Perhaps the most precious experience for a record junkie is finding a grail record that you never knew existed. That’s just what happened to me last week as I was preparing the MagnuSoul Mix Volume 1. Being a Boston native with a love of funk, breaks, Caribbean records, and groovy 60s and 70’s TV and movie themes like S.W.A.T. and Shaft, finding a local record that pulls all those things together was beyond even my wildest dreams.
Indeed, there is remarkably little on the web (or local print media) about The Boston Silver Stars Steel Orchestra. The record lists Kelvin Griffith as its Captain, which I assume means musical director (though I must say that mysterious nautical/aerospace phrasing only adds to the record’s appeal for me). The record was released in 1976 (during the height of the short lived S.W.A.T. show) on what seems like a local label (Roots Records 01), although no address is provided so its hard to be sure. These cats were clearly incredibly talented musicians and I love that they paired the fuzzy, funky, low brow kitsch of the oft-versioned S.W.A.T. theme with the ultimate highbrow of a Beethoven violin concerto. The levels of genre blending run deep on this one, but apparently, this was part of their act.
According to the folks over at Boston Carnival Village Kelvin Griffith was involved in the Boston Carnival from its second year in 1974. I was also able to find a small article about the group in, of all places, Mass Media, the student newspaper at my very own UMASS Boston! According to the very hard to read digital text, the band was made up of a dozen or so Trinidadians ranging in age from 12 to 32 playing “a little bit of everything – tunes by KC and the Sunshine Band, Mozart, Sousa, and Stevie Wonder, as well as some current West Indian hits”. The inclusion of the Beethoven B side is apparently not some kitschy recording trick as much as an accurate reflection of their diverse live sets.
The fact that the only printed information I can find on this group comes from my own college paper is just the kind of coincidence that makes even the most rabidly atheist among us believe in vinyl forces beyond our control. Indeed, it is rare to meet a real record junkie who does not practice some form of animism (whether publicly or privately).
My buddy Rob believes he used to hear this group in Harvard Sq. back in the 70’s and 80s but has no recent info about them. I would love to hear from anyone else who remembers them or knows where any of the members are now. More and more, I dream of a proper record label to re-release local gems like this! Maybe some day. But for now, I hope you enjoy my humble digital offerings here.
The title of this blog becomes increasingly ironic the bigger the piles of cassettes become around here. But then, they are mostly tapes of records, or at least radio shows of records and music made with other records. So that’s something. They are also revealing long lost tales of Boston’s largely overlooked urban and dance music scene in the 1980s. This new little collection also provides some important pre-history for the Leccos’s Lemma show, Boston’s first rap radio show that started in 1985. Allow me to offer a little context while you listen. I hope you like scratching.
Readers of this blog will be familiar with the Lecco’s Lemma story, but those who are just getting here may consider starting with this piece from the Boston Phoenix. There have been big new developments on that front and Chris Faraone did an amazing job telling the tale of the tapes and the couple of crazy caucasians who kept them all these years. Just this past Sunday we finally got the whole collection together for the first time.
The proximate cause of this reunion was a visit up to see Willie “Loco” Alexander to collect the last two boxes of his Lecco’s Lemma show tapes. While conducting an interview (more of a paean to our pal Magnus really), Willie pulled out a small pile of other local college show tapes that he had set aside. Luckily, I was running video at the time. Watching it now, it’s cringe worthy how giddy and excited I become as he rattles of titles of shows I have never heard of with dates descending back into the electro infused daze of early 1908s. But then, these are the moments I live for. One of the most incredible and earliest in the pile was this tape of the Mastermix show on Emmerson’s WERS 88.9 FM from 5-21-83.
