A Rock and Roll concept album based on Mark Schultz' popular comic book series' Xenozoic Tales and Cadillacs and Dinosaurs. John "Chris" Christensen has infused the CD with the spirits of Link Wray, Little Richard, Eddie Cochran, and Professor Longhair.

John "Chris" Christensen Chris has a career in music that reaches back to the mid 1960’s with

A Rock and Roll concept album based on Mark Schultz' popular comic book series' Xenozoic Tales and Cadillacs and Dinosaurs. John "Chris" Christensen has infused the CD with the spirits of Link Wray, Little Richard, Eddie Cochran, and Professor Longhair.

John "Chris" Christensen Chris has a career in music that reaches back to the mid 1960’s with the group Opus 1 that recorded the garage band cult classic “Back Seat ‘38 Dodge” for Mustang Records. At Mustang Chris worked for Richie Valens discoverer Bob Keane and with future recording star Barry White. In the 70’s Chris recorded for John Fahey’s Takoma Records with psychedelic prog-rocksters Laser Pace, releasing the unusual and ground-breaking album “Granfalloon.” In the 80’s he was the leader of avant-pop band Hot Food To Go! while simultaneously carving out a niche with recordings featured on the Dr. Demento show. In recent years he has scored the films: A Matter of Principal, Real Time; Siege at Lucas Street Market, Caveman-VT Hamlin and Alley Oop, and Mike Hammers’ Mickey Spillaine . A very large dose of his Film Noir music can be found on Troma Video's DVD box set, "Max Allan Collins' Black Box."

Mark Schultz Mark is an artist and writer of the highest order. Mark has been awarded five Harveys, two Eisners, and an Inkpot. His work on the Xenozoic Tales books, which he created, is legendary among fans of comics. In recent years, Mark has branched out, co-creating and co-writing SubHuman for Dark Horse Comics, writing the syndicated Prince Valiant adventure strip, scripting Superman, Man of Steel, for DC Comics. and writing a novel based on The Flash. He continues to write and draw, producing scripts and cover art for various other comics projects, including Star Wars, Aliens, and Predator.

Songs from the Xenozoic Age Based on the popular comic books "Xenozoic Tales" and "Cadillacs and Dinosaurs," "Songs from the Xenozoic Age" is the work of composer, musician, producer John “Chris” Christensen and Harvey/Ink Pot/Eisner award winning artist and writer Mark Schultz. The packaging by Bob Chapman and Mark Schultz, with artwork by Mr. Schultz, is absolutely superb! Anyone who buys modern comics collectibles knows about Graphitti Designs’ complete commitment to quality. The production on this disk sits comfortably with their best work.

Lyrically and musically this CD is a complete concept album, with words and music themed to the Xenozoic Tales comic books. Even so, Mark and Chris were careful to structure the songs so like the music of say, "Sgt. Pepper," the songs would stand on their own when removed from the context of the books and the album. Stylistically it’s a rock and roll record.

When Chris first approached Mark about the project, Mark asked Chris what type of music the books suggested to him. Chris replied that he envisioned a record that would "incorporate the spirit and essence of such influences as Little Richard, Link Wray, Eddie Cochran and New Orleans rock and roll; Professor Longhair, Benny Spellman, and Earl Palmer. It would not be a "Sha-Na-Na" nostalgic retread. The recording would contain that spirit, that essence, done today, as if those guys had been progressing for the last 30 or so years."

"Songs from the Xenozoic Age" contains guest appearances by all the (other) members of Seduction of the Innocent, Bill Mumy, Miguel Ferrer, Max Allan Collins, and Steve Leialoha. The CD opens with a dramatic reading, "Liturgy," performed by Miguel Ferrer. Other artists contributing their talents include; Bob Ernest (Hot Food To Go!), Don Wittsten (Lucille’s Night Out), Tom Habenstreit (The Jenerators), Robert Haimer a.k.a. Artie Barnes (Barnes and Barnes), Scott Rosner (Joe Houston, Midnight Flyer and others) and Kathy Bee (The Nashville Network).

