirsute duo to awake. They did and explained that it was not possible to finish smoking all of the weed, so they had made the brownies to be rid of any residual Jones.

This seminal event created the decision that all things Pigmeat exist outside of Jones. To this day, no Steaming audio has been recorded or mixed short of party favors, gut busters, joy jackers, roasted pigmeat, hooving, heavy brews and/or simple plain good times. There is no Jones in the land of Pure Pigmeat.

However, the concepts of Technical Town, Technique City and Intense City did create boroughs in Pigmeat City where Jones is contained by The Freek police. Monk Spunk City is autonomous and exists outside of any Freek Police Work.

1985-86  JOHNSON

Pork and Slack met again in NYC. Pork had started visual arts schooling and Slack had already started working in different highly technical realms. Slack tapped Stuff and Pork to jam and when Fishfoot returned the band began playing covers as well as improvising and adapting versions of Slacks and Porks originals. Slack decided that Pork had “The Voice” and with complete disregard for business acumen the organization began to experiment with ideas.

By this time Stuff had acquired myriad devices to enhance cheesy aspirations, Thick Stick Johnson flew his Cessna from Miami for a session now known as The Crows, and for the one and only time, the potential of pure Pigmeat Power was unleashed. The session was recorded on the Portastudio with the three mics from Radio Shack-no one had any incentive or idea where to get better gear. Without the internet such realms were for the pros, and indie bands was a terminology waiting to be expressed. It’s funny now, but then, no seasoned amateur had the market or the money to actually record music well. It didn’t matter to the mettle of the artists. Pork improvised lyrics and in his out of conscious state enunciated-“..seemingly steamy on sidewalks, seeming steamy sidewalks, slithering across the sand, look where its coming from and where it’s going to…”

Thick’s Cessna went in for repairs, and the band officially became The Steaming Pigs.

Stuff decided to sign up for the New Rochelle High School talent show in the Spring of 1986-much to the chagrin of Slack Pork and Foot. They had left high school and were already getting laid regularly.

Stuff had gotten the green light for a full choir to sing backup on Brick in the Wall and considered that to be a good reason to get the recording.

While typically the talent show was held in the squat lunchroom of the mediocre education facility-The school had been burnt down in 1968 by a guy who did not get laid.. and after years of rebuilding, its auditorium was a Hall worthy of the likes of Buddy Rich and Sri Chimnoy- the auditorium ensconced talent show would be a departure towards big time stage presence and maybe getting laid..

Unfortunately a faceless bureaucrat banned the name The Steaming Pigs, for unspecified reasons, though the act was allowed to perform with a different, as yet undetermined moniker.

“This is bullshit!” Slack bellowed upon hearing the news. Pork expressed a similarly disparaging sentiment in Rogue Castilian/Cuban Spanish. Fishfoot shook his head in dismay. Stuff was determined to destroy all thoughts about the matter. Being the bringer of bad news did not suit his sentiments. The prevailing sentiment was jointly attuned to potentially getting stage presence and by extension, potentially getting laid.

At this time The Steaming Pigs may or may not have decided to showcase their robust musical skills in a scenario of lackluster truth. Pork did consume a bunch of Michelobs and hit the stage at some point and schooled the great unwashed in the necessity of Fucking the Jones, but that is hearsay. Slack alone can recount the disparity of those times, and his recollection is in dispute.

While the Pigs were setting up, Fishfoot duct taped a wood block to the stage and set a microphone on it. The choir walked across the stage and dislodged the block and microphone-oblivious to its necessity in the opening number- Psycho Killer – Foot had to scramble to reset the block and the enormous curtain opened on the first show ever by The Steaming Pigs.