Magnus Johnstone was always a bit ahead of his time where music was concerned. He’d discover, devour, disseminate, then depart once the next new thing came along. He was into reggae, Chicago house, Kraftwerkian electro, all before they became widely popular. And then in the early 80’s he got in on the ground floor with hip-hop. In 1985, he got a radio show on MIT’s radio station WMBR 88.1 FM, on Saturday afternoons, and would play the newest rap records from Spin City, Skippy White’s, Nubian Notions, and Nancy’s Record & Book Store downtown. Although some rap had been heard previously on WERS 88.9’s “Special Edition” (Cosmic Crew, pre- Def Jam Beasties, UTFO’s “Roxanne Roxanne” in Hosh Gureli’s 1984 Mastermix), that show featured mainly current urban dance like Jonzun Crew, Shannon and Freeez. Kiss 108 had played “Planet Rock”, “Jam On It” and “Rapper’s Delight”, but that was really just for novelty’s sake. And Boston’s preeminent black music station, WILD 1090 AM, utterly refused to play rap at the time. So hip-hop fans from all over Boston tuned in as best they could to Lecco’s Lemma, this tiny signal down at the bottom of the dial. The origin of the show’s title was that the whole thing was being run at the behest of a master computer named Lecco, and these songs were the “lemmas”, or things he desired.
Here is an even more detailed recollection from DJ Spinelli (Ed Note: Check out his amazing list of DJs including lots of local ones!)
Hosh Gureli (88.9 WERS) – One of the best DJs in the early 80s here in Boston. Known as the “Mastermix” on 88.9 WERS, he was far ahead of his time with mixing/remixing/editing and everything else in between.
His style of mixing wasn’t just “mixing one song into another” like most would do. Instead, he would have 3 or 4 songs going at once, throw some edits in and then go into another 3 or 4 songs (keep in mind, this is back in 82/83). Fortunately, I have many tapes of his mix shows that I recorded back then.
Interestingly enough (during the late 80s), I was in a “Battle Of The DJs” contest with Hosh at Faces nightclub in Cambridge and couldn’t believe I was going up against him (which he won, of course).
There are countless people in the Boston area that can thank Hosh for being an such an inspiration to them – myself included!
In case you missed it, let me repeat the most important line for you: “Fortunately, I have many tapes of his mix shows that I recorded back then.”
Mind = blown.
Dear DJ Spinelli, let me take this moment to publicly thank you for keeping your tapes of this amazing show and preserving Boston’s musical history. I think I can speak for all past, present and future Beantown beat heads and club kids when I say “we would sure love to hear some of your tapes”.
I could not resist making a little re-edit of the original video replacing the CVS-inserted (yet strangely beautiful) audio with the Ronnie Ruff track, “It Comes From Boston“. Now I loved the original mind you and need to give props to Dennis, all his Brockton (East Side) breakdancing friends and especially his mom, who apparently was handy with the Super 8 (thanks MOM!). But adding the Ronnie Ruff track just seemed too perfect. Apparently, the gods of Hip-Hop agreed. Notice the reference to “frosting” right as the cake comes out? That was complete luck. I just dropped the audio in and it lined right up. I must be doing something right.
There are so many things I love about this video. Having grown up in Boston in the 1980s, I just love how it looks. Like home.
I also love how it transitions from hanging out with dad in the yard, to a quick dinner shot (mom was probably too busy making, serving and cleaning it up to run much tape) and then right to the impromptu breakdance parties in the street and driveway. Cardboard/linoleum + boombox + dope tapes (probably off the radio…maybe Lecco’s Lemma?) + friends = mini-kid block party. In this sense, the emergence of Hip-Hop was so very local and fractal…every neighborhood had at least one kid who could rhyme, dance, DJ or at least had some dope tapes and a boombox. Some neighborhoods had lots. The little block parties that happened all over sometimes got much, much bigger. Then it went global and the rest is history. But back then, before the big money got into it, it was more about your friends, their moves and who had the better boombox.
I especially love that the length of the video allowed for the shoutouts at the end and find it funny that we don’t get one for his own town…Brockton! (I have secretly considered doing a re-edit of the track to replace all the refs to “Boston” with “Brockton”. If someone posts a good “Brockton” drop, I am on it).
