Dusk contorts tile
ancient city. The beast of night unlolds its black wings, casting his
vast shadow tentacles down cold stone streets and wretched alleyways.
Faceless people cower in nameless tenements, shielded from the night's
dark gaze by the thin caul flesh of taut-drawn curtains. And the beast
looks down on them and laughs black thunder; laughs as they scuttle
into their impotent hovels; laughs as they tremble and pray that he
shall pass them by. But now the cobbles
echo to the sound of approaching heels! And then they appear,
silhouetted upon the dammerschlaf horizon, standing last against the
flow of night. The beast blinks a great red eye. The four stand tall,
fixed, unmoving. Awaiting it. And the mighty god-beast of night looks
down upon them, and he trembles, for his hour is close at
Gripping stuff, huh? But
not quite as gripping as the music it pertains to... The creators of
which are about to unleash an LP of real gothic psychedelia, full of
fancy textured masonry & shadows, flickering candlelight and
things unspoken. As the publicity hype says "It is sound with weight,
and faceless, formless things dance around its periphery "
I wish I could say that I'd been hip to
The Not Quite since their early days, but it wasn't
until a pink rabbit appeared through a wall and handed me an advance
tape of 'Or The Beginning' - the LP due out any moment on Voxx - that
the magic precipitated it's spell.
The aspect of
The Not Quite shown in 'Or The
Beginning' is best fathomed by their choice of
covers - Eric Burdon's 'When I Was Young" and The Byrds ''Draft
Moming", both of which have a feel that is very close to The Not
Quite's original material. Alternatively, ragged and flailing lead
guitar lines underpin the songs while nimble, flickering keyboard runs
dance around a hypnotic metronome beat. A plumby bass sound that was
state of the art in '67, recalls days a long time gone, while vocals
soar and seduce. The songs too are dynamic, twisting and turning,
stretching to infinity and back again. Like a walk through the Tardis,
you can get lost inside these songs for hours, yet when they fade,
Mickey Mouse has only moved his digits by three minutes. It's also a
long LP (over 45 minutes) with some lovely extended instrumental
passages, while the lyrics would stand alone as poetry, full of dark
images, woven into intricate webs. For example:-
"The shadows cease their
pantomime, and hang expectantly. The flame
contracts its aureole; it shimmers cryptically.
Your lace glows in it's dim halo, your
eyes share fire with mine; The shadows
laugh, the coils constrict, our fingers intertwine ... "
The power of this LP should not be underestimated,
whether it be the snarl of "Malevolant Penguins" or
the lengthy and aptly titled "Hypnosls". All of the
original material is classic psychedelia by any standards.
Paradoxically the two covers (which, if the reader
can visualise them, help explain the feeling of the LP), are also the
weakest material on offer. Not that they are bad versions, it's just
that they disturb the flow, and The Not Quite are destined to go with
the flow on a trip that you'll never regret signing up for ....
The Incredible Tale of The Not
The story of The Not
Quite began in 1977 when 14 year old Rob MacKenzie formed The
Starship Troopers. They played their '60s influenced songs at
local High School functions, receiving at best a luke-warm reception. A
demo tape of their own compositions soon got the band their first club
date in the fall of '79. In attendance at this none-too-stellar debut
(which featured a 'special effect' explosion that failed to go off at
first, and then produced a cloud of thick, noxious smoke that sent
people choking for the door) was another local group The
Modern Look, who were suitably impressed to invite the band
to open for them at their debut gig at the same club, a fortnight or so
later. The event was electric and both bands decided that the
combination of The Modern look & The Starship
Troopers was a good one. They became their regular opening
act playing dozens of shows together. This worked out quite well for
the "Troopers, because The Modern Look soon became the hottest 'wave'
band in the area, garnering much attention tha the soon-to-be Not Quite
wouldn't have otherwise received with their somewhat 'un-hip' sound.
The Modern Look seemed for a while to be the band that would break out
of the Hartford scene into national success - but it never happened.
