The Condors

As one of the founding members of the iconic magazine Flipside, Condors frontman Pat DiPuccio has been to his fair of classic shows where the bands weren’t afraid to mix styles to create their own sound. In contrast many of today’s bands are all to happy to pigeonhole themselves within specific genres, The Condors, on the other hand, stick to an older musical code of keeping no divisions between subgenre musical styles. This code is readily apparent on 3 Item Combo, which is a healthy mix of Graham Parker, Plimsouls, Kinks, Byrds and American power-pop style melodies and songcraft with a helping of Rock ‘N’ Roll and blues to top it all off.

Interview by Ed Stuart

Who’s answering the questions?

Pat DiPuccio (aka “Pooch”)

Where is the band from?

Los Angeles, California

Who is in the band and what instrument do they play?

Pat (guitar/harmonica/ld vocals)

Mark (drums)

Mario (bass)

How did the band start?

It grew out of the remnants of a band called Piggyback (with ex-Fuzztone Mike Czekaj).  The Condors were formerly known as the Spitfires.  Once the Canadian Spitfires released their disc, the L.A. band changed its name to the Condors.

In an interview with The Music Korner, Pat talked about “When we started FLIPSIDE . . . the division between the terms ‘Punk’ and ‘New Wave’ was practically nonexistent. A gap grew between the meanings of the two terms in the years following. I tried to keep the original concept alive in The Condors.” This seems apparent on 3 Item Combo where the band isn’t afraid to mix genres. Why was this important during the early development of The Condors to have this attitude?

It shows depth when a band is able to cull from a variety of styles while retaining the elements that make that aggregation unique.  The bands I like keep things interesting by throwing a few curves to the listener on their albums and in their live shows.

Following up with that statement a lot of bands used to be happy to label themselves into a box, but it seems more and more bands are less content to do that? Have you noticed that at all?

No. Actually, I find there are just new terms for styles of music.  As long as people can compartmentalize art, they’ll do it.  It makes it easier for the consumer if they can grasp a concept right away, even if it doesn’t exactly fit the artists involved.

In the same interview in The Music Korner, Pat mentioned, “I’ve seen, and heard, a lot of music, and I’ve witnessed some amazing, and terrible, acts. I try to remember what I liked best about certain artists, and consider that when recording, or performing. Also, of course, I respect anyone with chutzpa enough to publish, or write for, a ‘zine, run a radio program, record a disc, or play live. It’s not easy, as anybody who’s done it knows.” What are some of the amazing acts you have seen?

Wow, um…The Stones (of course), Alice’s Billion Dollar Babies tour, The Dictators’ “Manifest Destiny” tour, The Jackson Five, the Kinks, a particular Starwood show with the Pop and Plimsouls,  XTC’s “Black Sea” tour, The Replacements at the Palladium, The Zombies’ 50^th anniversary show in London, The Clash’s “Black Market Clash” Roxy show, Gang of Four at the Whisky (first tour), D-Generation at the Viper Room, Radiohead at the Whisky (first tour),  The Parliament/Funkadellic P-Funk Earth Tour,  Rancid, and, of course, Bruce Springsteen.  I know there are more, but those were pretty memorable gigs.  Between playing in bands and Flipside, I was out four nights a week, two-three venues a night, for over two decades.  I was bound to see some cool stuff somewhere.

Following up on this quote, how tough do you think it is as a band, when a song, LP or a band can be decided on the basis of 30 seconds in this short attention span world instead of listening to a full LP or live set? Does this attitude affect The Condors at all?

It really doesn’t affect the band that much.  I’ve always liked songs that could grab you right away.  Many of the artists I enjoy make albums that serve as a collection of singles.  A&R folk have always been particularly quick with their assessments of artists based on an analysis of a song, or group of songs.  That short attention span plays a big part in deciding who gets signed and promoted by their label.

How do you think The Condors are doing with a resurgence of power pop bands coming out both new and older bands?

I think we’re able to play alongside live, and on air, with power pop bands of any age.  We’re older than the newer groups, but we’re not mired in the past, so that’s a nice edge to have. 

How do the Condors feel after being on so many best of lists for 2012?  Any plans to get back in the studio quickly after all the positive reaction to 3 Item Combo? In the past, there have been a few years between each release.

