Is this generally known? Talking about his genetic makeup, James Brown wrote in his autobiography “I Feel Good: A Memoir of a Life of Soul”:

“I also have some Chinese in me, at least as much as I have black (and maybe a little Egyptian King Tut thrown in for good measure). All you have to do is look at my face–it’s all there.”

Don’t believe me? Check page 54, the beginning of the second chapter, using the search engine on Amazon.com.

Okay, okay, JB was pretty whacked out at times, certainly not in the least here. But hell, I want it to be true so badly. C’mon, papa’s got a brand new five-pound bag of rice!

In any case, happy lunar new year!

Gathering of some tribes at the Sulu Series at the Bowery Poetry Club, from left to right: Lisa Chen (author of Mouth), Thaddeus Rutkowski (author of Roughhouse and Techted), Nhan (founding member, Peeling the Banana), Vincent Young (founding member, Asian American Writers’ Workshop), Mr. Excitement himself and Bino Realuyo (co-founder of the Asian American Writers’ Workshop, author of The Umbrella Country and The Gods We Worship Live Next Door, and editor of The NuyorAsian Anthology).

The readings at Museum of Chinese in the Americas, Sulu Series at Bowery Poetry Club and The Asian/Pacific/American Studies Program at NYU were great and ever so much fun! Thanks to all who came out!

The MOCA reading was on a rather inauspicious night, what with rain mixed with ice. This was the scene outside:

But what a great audience! What troopers! Thanks for having me, Nancy!

By the way, if you’ve never been to a reading before, you don’t have to worry about buying the book from the writer after — they would be grateful for you just showin’ up! Seriously. This one dude told me he had a reading for his book and two people showed up. His sister and a homeless guy. And his sister had to leave!

The pic at the top of the post is from the Sulu Series at Bowery Poetry Club. What a special night that was! For one thing I was reunited with Vincent Young and Bino Realuyo — we probably haven’t been in the same room in about 13 years! It was so great to hear them read again, their voices brought me back to the early days of the Asian American Writers’ Workshop, before it had its own space or was even officially incorporated; back to when it was just people writing and reading to each other around a busted table. My new friend Lisa Chen read from her book, Mouth, a collection of poems just published by Kaya. Thaddeus Rutkowski, whose Roughhouse was also published by Kaya, surprised me by reading a section from Waylaid, the part about Thanksgiving with the mummy meat! Thank you, Taiyo, for having us!

Lastly was the The Asian/Pacific/American Studies Program at NYU! The wireless mike was a bust, but I prefer to use a mike stand, anyway. Especially when I don a tie.

What a fun lively crowd! And wow, the people I didn’t know outnumbered the ones I did! Thank you for having me Jack, Laura and Alexandra.

Wow, I can’t wait for the next series of readings comin’ up! See you there!

Left to right: Laura Chen-Schultz (Deputy Director), Henry Chang (author of Chinatown Beat), John (Jack) Kuo Wei Tchen (Director), Mr. Excitement himself, Cindy Cheung, Marilyn Torres, Alexandra Chang (Events Coordinator) and Kola Ogundiran.

Corky Lee’s original photograph used for the cover of “This Is a Bust.” The Pagoda movie theater was torn down in the 80s.

Well, I’m about to embark on the first leg of the tour for “This Is a Bust.” Thursday, Sunday and then Tuesday.

I’m feeling good, though I haven’t yet decided what parts I’m going to read. Definitely Chapter 1, which is the setup for 1976 and all.

Back when I did readings for Waylaid, I would just jump in and start reading, without saying anything apart from “Hello.” But that’s not very audience-friendly. I’ll just be myself at these three shows, all of which promise to be extremely different.

I just love this photograph by Corky. Back when we were kicking around ideas for a book cover, I found it on a web site and asked the webmaster who the photographer was. No reply. That was a bad sign.

Of course, when I found out later that Corky was the photographer, he had no knowledge that it was being used — and without his permission. It seems that they’ve since taken the image down. He also took the back-cover picture of the mural that used to be on the side of the late, lamented Music Palace. I used to work this crazy 5pm-midnight shift and I would catch the double feature with the other scumbags there before going to work. The place is a demolished lot now, waiting for financing to clear the subprime mess and grow into a healthy condo to make Chinatown even more upscale.

In any case, plenty of time for more reminiscing at the readings! I hope I’ll see you New Yorkers in near future!

(Left, the New Colony Six and RJM Band collection “Sides.” Center, Ray Graffia back in the day. Right, Ray rocking out in November 2007 in New York City.)