Poised on the brink, personal strife tore the band asunder, leaving the
way clear for The Not Quite. Their lead guitarist was or Morrison
McCarthy, about whom we'll hear more later.
years passed by, fed up with audiences expecting to hear
Yes or Jefferson Starship covers,
the 'Troopers changed th name to the much more appropriate Not Quite.
Drummers came and went, and so did guitarists, with Joe
Guidone joining in October '81; But every time it seemed that
"Things are really going to start happening now!'" somebody quit and it
was back to the drawing board. In March '83 Tom
Donnelly joined as drumer, his powerful style being perfect
for the band... In January '84 the lead guitarist quit &
Morrie McCarthy, having just parted with another
group The Broken Hearts, (also ex Modern Look), joined. Then the band
got a track The Garage Sale cassette comp, with
"Paint Me In A Corner", a fairly typical example
early '80s style '60s influenced punk. Lacking in production skills and
with very basic drumming... the track is reminscent of early Fuzztones
etc and features some catchy chord progressions courtesy of rhythm
guitarist Joe Guidone.
The track was quite popular,
and a demo session the next year led to a record deal with
Resonance Records. The demo included a energetic run
through of Pink Floyd's "Astronomie Domine", as well
as two superb punkers, "Just Like Me" &
"Get Lost Girl". Both of the originals &
"Paint Me In A Corner" were re-recorded for their
eponymous album, which took ages to complete. Keyboardist Mike
"Boola-Boola'" Zappulla quit during the mixing... but the
album garnered some rave reviews & quite rightly so. Starting
with "Let Her Go" the compositions are mainly of the punk genre, but
not the 'all -out-heavy-mayhem variety'. Joe Guidone's staccato rhythm
guitar punctuates the air nicely, while Tom's drumming is much more
animated and Morrie's lead guitar wails, hinting at the shape of things
to come. One track, "I Don't Know How To Tell You"
dates back to Morrie's days with The Modern Look, and is a beautiful
tale of unrequited love, with Byrds harmonies & jangly guitar.
You could say a tale of Boy not quite meets Girl! Rob
Mackenzie's contribution is not to be underestimated either
& his "Fickle Wind" is a taster of Rob's
possessed lyrics and wonderful chord/tempo changes. Another track he
co-wrote (with Morrie) entitled "Mushroom People"
features the tale of a bad trip with haunting lyrics about nuclear
mushroom clouds. The LP also features a rip-roaring version of
"War Or The Hands of Time" by the Masters
Apprendices, which is every bit a as good as it could be. A limited
edition single "Circles/"Green Slime" came with the
first 1000 copies of the LP. Both of which are interesting versions and
worthwhile picking up.
By this time The Not
Quite were headlining throughout Connecticut and drawing
decent crowds. Writing sessions started for the next album, but a snag
was hit. Rob MacKenzie songs being heavy, moody, and dramatic were
going down a storm with the audience, but guitarist/vocalist Joe
Guidone began to feel that his own material, which was more garagey,
was being slighted. The situation wasn't improved (from Joe's point of
view) when Colleen Crane was added on keyboards. Her
dramatic, classically - influenced keyboard style being at odds with
the garage material. Joe split and the band heaved a sigh of relief.
In order to exorcise their garage demons, once and
for all, they decided to concentrate all their garage-grunge on their
next LP entitled 'Having A Grunge-Fest With The Not
Ouite'. Resonance Records wasn't amused, however, since
garage music wasn't (& still isn't) selling. Consequently the
LP still has to see the light of day.
The Not Quite began recording 'Or The Beginning'.
Recording took an eternity, but was eventually finished and the final
product should be available from Voxx any minute now. In fact, the band
have already started on the follow-up, and no doubt would have that
ready for release too, if not for guitarist Morrie McCarthy's
unfortunate accident & Rob MacKenzie contracting some weird
disease just when they'd got the studio booked. The band claim that
they've been cursed by witches, but a counter-hex is in development.