Praise for "Songs from the Xenozoic Age": The Fort Worth Star-Telegram gave the CD three out of four stars and said, "This extraordinary CD could find a wider following among fans of such supercharged blues-rock acts as Anson and the Rockets, the Blasters and Omar and the Howlers."

Music Connection Magazine is quoted as saying: "The comic book series meshes crime comics of the fifties with prehistoric protagonists; dinosaur noir, if you will. The music is rooted in a time and place between these two extremes, though it would find itself most comfortably in Detroit circa 1972."

The Long Beach Press Telegram: "The result (of the collaboration) is a strong, expertly produced (and even more expertly packaged, with a sharp Caddie-saur cover by Schultz) CD that would appeal to fans of ‘70s-era rock ’n’ roll, with its influences ranging from ZZ Top to Santanaesque Latin jazz and Funk."

Peter David’s "But I Digress…" in Comics Buyer’s Guide: "What it (Songs from the Xenozoic Age) does have is a series of nifty cuts featuring Schultz’s lyrics that cleverly evoke prehistoric imagery in a contemporary sensibility – sort of Bedrock and roll. This is combined with Christensen’s sturdy, confident beats that will generally have you tapping your toes throughout. (Geez, I’m starting to sound like Dick Clark. It’s got a good beat and you can dance to it! I give it a 93!)."

Mark Schultz Speaks about the collaboration It was a banner day in August of ‘90 when I first met Chris Christensen. It was on my first pilgrimage to that Mecca of the comic book world, the San Diego Comic Convention, during a party honoring the creator of the Spirit, Mr. Will Eisner, that Chris first approached with this notion of creating a CD’s worth of "music to accompany Xenozoic Tales." Having already been pummeled throughout that con by myriad scattershot proposals for exploiting my Xenozoic kingdom, most of dubious merit, I must admit that my first reaction to Chris’ idea was one of skepticism. But doggone if he didn’t go on ahead and say all the right things and quickly win me over.

Simply enough, that was because we were on the same wavelength. The music he proposed as Xenozoic-appropriate eerily clarified and amplified what had already been vaguely circling around my own brain stem. Here, indeed, was a New Orleans-style soul brother and a solid Link Wray to musical manifestation. Here was the guy who could make real the foggy notions in my untrained, undisciplined skull.

You see, musically speaking, I fall into the category of "I don’t know why I like it, I just do", whereas Chris is the ultimate musical insider, able to dissect any song, any form, and tell you just why it works or doesn’t. Without destroying it’s soul. So, lucky me, after three years of innumerable phone calls and musical discussions and basic education and frantic jabs in the dark at lyric writing on my part, and much patience and supervision and generosity and countless hours composing and performing and recording on Chris’ part-- after three years-- we had an album of songs I really liked.

I think the CD that Chris and I made is unique. In fact, I know it is. And half a decade later, it seems those songs have weathered very well.

A few links of interest about Opus 1, Laser Pace, and Time of Your Life:

http://www.garagehangover.com/

http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=41&threadid=60117

http://rockindownthehighway.blogspot.com/2007/09/rockin-look-back-at-car-song-based-upon.html

http://home.unet.nl/kesteloo/opus1.html

KROQ of the 80's style Techno-pop, layered with Synths, Simmons Drums, Great Bass Lines, Hot Sax and Guitar. Features the androgynous vocals of Laura Pickle and the unique production of John "Chris" Christensen

The Middle Years: In 1981-83 things were looking good for Long Beach “Avant-Punk/Pop” group Hot Food To Go! KROQ’s Raechel Donahue,

KROQ of the 80's style Techno-pop, layered with Synths, Simmons Drums, Great Bass Lines, Hot Sax and Guitar. Features the androgynous vocals of Laura Pickle and the unique production of John "Chris" Christensen

The Middle Years: In 1981-83 things were looking good for Long Beach “Avant-Punk/Pop” group Hot Food To Go! KROQ’s Raechel Donahue, nationally syndicated legend Dr. Demento, and Jimmy Christopher at KNAC, were all beginning to champion the band. Attendance at gigs was up, good venues were actually calling the band to play, and they were filmed for a new TV show. At that point HFTG had two indie releases under their belt; the infamous “Fries” shaped picture disc, and a cut on Mystic Records’ “The Sound of Hollywood Girls.” They had done a Dr. Demento concert with Weird Al Yankovic, and a major label was expressing interest in the group. With all of that going on, the unthinkable happened; Ruth Less left the band just as things were about to jump to the next level!

