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Nicodemus, Matchez; Better Art Music

Nicodemus, Matchez; Better Art Music

Long Playing Record

"I picked up an acoustic guitar at seven years old and could instantly play, much to my suprise. I played an unconventional style which many other guitarists could not figure out what I was doing or how- they were into the copy note for note conventional guitar lesson taught style of music-mimicking their heroes. In my teens I had a band, J.H. Trio, and got a real good shot at being signed to Motown, which was an exceptional experience. I remember David Ruffin telling me, "Man, it don't matter what they say about you as long as they keep talking about you and spell your name right."

A Record deal was in the works when our manager split with the Master tapes and pressing plates- so much for that- The other members gave up, leaving the whole experience to just that, an experience, but one that shook me to the bones and kept me recording through the end of the sixties. I started my own label in 1970, Zedikiah Records, and started recording under the name Nicodemus, putting out 45's, Albums, and Cassettes, fighting against the media's eventual change to CD and then MP3.

I recorded sporatically on a level of at least one or two releases per year as a soloist and then heavially with my brother, Matchez the Congo Kid- he dropped the Congo Kid in 1978 to be just Matchez. So we recorded as Nicodemus and Matchez, building our own studio called R.A.T. Brothers which stood for Recording Artist Techniques, and released the formats on my label Zedikiah Records. In 1974 we recorded as a band with a third member, calling ourselves N.M.G., releasing a couple 45's and one Album. The band broke up as touring was to begin due to ego problems concerning the monopoly of my tunes in comparison with how few Matchez and lead guitarist, M. Grozde, had wanted to contribute, which were unfinished creations.

I sold my guitars, bought a flute and a five string bass(very rare at the time) and started creating more abstract styles of my work while using keyboard and working with sound inside and outside to get the background sounds as an influence to what I was creating. Matchez and I rejoined to record a few albums in the 80's and then again in the 90's, building up a vast library of work which I first called "Future Folk" starting in 1970 and stayed with for four Albums, "Spacechild Squall", "Backstreet Orange", "What For?", and "4 Candles for Angel". I went back to solo work and producing various bands as well as being a one album member for others.

I did the Psyche Rock Scene with the acid jazz freestyle recordings of KhloeRoks Black, Gravitar: It's an Idiots Life, and Sweet Kelly. Sweet Kelly I had worked to build up and hype, but out of the three piece band, Radar(now of Alien Inquisition), was the only one serious enough to take the hard fact that music is work but work that is supposed to be fun, after all if you're not enjoying the work(and you beginners beware, serious music is serious business!) you aren't gonna follow through. So into Sweet Kelly's third album recording sessions, Sweet Kelly was already breaking up. While Radar and I see each other and exchange brainstorms, I went back to solo albums, one being "Antannae Moonlite", another being a CD version of 1979's "What For?" with five added songs, "The Strange Saga of Henryetta Flagetta", 1986's "Better Art Music" with my bro Matchez,

"A Light in the Dark" which was released through Parallel World, a New York label which contacted Jello Biafra to ask if I'd let them release a' comp of my music. Which by no fault of Jello, he was just a messenger, the CD was released but not promoted which was pretty much fine with me, a new CD of my work that I got paid a paltry sum for. I figured it was like doin' a concert, whoever did hear it was still hearing my space cadet infusion of mind altering on many different levels.


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