Another amazing aspect of the video (that only became clear after talking to Dennis this morning) is the way Hip-Hop attracted kids like a tractor beam and then mixed them together. When I watched the original video, I immediately noticed the older dudes who make a cameo appearance early on and then disappear. Apparently, these guys were from East LA and were out visiting one of the neighbors and came over when they heard the music and joined in. They were probably in their early 20s whereas the rest of the kids were early teens from Brockton, MA. Hip-Hop apparently bridged the significant differences between them. It just proves that one upon a time, kids loved Hip-Hop enough to forget their differences for a minute and just dance. Some of them still do.
The other day, I walked into the front room and was flabbergasted to find a little-known piece of Boston’s Hip-Hop history casually laid out on Ken’s Klipsch speaker as if I were meant to find it. This would seem like a magical manifestation under almost any circumstances given my fascination with Boston’s Hip-Hop history and the mindboggling connections between the Jonzun Crew and Sun Ra represented by this little paper triangle. The fact that I had recently been dreaming of building Pyramidal subwoofers makes it seem more like an intergalactic message dropped there by the Man From Saturn himself.
Although there is now a fair bit of information available about the OVC, when I wrote my chapter on Boston Hip-Hop, Tompkins had yet to release the mindbomb How to Wreck a Nice Beach and there was almost no information anywhere about the cryptic reference in the title of the Boston electrofunk classic Pack Jam (Look Out for the OVC) by the Jonzun Crew.
As I did research for my article, I kept re-wondering “What the hell was this OVC anyway?!” Having whined about it enough to the right people, I learned the answer shortly after it was (re)discovered but swore a solemn oath to keep the story to myself. Which I of course did. Take my word for it, this whole OVC thing was seriously secret info only a few years back. Even now it’s a bit esoteric and the fact that the OVC is the link between Sun Ra and Hip-Hop still seems almost impossible. If you are not quite sure what the hell I am talking about, here it is in one ghastly sentence:
Boston’s Jonzun Crew was connected to Jazzman/Intergalactic traveler Sun Ra via the OVC (the Outerspace Visual Communicator), a light show-producing keyboard that was designed by MIT-affiliated inventor/funk keyboardist Bill Sebastian and used in several Boston Sun Ra Shows and one film.
Now even if you are not a Boston obsessed music obsessive like me, this is a pretty amazing story. For me, its fundamental. In fact, the whole Boston-Electrofunk-Sun Ra connection is a critical piece of evidence that Boston was an important (and overlooked) source for Hip-Hop’s electro/cosmic elements. Seriously, find me a place where early Hip-Hop and Sun Ra connect other than in Boston. Whatever your beliefs about the importance of the Bean in providing some of Hip-Hop’s deepest connections with intergalactic beings, at the very least the OVC deserves a special place in the story of the birth of Hip-Hop (and its Beantown roots).
Since I could not run this down in the chapter given my oath (and could never have done it better than Dave anyway), allow me to offer a few annotations to the now mythical story of the OVC. (Oh to have stalked the beast into the gloamy evening underbrush with Dave and Brian back in the dark ages of ’09…sigh.)
But first of all, where did the poster come from? Did Sun Ra really show up and leave it up front? Most likely not. Originally, this poster was from a series of shows at Mass Art on June 26-29, 1980. Most recently, it arrived by way of Roger Miller who had it floating around in the Alloy Orchestra van. Being a fan of Sun Ra, a gobsmacked bandmate asked if he could have the artifact for his ephemera collection (since it was just laying around the van anyway). Apparently Roger gave it up gladly claiming “to have plenty of them”. Wha?! Sometime after that point the cosmic communique was left on the speaker where I found it. But frankly Ken did not seem entirely sure about any of this, really. Maybe its more plausible that Sun Ra did drop it off.