Back To The Beginning: The band originally started in 1979 because John “Chris” Christensen had mentioned to Michael Ely (Hey Taxi and Red Wedding), that he was looking for a lyricist; Michael suggested Laura Pickle. To Chris the chemistry was immediate. Songs were written easily and quickly, and then the duo decided to demo the tunes. Chris turned to local pros and lifelong friends, bassist Don Wittsten, and drummer Bob Ernest to complete the rhythm section. After a few rehearsals, demo recordings were started, and it seemed to be a very good fit. Noises were being made about actually doing some gigs, and it was felt by all the participants that some keyboards would add atmosphere and texture. Auditions were held, but no one really clicked. Out of the blue, Chris remembered a concert he had done in the 60’s with The Town Criers, opening for Gary Lewis and The Playboys. There had been this remarkable sound coming from the accordionist in The Playboys. Chris thought that might be really cool, and something radically different for the time. Bob Ernest said he knew someone perfect for the gig, and suggested Ruth (Nix) Less. Again, the chemistry was immediate, and the sound was just enough off of the ‘acceptable’ radar that the band loved it. During a rehearsal Chris suggested the name “Food To Go,” a phrase he had seen on buildings everywhere, to which Don responded “Hot.” So, “Hot Food To Go!” it was. This HFTG (mach I) lineup only played one or two gigs. Just as the basic tracks were being completed, Laura left to become the singer with a Journey-style, Guitar-Hero rock band.

What To Do?: Left with what they felt were some really great songs, HFTG (mach II) decided to move forward, finishing the demos with Chris, Don, and eventually Ruth, taking over the lead vocal chores. At this point the sound really began to evolve. The guitar got more distorted, the tempos got faster, the time signatures got weirder, the subject matter a little more twisted, and a stage show began to develop using props (including E.T. heads and plastic lawn mowers), sound effects, tape loops, percussion of all types, and the addition of an exotic dancer named Karen More. The music got a whole lot tighter and stranger as the band began to flex their musical muscles and stretch out. Just as it was getting good, the aforementioned departure of Ruth Less took place!

The Return Of Laura Pickle: Intrigued by the promos she had heard for HFTG on the Raechel Donahue Show on KROQ, Laura expresses interest in “returning” to HFTG. Part of the “return” package would be the inclusion of her friend, multi-instrumentalist Debbie Roemhildt. A few rehearsals take place, and again the chemistry is good. New tunes are written. This time the direction is completely different. Chris decides to put the guitar in the back seat, opts to use synths and keys, and pledges that they will write an album full of hit songs. Around this same time he starts working at Rocshire Record’s Recording Studio. A side benefit of this job was that he can use the studio down time for his own projects. Some songs are built up completely in the studio. There are many late nights, sleeping on the studio floor, only to begin working again early in the morning. The “Adrenaline Drum” CD begins to take shape. At this point things in the band are beginning to get a little tense; there are personal problems that begin to interfere with the musical dynamics. Certain members are becoming uncooperative. The ‘pro’ side of the band is really unhappy with the attitude of the ‘talented amateurs’ live performance delivery. While HFTG (mach III) is great with ‘direction’ in the studio, “live” is now interesting, but uneven. As the bad vibes come to a head, Rocshire Studios is sold and Chris has only 24 hours to mix the entire Adrenaline Drum album.

Enter The Benefactor: Colin Gillis is a talented stand-up guy. He likes the mixes and sets out to get HFTG a record deal. Chris and Colin make the rounds and get the usual music biz crap: that is, the only thing any one knows how to do is follow what’s already been done; they say, “Put burning guitar all over the album” - “Change that name!” - “The image is all wrong” - “What you should do is...” etc, etc, etc, - all this instead of actually hearing what’s there! Colin decides that they are all full of s@#t and decides to put up the money for an EP himself, using three of the songs produced for “Adrenaline Drum.” Then, records get pressed, promotional performances are set up, and Debbie quits/is fired/leaves the band. Scott Rosner becomes the new band member, and as the new line up solidifies, Laura Pickle leaves the band (again) just as the record is released. So, without the group that ‘made the record’ being able to follow through on the promotion, the record dies, and then HFTG sadly, ceases to exist.

