Endangered Feces: last of its kind?
On October 17, Dr. Shay’s hosted an all-ages show for Box Your Ears In, which included sets by punk bands like the Loiterers, Hidden Agenda and Endangered Feces. The idea was to get a good live recording and then release the result as a live compilation.
Apparently, the staff of the Amityville bar was not pleased with the antics during the show, because, according to its guitarist Jay Levitz, Endangered Feces was banned from playing there ever again.
Before talking about the incident, Levitz tells me over the phone, “I just got out of the shower. I’m naked.” I’m not surprised. Levitz says that after playing the show, “somebody came up to the front of the stage and said, “That’s it! You guys are fuckin’ banned!’ ”
The band is known for its toilet-paper-throwing antics and songs with titles like “All I Got Was Underwear For Christmas,” but he says the Shay’s staff may not have been prepared for the nudity during the last song, another Feces trademark.
“People should know what to expect,” Levitz claims. “I looked out and made sure there weren’t young kids there. By the way, I’m still naked. Can you guess what I’m doing now?”
I ignore the remark.
I ask Levitz if perhaps it’s understandable that the Shay’s staff may have considered the band’s conduct lewd, or at least obnoxious. “It’s all in good fun,” he says. “A member of Endangered Feces with his pants around his ankles is not a pretty sight, and in no way could it be interpreted as sexual. We just give the people their money’s worth.”
Levitz may be right about that. But concerning the ban of his band, it sounds like he’s all wet. When asked about the incident, a member of the Shay’s staff tells me, “I know nothing about Endangered Feces being banned from the club,” and adds, “They played here about two weeks ago, and it was a good show. They didn’t seem to do anything wrong. They threw some toilet paper around, I swept it up afterwards. I didn’t have any trouble with the guys. They seemed like a nice bunch of guys, so I don’t know where you got that from. It didn’t come from me, and I’m the only guy there who would ban someone.”
Down And dirty with the King
It’s understandable that there’s no contact address for Corndog Records on the self-titled debut by Long Island’s elusive Filthy Elvis. Why? This politically incorrect parody of the King’s finest moments is sure to rile legions of white-jumpsuited Presley fans.
Some examples: “Love Me Tender” becomes “Blow Me Brenda,” “Burnin’ Love” becomes “Burnin’ Meat” and “All Shook Up” becomes “All Fucked Up.” Lyrics like “and when he smiled inside, I started squirming/afraid that he might bust a move on me/I thought he was actin’ kinda girlie/so I kept my back against the wall” from “(Jim’s the Name of) His Latest Flame” (about a “macho” man coming out of the closet) are rife on this disc, but the project doesn’t come across as being mean-spirited.
In fact, the music is played expertly, and, oddly enough, some listeners might even come away with a deeper appreciation of the King’s material. You might even find yourself humming lines like “I see your vagina/it looks alright to me…” from “Pubic Hair” (yes, rather than “Teddy Bear”).
Filthy Elvis is nicely packaged, too, with a Simpsons-style cartoon rendering of the King during his Vegas era.
Alpha males can find Filthy Elvis in local record stores and even at some watering holes.
The bleeding has finally stopped
As stated in group founder Paul Lemos’ liner notes, the double CD collection Rest InPeace: The Best of Controlled Bleeding (Cleopatra Records, PMB 251, 13428 Maxella Ave., Marina del Rey, CA 90292), “marks the end of our activities, at least for a while…”
Though the hyper-prolific, Massapequa-based Bleeding has explored several styles of music in its more than 15-year history, the project remains best known for its noisework in the early ’80s, experimental Wax Trax! dance on the cusp on the decade and more ambient work in the later years. Some of these songs can be found on collections like Buried Blessings, but Rest In Peace contains many tracks not previously released domestically, some cuts from out-of-print vinyl and a track with Rozz Williams of Christian Death fame.
The discs are divided into two segments, “Hard Rhythms and Noise” and “Dark Voices and Instrumentals.” Both sections are worthy, showcasing the band at its most thundering, as on “Crack the Body,” and moving to the more ethereal side on “Awakened Beneath the Ground.”