Wherever the thing came from, it got me sleuthing around again about the OVC. I returned to Dave’s book, of course. Then I went looking for digital crumbs on the internet which I have assembled together here for you. This re-search turned up the following known and semi-known bits of additional info arranged in a rough timeline of the OVC and its interconnections with the Arkestra via Bill Sebastian and the Jonzun Crew.
1973 – Keyboardist/inventor Bill Sebastian is playing with the Johnson Brothers and invents a keyboard light show that plays the band’s name in lights. Perhaps the fractal-electronic seed of the OVC had been planted. Go read the whole awesome interview with Michael Johnson (did you know he and Maurice Starr did a bunch of backing tracks at Sugarhill, for example?). That same year, Sebastian sees sun Ra play in Boston (where was this show?) and spends the next five years building the OVC.
Sometime before 1977 – Sun Ra and the Arkestra play at Paul’s Mall in Boston. According to Warren, they were promoting Space is the Place so this show had to be before 1977. Please go see his amazing pictures of this show. Here is one I borrowed for this post.
1977 – Sun Ra plays the Cyclorama in Boston. No info on this show yet.
1979 – Sun Ra plays The Modern Theater in Boston. This is a week (or two) long run at which The OVC appears for the first time. Waren’s recollection of the show contains a nice reference to the OVC:
“He [Sun Ra] was to perform at a now-defunct theater in Boston, and it was to be a week-long run in which the Arkestra was joined by light artist Bill Sebastian, who had crafted an extraordinary device (the Spacescape light organ) that gave a dazzling visual accompaniment to the music. The photos of Ra and the Arkestra on the back jacket [The Other Side of the Sun] were taken during the band’s two-week stint at Boston’s Modern Theater in 1979. (Obscure digression: if you happen to see the film The Verdict with Paul Newman — filmed in Boston around the time of these shows – watch for the distinctive triangle-shaped flyer for these shows next to him in the scene where’s he’s chatting on an outdoor payphone.) Anyway: Two photos on the rear jacket of this LP show members of the band playing in front of Bill Sebastian’s eyeball-melting Outerspace Visual Communicator, an amazing light-sculpting device”
1980, June 26-29 – Mass College of Art. The OVC was clearly in full effect at this point, as was its inventor, who apparently spun around dressed as some kind of space Wizard. Perfect.
1984 – Sun Ra visits a new “OVC-3D” at the Johnson Brother’s studio, Mission Control. Somewhat earlier in 1982, the OVC was placed at Sebastian’s Munster-esque mansion in Roxbury, MA.
1986 – Sun Ra’s “Calling Planet Earth” video is released. Bill and Jonzun worked on this video with the Arkestra and it contains the best footage I have seen of the OVC (though it is still a little unclear to me how many of the effects were done with the OVC and how many were post production). The video once lived on the YouTube, but the only version I can find now is this one which I scraped off of the web:
Can we get a reissue/better version of this, Bill? Anyone?
More recently, rumors have been circulating around town that Bill and/or Sun Ra may be rebuilding the OVC. There is a tantalizing video called “The Return of the OVC” that claims to be footage from 1986. I can’t be sure what it all means but I hope posters about it keep showing up.
I’ll be looking into all of this as soon as I get that Pyramidal Subwoofer built. In the meantime, keep your eyes out for the OVC (or at least another poster). It may be appearing soon at a future mythical reunion show near you.
…was from Boston?!?! Back before Earl Simmons became known as the NY DMX, a Boston Beatboxer by the same name was tearing up local mics. I had not realized that the DMX we have come to recognize was also originally a beatboxer who got his start around 1984. I guess given the timeline, a DMX vs DMX battle was a possibility. Note to the hip-hop historians: Could we still put this battle together as a follow up to the infamous A-Train vs Solo Battle? (Yeah NYC, we won that one hands down). DMX (NYC) and DMX (Boston), you down?