The Funny Thing: People are still interested in the music. Many people have expressed interest in all phases of the band’s repertoire over the years, and because of it “Adrenaline Drum” is seeing it’s first complete release 23 years after the 24 hour marathon mixing session that finalized it.

The Future: There are two to three more releases planned of Hot Food To Go’s recordings. Let’s hope it’s not another 23 years before we all finally get to hear all the rest of the output of this amazing little band’s juggernaut.

About The “Adrenaline Drum” Album: People who are familiar with the earlier work of Hot Food To Go! from the Dr. Demento Show, the Fries EP, or the quirkier stuff from “Worse Than Slime” will be amazed that such a radio-friendly, atmospheric, beat-driven collection could come from essentially the same group of musicians. A conscious decision was made by the members of the group to create a new palette and use different colors and brushes to fashion a new sound.

Even so, the quirkiness still pops up here and there.

Adrenaline Drum track synopsis:

“Streetcar Named Desire” benefited greatly from the input of the late Curt Boettcher. Moving along with a great driving bass part by Don Wittsten, the conflict between between the lyrical content of “I’ve acquired a taste for bittersweet love - the kind that’s done but never spoken of” and shouts of “Romance!” in the chorus add to the depth of the deceptively simple dance-groove. Most people are surprised and amazed when they find out that the vocalist is a woman. A perfect album opener.

“Pretty Little Boy” has the subject matter of sexual tension between an older women and young man. It opens with an almost ‘western movie’ string theme - and is accompanied with a solid back beat of six-foot-thick handclaps, it has a surprisingly pretty chord progression and dancing groove considering the subject matter. Again, the androgynous lead vocal gives the whole piece a twist.

“Powder Blue” is propelled by industrial percussion supplied by the found objects of drummer Bob Ernest. It has a middle-eastern sounding opening theme, a jazz-tinged chord progression, smoky vocals by Pickle, and a completely ‘deconstructed’ guitar solo. A very forward-looking composition.

“Present State of Affairs” is driven along with a rhythm-melodics Simmons Drums figure, growling bass by Wittsten, and latin percussion supplied by drummer Bob Ernest and guest percussionist Stephen Taylor Hodges. The screaming lead guitar by Christensen has a wonderful, creamy, overdriven sound.

There are a couple of nods to Raggae and Island Music that really have their own character and flavor in “Joey” and “Almost Home (I Do, I Do).” The latter tune features the trombone talents of Debbie Roemhildt - this on an instrument she had never played before and only picked up the day of the recording; she plays it with surprising authority. "Joey" features great sax work by Debbie Roemhildt, more latin percussion by Stephen Taylor Hodges and Bob Ernest, and multi-keyboard work from Christensen.

“Crashing Drums” has it’s ‘nightmare music’ psychedelic middle section, fueled by the clocks’ tick-tock percussion, and an oddly angular guitar part. It's the saga of a cheating woman and the man that’s losing his grip!

“Never Come To Blows” is a brooding mood-piece, opening with church bells, and punctuated by a sensually atmospheric sax section and tremoloed guitar part. Fretless bass by Don Wittsten, and sultry vocals by Laura Pickle add to the atmosphere.

“In The Crystal” is the pop-iest tune on the album. Featuring finger-snapping rhythms, catchy synth melodies by Christensen, and another cool bass part. Highlights are the guitar, supplied by Amazing Rhythm Aces’ Barry “Byrd” Burton, and the voice of The Oracle in the coda.

“Adrenaline Drum (It’s What Drives You)” contains some more of that great 'adrenalized' Simmons Drum sound by Bob Ernest, another strong set of lyrics and dynamic vocal delivery from Pickle, and possibly the best sax solo by Debbie Roemhildt on the album. There is also interesting guitar work, PPG Wave, and production from Christensen. A popping bass break by Don Wittsten closes the record.