The band performed flawlessly on several numbers as Pork worked the crowd and announced the relationship status of the guys in the band, receiving several crowd sourced notifications from the audience that he, personally, could potentially get laid after the show. There were no cell phones at the time, so very unattractive nubile teenie boppin chicks had to yell out that they wanted to shag Pork Bottom Jones. Pork replied, “Alright, Alright”-and the band whipped into The Proposal Song. Joan and Bob got a good laugh and  recorded the evening on Bob’s  portable hand held cassette recorder.

But when the big Pink Floyd number was performed, the choir came in a measure too soon on its part-ruining the disco count. It was a monumental train wreck. Apparently no one noticed and the band finished the set with an unannounced bass solo that Pork generated with an intensity never seen by anyone before or since. Foot Slack and Stuff left the stage while Pork continued to Fuck the Jones for a good five minutes.

By this time Stuff and Pork had made plans to go to Panama and stop in Miami for sessions at Coconuts with Blade Thick and Slack. The result would be the 900 Dollar Jizz.

THE 900 DOLLAR JIZZ

Stuff and Pork met Thick, Slack and Blade in Miami in mid 1986 and worked at Coconuts in the afterhours to polish ideas that had been brewing on the Portastudio. Blade had secured the recording time and engineered the sessions for 900 dollars. Having calculated the budget, each member of the band needed 900 dollars to fly and get lodging, pay Coconuts. At that time the Portastudio incarnation of the act reigned supreme and it was known as The Freeks.

Gloria Estefan and the Miami Sound Machine had donated their gold records to the recording facility and the band toked beside the awards, hanging in the tiny space while Blade set up Technical Town. Accommodations were provided by Se-Air motel -located on the noisiest street on the beach. The band lacked sleep but remained pumped to explore the new realms proffered by heavyweight modern edge audio technology.

The sessions are a mixed bag of quasi finished ideas and strange improvisations. The residual sessions that Slack, Blade and Thick worked produced noticeably refined cuts and got lumped into the release.

Throughout the recordings Pork improvised lyrics and Slack performed atop a twelve foot ladder. The connecting theme of the experience was exploration and editing. At that time Pork was having a cock battle with an old friend and a woman was muddying the waters. Pork ejaculated “The Bitch Had Dong Breath!” on one of the improvs and ushered in the new sentiment that love songs were out of the question. To this day, The Steaming Pigs will only do love songs to highlight the lust side of enamor. The recipe is valid especially on Banana de Tropic. Hog Trail, Meat Man, Anal Anal Baby, Lambada, Steamy Needs, and Suck What You Love-a difficult to find B-Side that Pork created en homage to NYC culture.

In time the editing process revealed that The 900 Dollar Jizz went beyond the expectations of the band. The choice cuts from those sessions integrate nicely with other material utilizing the concept of musical sausage.

They are;

Buckwheat Pancakes

He’s Dead Jim

African Sleigh Bells

Heavy Budd

Proposal song

Singarera Instantania

Hamster Dance, Bronto Strut, and Rancid Snatch are obscure b-sides that got recognition for interesting moments.

Stuff and Pork recorded in Panama as a doo-wop experiment, did The 900 Dollar Jizz, and then returned to N.Y.C.

And found Slack had moved to Se-Air 2 where the Portastudio was prominent in ideas. Among them was the banging on pvc pipes whilst tweaking a homemade synthesizer with a tiny screwdriver. Gelatin Mold and Grocery List are pure Slack ideas that became cornerstones of possible Freek songsmithing. Disgust for the Guido society of N.Y.C., a hallmark for Slack becoming Slack, began fomenting at Se-Air 2.

THE MIXED UP MERRY ADVENTURES OF SLACKMASTER G

At this time Slack was working on his famous tome “I Am Not Slack”, and in the midst of a publishing deal that unfairly portrayed him as the next SLASH or BLACKMORE. He was decidedly at odds with his publisher, and resorted to confirming his prowess with a new expression. “I AM SLACK!”.

The reviews were solid and he left them and the publishing agenda to focus on the next project.