Here’s the verdict on New Colony Six’s “Sides” album — it’s pretty essential listening for all you garage music fans. Of primary interest to the most Nugget-headed is the unearthing of a monstrous version of “Rap-A-Tap” — apparently the version favored by the songwriters Ronnie Rice and Ray Graffia.

How do I know? Well, I had an e-chat with New Colony Six co-founder Graffia. I had caught the Chicago-based ‘Six at Cavestomp this past November and although some may unfairly typecast them as a ballads band, they stomped through garage classics such as “At the Rivers Edge,” “A Heart Is Made of Many Things” and “I Confess” from their stone-cold classic first album “Breakthrough” and “Love You So Much” from the also-great second album “Colonized.” And of course, “Rap-A-Tap”!

Even though the Sonics reunion grabbed most of the media attention for the festival, New Colony Six ruled Saturday night, especially after co-headliner Strawberry Alarm Clock turned in a sludgy and indulgent performance — complete with a 15-minute drum solo that pushed more than half the crowd out to the bar area.

Graffia was in fine voice and spirits, dancing, as I wrote in this space earlier, “like a little kid after nap time.” After co-founding the band in 1965, Graffia left in 1969 and formed the Raymond John Michael Band, aka the RJM Band.

But all good things that end come back together and the 21st century finds Graffia back with New Colony Six.

“Sides” the CD was released late in 2007 and includes unreleased songs and alternate takes from not only New Colony Six’s first two albums but also the RJM Band.

Incredibly, the album closes with the title track with vocals that Graffia laid down less than a year ago. I didn’t have the liner notes because I bought the album through iTunes — and I had thought the song had been recorded — and sung — back in the day! And I mean that as a mark of quality!

There is only one song in the collection that rubs me the wrong way, and it was recorded post Graffia’s departure, so I can’t blame him for it!

In any case, this album is the next logical step after “Breakthrough” and “Colonized.” I would readily compare New Colony Six favorably with the Zombies, complete with timeless vocal harmonies. Such a tie-in leads wonderfully into the Q&A with Ray (his replies in reader-friendly all-caps):

–The first time I heard New Colony Six, I thought it was the Zombies. (I hope you take that as a compliment!)

ONE OF MY FAVORITE BANDS FROM THE INVASION - THRILLED TO BE IN THE SAME SENTENCE WITH THEM

– Both you and Colin Blunstone have a certain cool plaintiveness in your voices.

THE PROSECUTION RESTS; THE PLAINTIVE IS TOO COOL - WHAT - PARDON THE NONSENSICAL REPLY HERE - LEFT WORK EARLY AND HAD TO SHOVEL SNOW - TOO LITTLE OXYGEN TO THE BRAIN PERHAPS?

– Former Zombies members Chris White and Rod Argent formed the band Argent to go in a more commercial direction than their old band. Is it fair to see Raymond John Michael Band in that light?

I’D SAY MUCH THE OPPOSITE SINCE RJM LIVE WAS SOME BLUES, ORIGINALS AND COVERS OF BANDS RANGING FROM LED ZEP ALBUM CUTS TO ELECTRIC FLAG TO OBSCURE MUSIC WHICH LEFT MANY FOLKS SCRATCHING THEIR HEADS - WE HAD BEEN SO PIGEOH-HOLED AS BALLADEERS BY THE TIME OF RJM’S FORMATION THAT PLAYING GARAGE AND ROCK & ROLL WAS ALL WE WANTED TO DO. OF COURSE, WE DID WANT TO ACHIEVE COMMERCIAL SUCCESS TOO, HENCE THE DECISION TO COVER THE BEEGEES TUNE. [”Let There Be Love,” ed.] WE FIGURED THAT THE COLONY TIE IN WITH THREE OF US [two other original ‘Sixers — Craig Kemp and James Chitkowski a.k.a. Chic James — were also in RJM Band, ed.], ALONG WITH A STRONG BALLAD, MIGHT AT LEAST GET US AIRPLAY AND WHEN THAT FAILED TO MATERIALIZE WE RELEASED RICH KID BLUES [a song by Terry Reid] TAKING THE OPPOSITE APPROACH. TO THIS DAY I BELIEVE THAT NC6′S MANAGEMENT PLAYED BLOCKER FOR OUR GETTING ON THE RADIO - HECK WE EVEN HAD LONDON RECORDS AS OUR LABEL (AS THEY SIGNED US AWAY FROM A LOCAL LABEL - NOT SENTAR [New Colony Six’s original label]) BUT THE TWO MAIN DUDES BACKING NC6 WERE REALLY POWERFUL FOLKS AT THE TIME SO I WILL PROBABLY GO TO MY GRAVE THINKING THAT IS WHAT HAPPENED. BUT, WHY WHINE - C’EST LA VIE, EH?