Whatever, Morrie's finger is being nursed back to health & Rob
is back in action ... a little while ago, we conducted the following
Who RM:- Rob MacKenzie.
CC:- Colleen Crane.
TO:- Tom Donnelly. (Guitarist
Morrison McCarthy absent due to finger physiotherapy).
FB:- How did you come up with such a great
name? RM:-, The name was derived
from an expression that was in current use among people during the late
70s, circa 78 - '80, in much the same way as "What a shocking bad hat!"
was popular in the London of the late 19th century. (*Actually the mid
19th century - Ed's) It was one of those phrases that just came and
went. For a while ... TO:- I thought that
the name came up when you were all sitting around trying to think up
names .. RM:- Shh! We'll get to that. This
is the expanded version of the "How - We - Got - The - Name" story.
Anyhow, the phrase was like a mild put-down. Whenever someone was going
on about how great they were, like Colleen would say, "I'm the superior
intellect" everyone else would go, "Not quite. Not quite". And everyone
was saying it, all the time, it was like... universal, it was (laughs)
omnipotent - ubiquitous! TO:- U-what?
(Laughs) RM:-The original name of the band
was The Starship Troopers after a book written by Robert Heinlein in
1966. I thought ·that the name would be very appropriate since the band
played songs -that had the sound of '66. However, it soon turned out
that most of the people that came to see the band thought we were going
to be playing Yes; or even worse, Jefferson Starship! So we all got
together and everybody wrote out long lists of names that they thought
would be good for the band. At the local 'hip' record store a bunch of
the employees came up with about a hundred names... there were some
good names... a couple that I remember: Belladonic Haze was a good
name. The Trundles was a name that we almost went with just because it
was so obscure.. but every time a name was suggested - here, we'll do a
re-enactment. Tom, come up with a name for the band.
TO:- Keeper's of The Purple Twilight.
RM:- Not quite. Not quite, Tom.
CC:- Lemon Souffle.
RM:- Not quite.
TO:- The Toasters.
RM:- Not quite, dudes, not quite.
CC:- Deep Purple:
RM:- Not quite. Hence, we finally decided
that, since no one could agree on a name, and since each member's
favourite name was soundly "not quite - ed" out of existance, that we
would name the band, drum roll please, The Not Quite. (polite
applause). FB:- What is the current line-up.
TD:- On drums, myself, Tom Donnelly; on bass guitar
and vocals, Rob MacKenzie: on keyboards, backing vocals, occasional
acoustic guitar & she who brings the bubble gum, Colleen Crane.
Finally Morrie McCarthy, lead guitar and finger splint.
FB:- Can you explain the
ideas behind some of the songs on the new
LP? AM:- "When I Was Young" is
about what it feels like to grow old. "Draft Moming" is about... the
chill in the air in the morning ... "Malevolent Penguins" is about a
hobby many religious types have in America of all getting together and
collecting bcloks and records that they don't like and putting them
into a big pile and burning them... unfortunately, no-one's done that
with our records yet... TO:- Not in big
piles ... RM:- People tend to burn them
individually rather than in groups ...
CC:- Or give them to the library ..
RM:- We found a copy of our first album at
the local library! Someone had donated it out of the goodness of their
heart.. it was warped, too, by the way ... One thing I've
always felt is that if you try to explain the meanings of songs, then
it kind of robs them of the mystery and majesty, and of the pleasure of
deciphering the lyrics for yourself. It's like if the Crackerjack box
says what the prize is going to be... you lose the excitement and
thrill of finding it. It's like Christmas day if all the presents came
on top of the wrapping paper ... TO:-
Cellophane! CC:- Don't you just love it
when Rob gets to pontificating like that? Isn't he cute!