Stuff jammed with Richie O and Captain Pete in a project known as Robin Cooke and the Ingredients. This was after Pork had left the project to focus on visual arts. They gigged at Februarys in N.Y.C., scarfed great Italian Food at La Trattoria, and then Stuff decided to travel.

Slack had connected with a Rastafarian recording studio in the Bronx and he and Stuff recorded there until the tape machine went down, ruining the sessions. Stuff chastised/flagellated   himself mercilessly for having utilized 2 inch tape swiped from the Acting Big Institute for Sonic Achievement, considering the debacle to be karma. Slack mourned the passing of Drew, the only engineer that could make that studio run. Drew could have fixed the Jones but he had recently ascended/passed on and though the situation was actually normal for the studio, in  technical truth, a five dollar relay had gone bad from the lack of air conditioning, but no one knew where to get the replacement. Slack and Stuff hightailed it out of there. Which was wise because the stoned Rasta owner blamed them for the technical dysfunction and wanted money for repairs.

However those sessions are alive and well and considered unfinished.

The surviving recordings are a great cross over from Portastudio ideas to difficult situations making something happen.

Slack and Stuff shared an apartment in late 1986 to summer of 1987-recording daily, brushing up on Rodenberry,  and determining that there was no logic in pursuing recording music in the Portastudio realm..

1990    ELECTROSOUND

Stuff landed in Oregon a few years later with a recording studio built on an Ampex MM-1000 2 inch tape machine originally utilized by Fame Studios in Muscle Shoals Alabama. Stuff purchased the entire studio known as Bayside Sound in Lincoln City, Oregon and moved it to Albany, Or., renaming the enterprise  Electrosound-in homage to Ron Geesin. The gear had been in Montana for a few years after Fame was closed and any tracks from those sessions are history.

Stuff then went to N.Y. and loaded Slacks’ SuperTwin, Fishfoots’ 600 Watt Marshall, all of Foot’s vinyls and little Super Twin, and Slacks’ prized black Yamaha acoustic first seen at the Psycho Killer gig, a 1948  Hammond L3 organ, drums and couches-and trucked them across the continent to outfit Electrosound.. Slack created Se-Air 3.0 and worked technically with heavyweights. Pork began a career in commercial arts with Hebraic oversight and soon thereafter hardcore NYC magazines that delved into pornography and bikers and tattoos. Johnson would be seen throughout the planet tapping rumps.

In 1990 Stuff and Pork walked Mary’s Peak in the Coast Range of Oregon and discussed working on Wursthaus as a final exploration of analog recording techniques. Bringing Fishfoot into the project and crossing over to the digital realm with an Emulator 2, preserving the all analog sessions on the now highly sought after vinyl release entitled WURSTHAUS. The hike and the discussion had nothing to do with money or ownership. Rather, the hirsute duo exchanged ideas about the future of Pigmeat and the ridiculous scenario of temptation.. They then went to Terwilliger/Cougar Hot Springs and forgot about any ideas. Pork’s wife made a fire out of wet wood there and dissolved the past.

Captain Pete observed years later that Wursthaus contained Isaac Haze, the first truly performed Mashup that other acts would naturally follow as an instance of digital/analog co-creation. This was outside of sampling and recognized deconstruction. At the time Pork considered his Oregon experience to be Freekful and it was his use of Ikes vinyl that initiated the experiment..

Pork created seminal tracks on the Portastudio but with the high level of technology at Electrosound the cuts piled up,.

Swamp Dong, Lil Tofu, Religious Jizz, Kachunga, Sasquatch Life, the list is exhaustive-Pork peaked at Electrosound.

Several nights in to the sessions, the burglar alarm went off at Electrosound Studios’ neighbor, a convenience store. The HEAT arrived and as Pork and Sue were exiting Electrosound an hour or two after the alarm went off, - Albany, Or. police pointed  guns at them and said “Drop your hands!” Pork was carrying a massive weed infused chocolate cake and the idea of dropping it was minor to the experience. He did not drop the cake. In the same manner as previous and future intensities, Pork remained cool and had become epicenter of HEAT JONES.