–With Sides coming out now, is it odd for you to see the RJM Band material on the same disc as the New Colony Six songs?

NOT ODD TO ME AT ALL. WHAT WAS ODD WAS OUR OPENING FOR NC6 AT ONE GIG - NEVER WORKED HARDER IN MY LIFE TO WIN OVER THE CROWD! BESIDES BEING A SONG ON THE CD, WE CHOSE “SIDES” AS THE CD TITLE BECAUSE THE DISC SHOWS TWO SIDES (OR MORE) TO HALF OF THE FOUNDERS OF THE COLONY - I SAW RJM AS THE NEXT GENERATION NC6.

–Could you have done RJM Band songs such as “Gwendolyn,” “I Can’t Believe That We’re Alone” and “Hitch-Hiker” while you were in New Colony Six?

ONLY AS ALBUM CUTS AT BEST AND IF I BROUGHT “ICBTWA” TO NC6, MANAGEMENT SURELY WOULD HAVE HAD RONNIE RICE SING IT. I THINK RJM’S MUSICAL DIRECTION WAS TRUER TO THE COLONY’S ROOTS THAN WE HAD BECOME RIGHT BEFORE I LEFT THE BAND.

–Who are Bobby and Georgia in the gender-bending RJM Band romp “Bobby and Georgia”?

TRULY NO ONE - JUST AN ANDROGYNOUS NAME (BOBBY/BOBBIE) AND ANOTHER THAT OFTEN CAME TO BE (IN THE WEIRD WORLD OF MY MIND) WHEN A DAD NAMED GEORGE BEGAT A DAUGHTER AND WAS DISAPPOINTED ENOUGH TO NAME HER GEORGIA. I WONDER IF YOU RECOGNIZED THE TUNED POP BOTTLES THAT WE TOOTED AMIDST THE SILLINESS THAT WAS B&G?

–What is the story with the unearthed wondrously fuzzed-out version of “Rap-A-Tap” (even more garage-y than the alternate version Sundazed added onto the Colonization reissue)?

THAT WAS RONNIE’S AND MY VISION OF THE SONG WHEN WE WROTE IT, BUT MANAGEMENT SAW IT MORE ALONG THE LINES OF I’M JUST WAITIN’ ANTICIPATIN’ - [a horn-heavy song on second album “Colonization.” ed.] HENCE THE OTHER ARRANGEMENT

– Are there more goodies in the vaults?

AL CAPONE’S COLLECTION OF DOILIES BUT NOT MUCH MORE THAN THAT…

–For me, the only sour note on Sides is New Colony Six’s foray into Southern boogie rock, “Muddy Feet (On the Mississippi)” complete with a chorus that mentions “angels flying high in heaven.”

PERSONALLY I LIKE THE TUNE - AT LEAST IT WAS NOT A FREAKIN’ BALLAD! ON THE OTHER HAND, IT SHOULD HAVE BEEN SOMETHING FOR JOHN FOGERTY, ALLMAN BROTHERS, DOOBIES OR SOME SUCH, NOT NC6.

– Were the Six considering going in that direction? Had you left by then?

SINCE ELVIS (AND I) HAD INDEED LEFT THE BUILDING BY THE TIME OF ITS RECORDING, I CANNOT SAY WITH SURETY WHAT DROVE THE BAND TO BRING IT INTO THE STUDIO.

–Graffia’s (the band) track “Sides” from which the title is taken sounds pretty promising. What can you tell me about that project?

THANK YOU FIRST AND FOREMOST - IT IS A SONG I HAD WRITTEN AND FORGOT ABOUT UNTIL MY BROTHER, RON - 10 YEARS YOUNGER THAN ME AND THE REAL MUSICAL TALENT IN THE FAMILY - AND I UNEARTHED A REEL TO REEL REHEARSAL TAPE FOR RJM THAT FEATURED THE TUNE. HE IMMEDIATELY HEARD IT AS IF THROUGH PETE TOWNSEND’S OR KETIH MOON’S EARS AND BANGED OUT THE ENTIRE MUSICAL TRACK. I PUT VOCALS TO THE SONG THIS PAST EASTER (RESURRECTION OF A RECORDING CAREER MAYBE?) AND, SHOULD WE GET ENOUGH COMMENTS LIKE YOURS AND/OR AIRPLAY SOME PLACE - EVEN OVERSEAS, WE ARE TALKING ABOUT DOING MORE SONGS TOGETHER AND HAVE A FEW IDEAS ALREADY AT LEAST A MOMENT OR TWO BEYOND GERMINATION.