FB:- Why do you bother to play
covers? CC:- Who wants to play
our stuff! (laughter) TO:- We all have
stuff' that we grew up with and that we like.. '''Brick House" is one
of my favourites, it should be on the forthcoming album... No, we like
to do a song that means something in our life. We'll occasionally
include a cover song on an album as something that reflects out
thoughts and ideas. RM:- Also, putting a
cover song on an album is a shrewd marketing ploy in the purest
capitalistic sense. People that come upon a strange album by an unknown
band ... TD:- You've got to show me up,
don't you! RM:- ... are more likely to
pick up the record not because it contains "some part of their past"
(smirk) but because it has a song that they already know; and they may
be interested in hearing how a group does a certain song. To be honest,
the song of the first album that received some of the most attention
was the cover song, "War Or Hands Of Time" (by The Masters'
Apprentices). Also, these are the songs that get the airplay, even on
the college stations, here in the 'States - I don't know if the
situation in Europe is any different. CC:-
Also, it's a lot of fun for us to play other peoples' material,
depending on what the material is. FB:- Have you any
comments to make on the subject of psychedelics?
RM:- The situation in this
country is such that it may be, in fact, dangerous for us to comment
about towards and / or pertaining to the use and / or abuse of
narcotics. However, I see it as my duty as an American citizen to point
out the hypocrisy of our government's policies. The Bush administration
has deliberately misquoted and falsified statistics - I read this in
Scientific American, so you know it's gotta be true pertaining to drug
use and its effects upon our business and culture... in fact, there's
actually no justifiable reason for certain narcotics (such as the
primary psychedelics) to be illegal. No conclusive evidence has turned
up showing any major health threat posed by them, certainly nothing as
pernicious as the threats to the body posed by alcohol and cigarettes!
Yet the administration spends billions "fighting" them, and the state
spends millions more keeping users and dealers behind bars. Over 60% of
the prison population in Connecticut is comprised of drug offenders!
Laws such as these are "Blue Laws", laws that were passed because some
people think that something (drug use, in this case) is immoral, not
because they can come up with any medical or logical justification for
their enforcement. Back to you, Tom! TD:-
Your mother is listening, Rob. FB:- How do your live
performances differ from the studio
recordings? TO:- There's a
certain energy level present in the live performances. When we play out
of state, there is a much more receptive crowd, maybe because we
haven't played there as much as in our home state.
CC:- Generally when you're in the studio
you don't have tens or hundreds of people yelling at you or for you and
jumping up and down. TO:- That doesn't
always happen live, either. FB:- Whereabouts do you
play, live? TO:- We're located at
111 Bunce Road, Wethersfield. That's where we play mainly, that's our
stomping ground. I say that kiddingly, because we have shyed away from
playing live recently in order to put more emphasis on recording, our
new material, so that the output of our energy will go into the
creating of new songs to upscale and upgrade our musical repertoire.
RM:- Also, we don't have any vehicle to
get us to shows, and we've been losing money every time we play. We
can't afford to play out any more kids, we're losing too much money. We
will start playing out as soon as the record comes out and we can get
some good sized crowds in to see us. FB:- Do you use
a lightshow? CC:- Yes, we do. A
friend of the band runs the light show for us, which was itself
purchased by another friend of the band. It's a very ·old 60's style
psychedelic light show. FB:- Any plans to play
Europe. RM:- We would love to
play Europe. Please, send your money to us now and bring us over there!
We'll play there, we'll have lots of fun, we'll come to your house,
we'll be your friend. Seriously, playing Europe is definitely on our
list of things to do. Both record companies that we've been dealing
with have been very interested in seeing us play in Europe ... not
interested enough to give us the money to get over there, however. As
soon as it's feasible, we'll be over. FB:- If you
had the chance to play a gig at any place or time, where and when would
you choose? CC:- The Fillmore west, with Jefferson
Airplane opening for us. RM:- And Iron
Butterfly opening for them. CC:- And Deep
Purple opening for them. RM:- And perhaps
Them opening for them! (Not really but I couldn't resist the pun.)
TO:- I would like a gig that would promote
us and generate an outside awareness of our music and our direction,
that would catapult us into musical... awareness.
CC:- What the hell is that?