Yes, we have one song already recorded, and I’ve been in the studio with our producer, Steve Refling, laying down guitar tracks with scratch vocals to make it easier for the others to learn the songs and record their parts.  With the other three discs, I had to wait until the band was ready to record.  Naturally that took time. The next disc will be assembled piecemeal, without having to wait to record in the studio as a unit.  That option offers more flexibility and hopefully a leads to a faster recording process.

50 years ago people used to buy music and get their water for free. For Pat, who was one of the founders Flipside, how do you think this transition from LP’s to CD’s to digital only release to internet downloads to (arguable) vinyl rebirth affects music in any way for The Condors and other bands?

For the Condors, I don’t see it affects the music much.  I sequenced “Wait for it” as if it was a disc with two sides anyway.  I mean if you put out an album, you always have an option to listen/tape/download your favorite tracks, anyway.  The creative process shouldn’t change, nor should the total music experience inherent in a piece of work.

If you could only own one of these classics bands, Nerves, Plimsouls or The Beat releases which bands would you own?

The Plimsouls were a far better live band than the other two acts, and they had a pulse on the city of Los Angeles. I consider Peter Case an elite songwriter, and he’s continued his craft on his solo discs.

What bands have directly influenced The Condors in sound and/or songwriting?

It varies disc-to-disc and member-to-member.  I listen to a variety of styles on my Sirius radio when I’m driving.  On 3 Item Combo, for instance, the song “Holiday” is my Ray Davies homage, “Angry Little Man” echoes Wilko Johnson’s attack, “Full Blown Love Attack” is Fleshtones inspired, while “Zzyzx Road” has an intro melody before the song kicks in, the way Cole Porter would often do.  There’s a bit of Steve Earle that shows up now and then, too.

Where can people hear the band?

Right now, on our CDs and through the usual online channels and sites.  We’re taking a break from playing live to concentrate on the next release.

What’s next for The Condors?

Write new songs, put out the follow up to 3 Item Combo, and then play live behind it.

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Reviews

Night Birds – Born To Die In Suburbia LP (Grave Mistake Records)

In the 90’s, New Jersey was a bottomless well of terrific Street Punk/OiI bands like The Bristles, The Wretched Ones, Those Unknown and the labels that housed them; Headache, GMM,  and Pogo Stick. So that’s kind of what I still think of when I hear about a punk band from Jersey.  Somewhere along the line, tides shifted.  Night Birds are here and do a searing Posh Boy/Hostage Records sound that commands consideration.  With one LP and a hand full of 7”’s prior, this seems to be their strongest effort.  The sound is better fortified, leaner and meaner!  I love the way the instrumental surf punk scolder opening track Escape From New York melts into the second title track.  It’s like crossing the street, being hit by an eighteen wheeler, only to wake up thankful to be barely alive stuck splattered on the radiator grill.  As the feeling of gratitude continues you suddenly realize the whole mechanical ogre is going off a cliff with you at the head.  I guess what I am trying to say is, this record is indeed the deliverer of the goods! – Jay Castro

How does a band from New Jersey sound like they would have been right at home in Southern California punk scene circa 1980-1985? I don’t know, but they have done it and have done it exceptionally well. Born To Die In Suburbia seems like a lost album from the early Frontier Records catalog. Back when the label released Circle Jerks, T.S.O.L. and Adolescents. Night Birds have nailed the sound of the three aforementioned bands as well as the early D.I. catalog without sounding like a cheap cover band. For fans of that era of Southern California punk, your band and LP have arrived! Buy now or be sorry you didn’t. – Ed Stuart 

The Instigation – 7” EP (Self-released)

The band is based in Tokyo/Shanghai, employs a British Singer and describes themselves as garage hardcore.  Sounds cool already huh!?  The “garage” in the description I assume comes from the sonic assault that’s delivered in a slight lo-fi manner, which I think gives the songs a bit more crunch to them.  Don’t fret, there is still hardcore a-plenty here to be found here, including a cover of Black Flag’s White Minority.  Since the singer has that British accent in his cache, the songs come off with a Conflict/Crass resonance and urgency, minus the agenda.  I don’t get in the mood for this type of music too often, but next time I do, rest assured I’m reaching for this sharpened slab of wax! – Jay Castro