Wursthaus was advertised globally in Art Alternatives? and Tattoo Revue magazines-where Pork was Art Director.

Stuff would receive hand written letters from all over the world responding to the ads, with various currencies and money orders included-wrap and send the vinyl to interested buyers through the mail.

Some of them asked for cassettes in lieu of vinyl. Stuff would one off the cassettes directly from the vinyl and send them. It didn’t take long to realize that this was a painful process and the music needed to be sent in a more conventional platform.

There wasn’t any platform outside of vinyl, cassettes and mail order reply. Record labels and commercial outlets like Sam Goodys dominated the music industry, as did syndicated radio stations and basically any place a person might interact with an artistic sonic idea.

Without the Grunge moniker, upstart audiological ideas languished due to fiduciary obsession on the part of the printing labels and broadcasts. Stuff shopped the music to any oddball outlet and got rejected, though Wursthaus did receive airplay on a few small radio stations.

Today, Wursthaus and The Steaming Pigs, and Pork Products are available globally, On-line, and receive minimal fiduciary return.

Wursthaus sat in the heap with every other cool idea and people never got to see it or hear it. The Steaming Pigs had met the wall of commercial integration and did so laughing.

THE CHEST

Stuff returned to the East Coast in 1992 and with the Help of Johnny Blade purchased several ADAT tape machines after beginning MC DEHumidifier  and the last Portastudio sessions Known as THE CHEST.

THE CHEST sessions began in a recreated German Rathskellar with a guy Slack brought in to play drums and any instrument. Morphed into a primitive brief stop motion video of an action figure torso cavorting in strange ways to the Music of The Chest-all in allusion to homage of a quick sketch Pork made while in non human realms- he titled it  The Cow.

The Cow reflected an indecipherable awareness that was obvious if you were able to coagulate the nature of laughing at anything.

Pork designed The Cow and The Steaming Pigs enjoyed the moment to relieve any notions of interaction with Jones.

The Chest Sessions ignited Thick Stick Johnson and through his air travels the ideas were reoriented and became The Plumb Boys-Stuff went to the West Coast and tried out for several acts as a drummer, using The Chest Tapes as demo material, without success. He recorded shows at The WOW Hall and recorded several acts at the fading Wursthaus /Electrosound Studios.

Slack started The Plumb Boys Studios in Manhattan, NYC.

Slack had found a 12x16 room in the back of a plumbing shop that closed each day at 5p.m.

The shop was two doors up from TRAMMPS Nite Club-around the corner from The LIMELITE-at 21st and 6thin NYC.

Thick Stick Johnson began utilization of his refurbished Cessna and flew to The Plumb Boys Studios regularly.

The Plumb Boys would emboss recording in the new digital realm as a searing reminder of Portastudio intensity.

Stuff would traverse the continent every few months, visit The Plumb Boys Studio and review and mix the tracks until Slack showed up and added tracks, usually late in to the next day.

The Jones was in full fury delineating its presence against the potential of the band. In order to reach The Plumb Boys Studio a person would have to get to midtown NYC, turn themselves sideways and shuffle between a 24 foot long seven foot high stack of used unwashed toilets and four unwashed Ford full length vans parked back to back, covered in the detritus of years of traversing NYC filth infused streets. Thick refused to defecate on the premises due to its questionable cleanliness. It did not help matters that the working equally unwashed commode was floor to ceiling covered in trashy porno pages that seemed well used. As well, the room was also being utilized by a completely separate act and they stowed all their gear in the space.

Slack remembers-“There was no way Thick would shit where all those greasy plumber butts had been..”

There was a strange presence at that time and without comparison it was left to introspection.