RM:- And also The Doors could be on that
bill. CC:- Anybody else that we forgot?
Love ... RM:- Pink Floyd.
CC:- It would be nice to play at
Stonehenge, I believe .. TD:- Next
question! FB:- What is coming up from The Not
Quite? RM:- We are currently set
to record our next album - in fact, we were all set to go into the
studio when disaster struck - Morrie broke his finger! We were going to
plug on anyway, record the backing tracks while Morrie healed up, but I
got quite sick for about a month and we finally had to cancel the
sessions. We will be recording it as soon as things are back on track -
as soon as Morrie is able to bend his finger again. Hopefully, this
album will be for Resonance Records. It's going to be a most excellent
album, continuing in the same musical diretion as the current LP.
FB:- Are there any plans to release the demo tape
recordings that were done before the first LP?
RM:- Well, if anybody wants to release it
and send us lots of money, fine, but we have another whole album that
we recorded and submitted to Resonance, but they weren't interested
because the sound was "too garagey". I'd much rather see that get
released, it's an excellent, excellent tape that we had a lot of fun
with ... unfortunately, our timing with it was bad, but it's a very
good tape. FB:- How do you see your music developing
in the 1990's? TD:- Comparing our
music today with the first album, I see it as having evolved from a
'60s based sound to more of a '60s influenced '80s sound - and now the
'90s - but still in keeping with the spirit of the '60s. Not copying
it, but caryin' it into a new, um, plateau.
CC:- It is my personal opinion that good
music is good music, whether you're influenced by '60s style' music,
'20s style music, or whatever. (Hear here!- Eds) In the case of any
good band, the music should speak for itself. If you play it backwards,
you might be surprised at what it might say, but a lot of times if you
say that the music is '60s influenced people get the wrong idea and, on
the other hand, if you say that it's '80s influenced people think that
you're up there playing synth - pop with a drum machine - which is a
possibility if Tom keeps up... I see our music changing, in so far as
we've worked together longer, but other than that, good music is good
music, and if our music changes, it's still our music.
RM:- What I see happening with the music,.
and I think you will hear this in the next album and the material that
we're starting to work on for beyond that, is that the sound will be
heavy, if anything even heavier than it is on this album ... very loud,
loud music, but more intricate in terms of what we're playing
instrumentally without becoming "progressive" in the sense that it
loses the melody line. What I like to see in a song is a good, strong,
memorable melody, something that would pass the "Old Grey Whistle
Test", if you will. We'll keep on like that rather than becoming like
Yes, where things fly off in all directions. FB:- Is
there anything else you'd like to say?
TO:- I would just like to say
that, when anybody reads or conducts an interview with a rock band, the
impression given is that the band feels that it has to act crazy and
goof around and give abstract answers, as may be the case here, but I
just want to say that this is just the way we are, anyways. As with
anyone else, we like to have fun, goof around and all that, but there
is a serious side to us... you just may never see or hear it. (Actually
90% or the goofing has been removed for space reasons - Eds)
RM:- Actually it's in our music.
TO:- Yeah, it's in the music. We do have
something to say, nothing political or anything like that...
RM:- Unless you talk to some of the
TD:- We're not trying to convey this kind
of "Rock Star" image. FB:- Anything else?
RM:- I'd like to say goodnight
to the readers of Freakbeat. Stay psychedelic. Touch the scream that
crawls up the wall. The Not Quite will be moving forward and upward
through the '90s, as we were through the '80s and much of the '70s,
although most people don't know this. Keep an eye out for the next
album and the album after that, and the album after that.
TD:- This is Tom the drummer saying
goodnight and hopefully you'll be seeing us at a club near you soon!
CC:- In conclusion, I hope everyone enjoys
the album as much we hated making it. Hopefully we will be playing in
Europe in the near future and... wish us luck! (Fade
out to the sound of !he band perrorming ''Land Or Hope & Glory"
(Acapella style) & cries of "God save the
by Ivor Trueman.