Japanese hardcore that leans heavily towards UK 82 bands like GBH and Varukers, but with a guitar player that adds a layer of garage Rock N’ Roll leads over top the hardcore tempos to add a twist. The Instigation takes the style and sound of the aforementioned bands and speeds up the velocity. Think more Insted style hardcore than Youth Of Today with a touch of Henry Fiat’s Open Sore thrown in. – Ed Stuart

Rations - Martyrs and Prisoners EP – (86’d Records)

The back-story on this EP is that 86’d Records teamed up with about twenty to thirty other labels globally to put out this release. Now if this doesn’t show the community aspect and spirit of DIY within the punk community, I’m not sure what does. Martyrs and Prisoners is equal parts Fifteen, Crimpshrine, Fugazi and early Jawbreaker. Rations shows a little more of their melodic side and willingness to experiment sonically on this EP without losing focus on the punk/hardcore, dual vocal mainstay that has worked so well for the band on previous releases. – Ed Stuart

Rad Company/Tight Bros – Split 7” (86’d Records)

Rad Company plays melodic pop punk in the same vein as bands like Dillinger Four, Sludgeworth, Weston and Lawrence Arms. A catchy blend of hooks, chugging crunchy guitars and double vocals that is the both the meat and potatoes of the band and driving force behind the band’s sound.

Tight Bros. on the other hand starts their side with a garage punk stomper that features a power pop style chorus that feels reminiscent of Nick Lowe/Dave Edmunds. While their second song of the side, “Trapped In My Head” sounds like Briefs style punk. Catchy, new wave influenced pop punk. – Ed Stuart

With an album cover like this one I would have completely dismissed it as a gaggle of high school saplings crooning about the time they became intoxicated and soiled themselves at a party in front of the head cheerleader.  I was pleasantly surprised to find this was not the case at all!  Rad Company charges right out of the gate with a gust of Mid Western melodic punk in the Sludgeworth or Pegboy approach.   Tight Bros. has a bit more or a retro strut in their step while still thundering forward through their edition of punk pop songs.  A tad more guitar hook with a new wave/glam feel differentiate the Tight Bros. songs.  Both bands have a slight fade of their influences in their music, but you can tell they subscribe to the “Just drop the hammer and rock” school of thought, which is great!  Gimme more please! – Jay Castro

The Condors – 3 Item Combo CD – (Vital Gesture Records)

One of the things I have found reviewing the records here for Audio Ammunition is how many terrific bands are out there rocking in obscurity.   Reading a lot of blogs and zines that cover “underground” music I tend to think “well if anyone is that good, surely I would have heard of them by now”.  So not the case!  Take for example this wonderful third LP by the Condors.  It rocks in a Joe Jackson and Elvis Costello manner that sounds inspired and doesn’t fall into the copyist closet.  Likeable songs written about straightforward subjects and human emotions, the way rock n roll is supposed to be.   Sometimes you want to put on a record and let music drive you out of a bad day.  The Condors are there right there to start the engines! – Jay Castro

On the third LP, The Condors write the songs that make any fan of American power pop proud. The band employs a clear focus on melody and song craft incorporated with bits of blues, Rock N’ Roll and up-tempo punk thrown into the mix. Heavy Plimsouls influence with parts of Graham Parker and Byrds type harmonies sprinkled on top. – Ed Stuart

Rubrics – Apathy Is An Institution LP – (86’d Records)

Rubrics mix punk, metal and hardcore with a healthy dose of politically and socially conscious lyrics. Propagandhi, Lagwagon, 88 Fingers Louie, Strike Anywhere, Fifteen and Avail influences can be heard throughout the LP. Apathy is reminiscent of that late 90’s/early 2000’s Fat Wreck era guitar sound and songwriting, but features a dual guy/girl vocal attack to get their message across. – Ed Stuart

Searing hardcore that reminds me of Propagandhi with a mix of F.Y.P. cut into it.  Not just with the sound, but Rubrics lyrics also have a sarcastic, socially conscious quality to them as well.  The vocals and guitar don’t always follow the straight path laid out by the rhythm section.  They playfully stray and do their own thing at times, which gives the music a bit more of a sloppy/playful feel and is more fun to listen to.   So instead of having someone shoot an arrow at your face, imagine someone under hand tossing a cinder block at your head.  The outcome is the same, it’s just the delivery that’s a little messier! – Jay Castro

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