Raw Mommies

    It seems reasonable to devote this one post to the Raw Mommies above all other artists and entities, either directly or indirectly, in matters of Snufmeg. Officially begun during 1991, the Raw Mommies grew from several intersections of all the members, but from the perspective of Snufmeg, the collaboration between Johnny B Dub, Hinkney Gruesome and Scott. The (thankfully) brief career of DG&H solidified the relationship between Scott and Johnny, eventually slicing in Keith (Scott's brother) and fellow childhood friends Billy and Kevin.

   The career of the Mommies began with the release of "Raw Mommies" in 1993, although some sources dispute that placing it in '92 or even 1991. Regardless, the quickly developed into a somewhat regular combo in the New York City music scene during that era up to 1995-7. Before their eventual disbanding, Johnny had left, returned and left again, for undisclosed differences. Inertia seemed to be the only hindrance to further success, as the band couldn't seem to find traction for their seemingly niche style, playing to audiences rarely greater than 30 people, often to fewer than five.

   In 2013, the circumstances were presented to perform once again, and so did, to a crowd several times larger than all other performances combined! An oddity still due to the limit exposure of the one single album released on tape decades earlier. Although, excited by the event with discussion to capitalize on the perceived acceptance, no further forward motion was made.

Raw Mommies on Bandcamp

Raw Mommies Blog

A Cheese Mite Floats By

   The nineteen track "A Cheese Mite Floats By" compiles material recorded from 1995-2015, focusing exclusively on the Universal Snufmeg era and paradigm. Leading with "Another Day without You", the mode is set with a "throwback" lo-fi recording of haunting sparseness. Although details are sketchy, rumors indicate the song was recorded during the same session as "Is This Drum and Bass?" and "Five Dog Trail" (found on "A Snufmeg Fantasie in Broken Parts") at the Brooke Lane studios. 
   "Cyclone" is an early entry, from approximately 2012, in the Snufmeg Surf era, along with "Gorilla Me Timbers", captured at the Glen Mills House studio. "Monsta Bass" bass follows; another dance floor hit recorded at Augsburg Central, produced by DJ Williwill, wherein he deftly cuts in the signature motif of "Andalusian Holiday".
   "What Have I Done?" belies the 1995 liner notes start date. The overall style and sound are reminiscent of Lyle Studios sound. 

   "Singer", which provided the bridge for Raw Mommies "Cell Boy", "The Prevailing Mood and Tenor of Contemporary Thinkers" and "Corrugation Motif" all were from the same session at Glen Mills House studios. 

   Although Williwill's meticulous production of "Eight Arms to Hold You" and Johnny B Dub's rawer "My Girlfriend" achieved chart-topping attention, the stand-out hit is "Somewhat Like a Rolling Stone" led by Williwill's signature songwriting gift and production.

   Interspersed are Cheese Mites forays into quintessential avant-garde compositions such as "Clarinet Piano Generator" and "Etude in 6 Parts".

The Little Engine

    In the same manner that the Raw Mommies were only tangentially Snufmeg, Johnny B Dub's outside "project" (with Flip, who made an appearance with the Cheese Mites on "I Can Read About Any Book That Someone Gives Me") The Little Engine earned a place in the Snufmeg pantheon with this eponymously titled album from the late 1990's.

   Following the rise and fall of the Raw Mommies, Johnny B Dub continued with a more conventional musical approach, leading the Little Engine's songwriting credits with Snufmeg classics like "Far Away", "Pros Jam with Pros", "Smile, Baby, Smile", "Andalusian Holiday" and "Clarinet". Flip's contributions ("The Elixir" and "You've Given Up on Love") comfortably rounded out the collection. Guitar and voice were provided by the songwriters accordingly, confidently backed up on drums by the mysterious Z!

   Alas, the Little Engine enjoyed a brief career (under two years) with few performances captured. Sadder, still, whereas the Raw Mommies enjoyed a 2013 reunion, certain legal impediments have precluded Flip from enjoying a similar experience.

Bulb

The release of "Bulbs and Whistles" by Bulb (1990), is often overlooked for it's importance in the "Universal Snufmeg" era. Though a brief compilation of songs, it is both a forward and read-view-mirror nexus of artistic elements and personalities, like few other artificats in the Snufmeg catalog. The material iteself is comprised from some staples of the Snufmeg index: "The Truth Comes Out," "Pros Jam with Pros" and "Clarinet," all find new interpretions (and not the last time they are rendered), plus "Barriers." Notable, however, is the arangement of Johnny B Dub and Scott D, who later appear in the Raw Mommies. A special provocative guest appearance is made by DJ Williwill on "Pros Jam with Pros" with a vocal message of chastisement.

For further information on the Raw Mommies see https://rawmommies.blogspot.com/

Now Let's Have a Chat About "Cultural Influences"

   The marginalization of Snufmeg was, and continues to be, a worldwide conspiracy. From the onset, agents have sought to undermine and alienate the public at large from the near salvific creations under the banner of Snufmeg.
   At some point during 1983, a campaign was launched against the community in the form of psychological warfare. A concerted effort was made to destabilize and atomize the members. One such attack came in the form of casual dismissal of Snufmeg, but the Cheese Mites in particular, for failing to embrace "Cultural Influences." This became hotly debated and served to initiate severances amongst interested parties. It was eventually determined by Phynqafis Himself, after a prolonged forum of cogitation over Snuff and Nutmeg, he pronounced the best practice was to use such elements against the enemies of Snufmeg. The community soon enthusiastically accepted.
   What, however, was intended by "cultural influences"? The agents in the matter never revealed. But, by the guidance of Phynqafis a plan was concocted. What follows are examples from as early as 1983.
   This collection created and compiled by Johnny B. Dub, with the title "DJ" preceding his name, introduces the use of computers and synthesizers into musical mix. The results are generally taut and enjoyable in a way which differs from the traditional modes produced in Snufmeg.
   Of special note is the rendition of "Mutual Attraction." Like the selections included in "Themes, Motifs and Snufmeg," this song found itself covered by several Snufmeg related artists. Originally composed in (or around) 1985, the song has been found to be malleable enough to fit several stylistic interpretations.