Anyway, a while back I got a request for some Boston DMX and being the keeper of the tapes, it is my responsibility to provide. Here is the classic DMX/LaCarr routine from the Leccos Lemma show ca. 1986. There are so many amazing things about this routine to me. From the quotation of Trans Europe Express, Inspector Gadget AND the Pink Panther to the huge number of people in the background shouting and cheering along to the whistle beatboxing (which according to A-Train we invented) to the seamless tradeoffs between these cousins, it’s another example of how Boston was right there at the start (and all along really).
Simply put, Think Tree was one of the most important and incredible bands ever. They also happened to hail from Boston, MA. The story goes something like this. In 1986, all but one member had been in a short lived punk/keyboard outfit called Psychotech. According to this description from their last interview “It was kind of a hard-core techno band. It was sort of like a hard-core band with keyboards instead of guitars and we used to smash up keyboards and stuff.” In other words a punk/funk/keyboard outfit before the chili peppers OR nine inch nails or any of the bands that later blended hardcore and funk and/or keyboards and samples.
Consider the following historical factoids:
Meat Beat Manifesto formed in 1987 – a year after Psychotech had been tearing up stages at Boston clubs like Chet’s and the Rat and the same year Think Tree had its first show.
Nine Inch Nails started in 1988 – a year after Psychotech disbanded to start Think Tree. Think Tree had already been playing around Boston for a year by the time Nine Inch Nails was formed.
The seminal Chicago based industrial band Ministry was out around that time on Wax Trax, but they never had the groove and punk/funk angle that always found its way into Think Tree sets.
Think Tree included Peter Moore (keyboards), Will Ragano (guitar), Paul Lanctot (keyboards), Krishna Venkatesh (keyboards) and Jeff Biegert (drums). Their music and live performances blended punk/industrial aesthetics with progressive prog rock compositions played live with plenty of electronics. The video above is sadly one of the only ones on the web, but it gives you a good sense of the band at their prime. Just before the grunge tsunami hit and obliterated many lesser keyboard oriented bands, Think Tree represented the ultimate synthesis of keyboards and live punk/prog performance. In their reign as one of Boston’s most progressive and influential bands, they released Hire a Bird in 1989 as a 12″ single, a full length record “Eight / Thirteen” (which included “Hire a Bird”) in 1990, and the full length record “Like the Idea” in 1991. “Hire a Bird” was included in the Boston Phoenix’s Top 500 records of all time in 1999. They were also hilarious and irreverent to the end.
Here is a super funny interview with them on WMWM (Tufts University’s station) in 1991. It gives a good sense of their aesthetic and sonic palette as they keep interrupting the talk with goofy and ghastly electronic punctuations.
To say Think Tree was influential is to put it mildly. Rumor has it that they had a strong influence on early Nine Inch Nails (though they never did perform the Devo/Zepplin live mashup “Uncontrollable Hop” that Think Tree had planned for a special gust appearance with Reznor). Brian Eno was a fan as were many other forward thinking punk/progressive/industrial/electronic tweakers. They literally helped invent the genre “synthesizer oriented industrial prog funk”.
In the classic indy rock band story, their label Caroline Records never really gave them the support they deserved and so they never toured or got the distribution they needed to break out nationally. Once the grunge wave hit, lots of keyboard bands were kicked to the curb in favor of small guitar rock outfits with big narcotic habits. Although Think Tree paved the way for the genre, brainy synth punk was definitely out in the mid 1990s and their distinctly non-commercial aesthetic certainly didn’t help them convince the bean counters of their mass market potential. In 1993, Think Tree played their last show.
Krishna went on to form the even harder sounding El Dopa with his brother, Bassist Alex Smoller and drummer Danny Lee from Cxema. Will and Peter went on to form Count Zero, who continue the Think Tree tradition to this day. The Count Zero story is rich enough for its own long post (they have released 3 full length records, appeared in Guitar Hero, etc etc). More importantly, they are having a CD release party this Friday, May 13 up at the Lizard Lounge in Cambridge, MA.
Go see them Friday and be sure to scream out the titles of old Think Tree songs. If you are lucky, they might even play one!
