I was always a ham, which came from me just trying to entertain my aunts and uncles. We were part of that, Kid Creole and the Coconuts, we kept that in. If you look at those guys from the 40s, all those great musicians had a lot of theater to them. One thing about me, I was always theatrical. Sculptures don’t change because people looking at it. What I told my posse is we’re gonna ignore the audience, we’re just gonna be another piece in the museum. That’s how it was with Kid Creole, but before us, it was LJ, JB, all these people.īack to that show at PS1, it was clubgoer kinds of kids. It doesn’t become a substitute, it adds to it. The music is together, then you can do the other stuff. Louis Jordan and James Brown and all that, you had the music, but it was a package. In another age, the 40s-60s, it was all part of the performance: singing, dancing, music. It was for an older crowd that knows my history. I wrote a feature on the man entitled "It Came From Spanish Harlem." Here are a few more bon mots: After bowing out of the biz for twenty plus years, he's back, dropping a fun single earlier this year and prepping an album for release on Rong Music early next year. Buzzard's Original Savannah Band and Kid Creole and the Coconuts. This fall, I went out west to have some doughnuts and a Styrofoam cup of Orange Bang and hang with Andy Hernandez, a/k/a Coati Mundi, the man who had a hand in such bands as Dr.
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