The ideas manifested inside of each member of the groups infusion, so the material didn’t weigh out until the jams got listened back and tweaked in post production. The Plumb Boys established recording via three, then four, 8-track ADAT machines and a Soundcraft mixer set up in the tiny recording space. Real microphones were purchased- although TSJ felt most comfortable with an electric kit. Stuff and Thick would famously drum battle between acoustic and electric batterie.

After listening back- the concept of Steaming manifested-there would be no other word to describe what was unfolding. Richie O began showing up along with Captain Pete, as did other musicians.

Leisure Steam was an old Steam Room Controller cover plate from a plumbing installation that got left in the Plumb Boys Studio.

Leisure Steam, Real Funk and Humor, disgust, defined The Plumb Boys Sound.

STEAMY-

The Plumb Boys recorded voraciously in NYC-meeting Vora Vor and getting a lot of tracks captured that will probably never get heard-. Stuff chipped in on the gear and rent for The Plumb Boys as did the other participants-it became the 300 Dollar Jizz, and began The Steaming Pigs Artist Collective. Other outside acts began to record their music at the incredibly hip swinging pad.

Concurrently, Stuff recorded with Fishfoot on the West Coast whilst travelling between the two seaboards. The sessions are remarkably different in content and Stuff saw that, with noticeable chagrin, there would never be a get together of the participants.

The concept of Steamy came out of those days and it was the direct result of crossing over in to creative designs that had no basis. Steaming was too intense for anyone not associated with it.

Depending on where you observed the unfolding, you could not look Steam in the eye. On the East Coast Steamy was doomed by Slack and Porks’ approval of TSJ bashing in Steamys’ head for stealing The Silver Weed. His skull zooming out of his head in flames.

On the West Coast, Steamy had been sitting on a Throne Chair and once he had left The Human Realm via Sticks bat, became reincarnated and resurrected by Satan. Then the East Coast saw not one resurrection but the thousands of Piglet Zombies that Steamys karma created..

1994-8

The Steaming Pigs proper began to open channels in the business world and felt confident that their stage presence was up to snuff. They decided that creating a business was a good idea and centered the idea around sonic exploration coupled with visual devices. This was independent of any industry input. It may have been a distraction from the reality that industry had been pimping on musicians since recording music had been invented.

Johnny Blade introduced The Steaming Pigs to home based business characteristics such as Pro Tools and website design. But the times demanded a silence on the part of the industry because music in its outdated commercial formats was not being purchased at points of sale, and the internet did not have its shit together in the realms of copyrights and sales. Music was being bootlegged everywhere in a salute to the Grateful Dead’s concept of go to the show.

In retrospect this can be seen as a tremendous theft, as well as a seminal change in the quality of recorded music due to the fallout of investment. But as a listener it was fuckin great to get into every bit of music you could access via the internet.

The Steaming Pigs were unaware of this unfolding because they are artists. The notion of getting involved with Technical Town relies on The Freek Police stepping in to thwart designs by shitty gear, bad tuning, bunk reefers, squares and uptight types, rogue bands and dishonest hucksters who use the music to foist negative designs on unwary and usually good timing producers and consumers. Fourth Superior Court Judge Slackmaster G ruled that bit torrent downloads of Ron Geesin audio were necessary for the public good and outside any jurisdiction relative to torts compiled by AA.Master Jones Esq. This ruling applies only to truly essential and obscure cuts that are essential for Freek evolution.

The Steaming Pigs got trademarked and service marked and released their eponymously titled cd in 1996-after years of creative construction. Blade had a heavy hand in the output and by 1997 there was a Pigs website and all the proper channels for commercial integration of the sonic visually fortified stage presence of The Act. But in those times the music industry had a contraction and decided that the least amount of overhead equals better profits. So, a new genre was developed in confluence with new inebriants, and a new culture was presented as valid and an example of entertainment. It had nothing to do with the concepts and directions of music created at The Plumb Boys Studio. The Steaming Pigs made a very astute business decision based on intuitive rejection of The Jones.

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