Meanwhile, here is a little live mashup I made a while back with DJ Flack’s “The Story of O” and Think Tree’s classic “Hire A Bird”. Enjoy.
On March 2rd, 2011 I joined Dana Scott and the gang down at WMBR (88.1 FM) for the second installation of my Boston Hip Hop tribute and Lecco’s Lemma Archive sessions. It was epic, if I do say so myself. I dropped some classic Boston 90s ish by artists like God Complex, Polecat, Tmax, Motion, Prento Kid (not from Boston but with Boston production by Underground Productions) and more. We also rapped about some history, had some laughs and nearly melted the decks with all the Boston heat.
Heads were bobbing off their necks in the studio as always happens when I break out the mid-90s Underground tracks (respect to Brad and Dow, the least appreciated producers out there in the Bean IMHO). Man, people have been sleepin’ on Boston’s lost classics for way too long now. Its amazing to us elders, but for all the really deep underground 90’s stuff (and earlier), there’s a new generation of ears out there who are feeling it hard. Lots of catz and kittens who are down with the underground now were still making macaroni art for gold stars when some of the Best Boston Beats dropped in 1995-1998. Listen for yourself.
Given the long silence over here you might have thought the Lecco’s Lemma tapes had gone missing again. Never. Its just been a busy time over in the academy (with tenure decisions looming and papers piling up). We also had some grants out for digitization that didn’t come through so its been me ripping them in my spare time – which slows things down for sure. We might need to crowd source this after all. Then again, UMASS just launched a new archival studies program and I met the new director who seemed to immediately get the importance of this collection. Fingers crossed.
Meanwhile, with political shootings making their ugly re-appearance in the USA and the renewed interest in the power of words to change minds (for good or ill), seemed important to remember the peaceful principles built into the foundations of hip-hop. So I decided to go digging in the Lecco’s tapes for the MLK episode I was sure I had seen. Indeed, there it was. Lovingly illustrated and notated as I had remembered it.
All of this seems like it was preplanned. One possibility is that Lecco engaged the services of the Justified Ancients of Mu Mu and somehow orchestrated a rediscovery of 1980’s Boston hip-hop to coincide with the 25th anniversary of the Lecco’s Lemma show. In another, Lecco invaded the Media Lab through a wormhole he left back in 1986 and secretly built a tractor beam to draw the Lemmas back home. Whatever the plan, the machine certainly seemed to speak this weekend up in Maine. Let me provide some history.
You see, according to the origin myth, Lecco was the computer that was secretly running the local rap radio show that Magnus started in September 1985 in the basement of MIT. Even then, the singularity seemed near. The tapes (or more properly the songs) were his Lemmas. I have been searching for them for a while now.
On July 11, 2007, I visited Magnus up in his northern lab/studio/record repository. As usual, he is way ahead of everybody else (having moved to high ground long ago with his massive collection of reggae 45s and acres of LPs and 12’s). Unfortunately, on that first visit I only had one night to spend with him. It was great to reconnect and greater still to hear the famed Lecco’s Lemma tapes. But it was rushed. I was only able to record a few tapes before grabbing a couple of hours of shut eye for the long drive home. Not only that, I hadn’t brought a proper tape deck and the good one was deeply wired into Mango’s studio. So I wound up grabbing audio out of a boom box headphone jack. (Somehow appropriate, but not exactly up to even my lame archival standards).
As a result, I was only able to digitize a small fraction of the three wine boxes full of Lecco’s tapes he had kept together. I thought there was a life’s work just in those three boxes, but as I was leaving he explained that there were probably that many more tapes scattered throughout his dozens of boxes of unsorted tapes. I assured him I’d be back soon.