Me In A Corner" (on 'Garage Sale' cassette comp. 1985, ROIR
A135) "War Or Hands Of Time" (on
'Declaration Of Fuzz' compilation) (1986, Glitterhouse RP 10663)
Demo tape (including "Astronomy
Domine", "Just Like Us" and "Get Lost Girl". Not commercially
Not Quite (1986, Resonance Records 33-8605)
(First 1500 copies came with bonus 45 "Circles" / "Green
Slime" Resonance PRO 7/8605) "Teliin' Those
Lies" (on 'Dimensions
of Sound' compilation) (1987, Mystery Scene MS1001)
A Grunge-Fest With The Not Quite (Unreleased LP)
Or The Beginning (1990. Voxx, Catalogue
No. VXS 200.057)( LP)
Freakbeat magazine issue 7,
Note: due to the highly psychedelic layout
of the magazine (every page with different trippy background and
purple, green and generally coloured print) the rest of the photos of the article
are unusable. I snatched a few from Dark Lord Rob's site
instead. For more on Not Quite and
the recent adventures of Dark Lord Rob (including the excellent 'Miskatonic
Acid Test' horror novel - soundtrack here), please visit his
entertaining site. The links in discography lead to
Lost-In-Tyme's blog posts (...Or the Beginning will be posted
Hi: Read your article on 'The Not Quite' and agreed with most everything except the part about my leaving.I was asked to leave because my stage clothes in playing live was becoming to 'car-toony' psychedelic. Also the bit about Colleen is way off base: I introduced her to the band and she joined.
The band was leaning towards a more towards an Iron Butterfly feel. I was feeling that I was less in the picture in general like a token guitarist who sings on occasion, and I quit in August of '87 but came back in September. In the interim the band learned the Iron Butterfly Theme, played it live, but wouldn't teach it to me. That's hard.
As for the the garage-feel of my songs, I can point you to 'Heavensent' from the 1st album; I also sang lead on 'I Don't Know How to tell You' definitely not garage. I've introduced many covers to our setlist like 'Astromony Domine', 'Green Slime'. 'Circles' and 'War or Hands of Time' to name a few. Definitely not garage. I was always open to what the band was doing. Joe
Joe Thank you for your comment. We're always welcome additions/corrections in our posts, and surely when they come from the band members themselves. In this case, though, what we've posted is just the article/interview from the UK fanzine "Freakbeat" exactly as it was printed in 1990.
I wouldn't know the facts, but I see that the points you mention are not in the interview section (ie not your ex-bandmates words) and they are all in the history/review section of the article. So we can say that the columnist wrote his version of the story, using the information he had - which seems to be erratic, on the part of your leaving (in the case of Coleen's entrance it's definately misinformation).
As for the garage-feel, you're absolutely right: the songs you mention are some of the more psychedelic of the first LP, so you're definately not "framed" in a certain sound (but even from this article, as well as other resources, your part in the band's sound is not underestimated).
It would be great to let us know if you continue in music after the Not Quite - and even better if there are any recordings. Thanks again.
Hi! I did some recordings with 'Off-Campus Apartment' in July '94 with some musicians from Evansville, IN (friends of a friend of mine. ) Three originals and one cover 'Want You Bad' by NRBQ, an additional track 'Dreaming of Babylon with all instruments played by me was done in September 1994.
In 1998 onwards I played with local musicans for a benefit for the homeless in Columbus, OH around Christmas called 'X-mas Trashfest'. Notably the band, called 'Shepherd's Pie' included Craig Bell, of Cleveland bands 70-75, 'Mirrors' and 'Rocket from the Tombs' (which split into 'Pere Ubu' and 'Dead Boys') and his wife Claudia Bell on bass (formerly of 'The Plan' and 'The Bell System"). A 'The Not Quite' track 'Paint Me in a Corner' (album version) was included on the double CD 'It Happened But Nobody Noticed' on Gustav Records. I can burn you a copy of 'Off-Campus Apartment' if you want. Cheers! Joe