As it increasingly seems to do, time raced along and it was two years later (nearly to the day) when I discovered the second trove. Not in Magnus’s lab this time but in a closet up on the North Shore of Massachusetts. Coming just before the 25th anniversary of the first Lecco’s Lemma show, this new discovery seemed like an clear message from the record gods and perhaps even from Lecco himself. After years of asking around, what’s the chance of finding a collection of 180 show tapes containing the precious on-air performances that Magnus had witnessed (and fondly described) but never recorded? And on the 25th anniversary of the show no less! I immediately called Magnus to see about coming to find those remaining tapes. This time I went prepared with some time on my hands and a tape deck.
This last weekend, on the 25th anniversary of the show, I spent a whole day in Magnus’s lab sorting tapes while he painted. Strangely, we often worked in silence. Sometimes he would amble over to my ever growing piles and dig out a familiar gem. They were always incredible. Tapes of his pre Lecco’s show Reggae Mukassa, original tapes of Gnawa music from the 1970s and of course, many many Lecco’s Lemma demos.
In my secret dreams I must confess I had imagined reuniting the two Lecco’s Lemma tape collections. In more sober moments I also thought it might be either unwise to have them all in one place (what if lightning hit the pile for example) or at best highly unlikely that Magnus would want to part with even one box of the precious Lemmas. Luckily hope prevailed over caution and I mustered the courage to ask him in a statement that was only half a question…”er, well, you know if we get this grant to digitize them, we might need to, er…take some tapes.” The quiet answer was a shudder inducing, “I think I can trust you”. The next morning, his mind-frying coda was delivered over the phone when I called him at work to confirm that it had not been just another diggers dream. “You are the caretaker now.” I had to turn off the video tape to collect myself.
Oh yeah. I forgot to mention that I got it all on tape. Audio tape of course. But more importantly, video. I have perhaps 2 hours of Magnus telling the story of the show, his own history as a DJ and lots and lots of me digging.
Whether by fate, luck or some cyborgian scheme, somehow the Lemmas returned home just in time for their 25th birthday. I don’t know why I was chosen. Perhaps just because I kept asking. Or perhaps it was part of the plan all along. Either way, Magnus knows I will be a good custodian and that Lecco watches over the Lemmas always.
When I got to visit Magnus and the original Lecco’s Lemma tapes I was honored and humbled. Here were the raw materials of one of the oldest rap shows in the country (September 1985) and a critical one in the history of Boston hip-hop. In all of the wonder of that discover there was only one problem…Magnus didn’t tape his own show (or at least not that often). It makes sense. Listening to these tapes it’s clear he was juggling a lot already. The problem is, he did lots of on air stuff. Without the tapes of the shows the record would always be incomplete.
So I began asking around. Lots of people claimed to have tapes of the show. I have a few myself. But when it came right down to it, there just weren’t that many around. But there was one person on my list who I never quite connected with…until recently. I guess I just assumed when he said that he taped the show a lot it was the same as all of us…a lot less often than we remembered. Well. In this case I was wrong.
I finally connected with him this past weekend. As I walked up to the house with my backpack, he stood up from the stoop where he had been waiting and said, “Where’s your truck”. “Truck?”, I replied already taken aback. “What do you mean? How many tapes do you have?” “Like I said, I have boxes, man” was his only reply as he disappeared up the stairs to the archive. I still didn’t quite believe him until he opened the closet door. Then I had to sit down to keep from falling over. He has boxes man.
I left with one box containing 64 tapes of the show. He still has two more. Rounding down, lets say there are 60 tapes per box. That’s 180 tapes. Two tapes per show on average is about 90 shows. Since the show only ran for three years, that’s more than half the shows EVER! With this and Magnus’ original tape collection we will be able to compile a pretty complete picture of 80s Boston hip-hop.
Needless to say, there will be much more to say (and more importantly hear). I’ll be putting stuff up here and on the new Lecco’s Lemma soundcloud account all year. After all, September 2010 is the 25th anniversary of the first Lecco’s Lemma show in 1985…so bust out the tape decks people as we run it down for y’all.
Peace to Magnus and DJ Spin (the first Lecco’s archivist) and all the Lecco’s Lemma alumni out there!