–What do you think of original copies of “Breakthrough” going for several hundred dollars on eBay?

STUNNED AND AGGRAVATED - THE FORMER OVER THE PRICES; THE LATTER BECAUSE I DON’T HAVE A COUPLE 100 COPIES TO DRIBBLE OUT TO THE BUYING PUBLIC!

– Why has interest in bands and songs from the 60s been rising?

I CAN ONLY SAY HOW BLESSED I FEEL THAT IT IS HAPPENING BUT HAVEN’T A CLUE WHY. MY SOLE THEORY IS THE DEARTH OF GOOD MUSIC BEING SHOVED AT TODAY’S RECORD BUYERS - CONSIDER BRITNEY AGUILERA, OR JAY Z OR JAY LO OR JB AND THE SUNSHINE BAND OR RAP - NONE OF WHICH APPEAL MUCH TO ME. SHOOT IT CAN’T BE US BOOMERS PULLING STRINGS BECAUSE MOST OF US ARE ALREADY BEYOND THE STAGE OF ADDING TO OUR ALBUM COLLECTIONS. DO YOU THINK IT COULD BE BECAUSE PARENTS LISTEN TO OLDIES STATIONS AND THEIR KIDS FIND THE MUSIC TO BE ACTUAL MUSIC AS OPPOSED TO WHAT IS BEING RELEASED BY THE POSERS I LISTED ABOVE? A SECOND THEORY GENERATED ON THE FLY AND OFF THE CUFF!

–What advice would you give to people who are just starting a band?

HAVE A PLAN “B”. WITH THE LOSS OF SO MANY VENUES TO DJS AND PRE-RECORDED MUSIC, I CANNOT FATHOM HOW A BAND CAN EARN A LIVING TODAY DOING GIGS. THEN, CONSIDER THE EXTREMELY LIMITED OPPORTUNITIES FOR AIRPLAY AND THE EXTREME COSTS OF DOING VIDEOS, AND YOU CAN UNDERSTAND MY INITIAL SENTENCE. I’LL BET THERE ARE DOZENS IF NOT 100S OF GROUPS WHO JUST GAVE UP BECAUSE IT IS SO TOUGH TO BREAK-OUT POST Y2K… AND THAT IS A REAL SHAME. PLACES LIKE MYSPACE AND YOUTUBE ARE (I HOPE NOT) THE FINAL FRONTIER. INDIE SEEMS TO ME TO BE THE ONLY AVENUE OPEN FOR 99% OF STRUGGLING MUSICAL ARTISTS, SO EVERYBODY SUPPORT LIVE MUSIC AND DOWNLOAD A COUPLE BUCKS WORTH OF TUNES FROM ANY BAND WHOSE STUFF YOU ENJOY. AND WITH THAT, I WILL JUMP OFF MY SOAPBOX AND HEAD OFF TO THE KITCHEN TO HEAT UP A CAN OF SOUP AND MAKE SOME TOAST FOR FRIDAY NIGHT DIN-DIN - MMMM MMMM GOOD!

Go here now!

http://www.myspace.com/colonyjr

Yes, it’s here. Should be arriving at Amazon.com warehouses and select Barnes & Noble stores presently.

I went to see Ian Mackaye of Minor Threat, Fugazi and now The Evens speak at this on Saturday.

I had sat in the front center seat for the previous panel, which was all about publicizing your work to became famous and rich or both. I felt somewhat uncomfortable during the discussion I guess because there was such a disconnect between the business and the craft of writing.

I remained in my front seat for Ian’s talk, so he actually ended up right in front of me. When someone handed him a bottle of water, he ripped the paper label off so it wouldn’t look like was endorsing the brand. That’s punk!

Ian brought up that good ol’ DIY ideology of creating art and moving forward. “We have our world, and they [meaning corporate America] have theirs.”

Ian also noted that he knew artists who had crates of unsold records and books piled up in their homes. But that shouldn’t be discouraging because even if you don’t reach what you perceive to be your deserved level of fame — “at least you failed at doing something you loved.”

He talked a little bit about the Nike thing and in a subsequent answer to a question, he mentioned the phrase “just do it.” Someone pointed out that that was Nike’s motto. Sheepishly, Ian took a dollar from his pocket and handed it to the guy who spoke up.

Some jerk asked him if he were still straight edge. There were some boos in the audience. Ian paused a long time and before answering told him, “I’m not mad that you asked. ” Then he went on to say that he had written “Straight Edge” when he was 18 and asked the questioner how he would feel if years later people used something he had written as an 18-year-old as justification for bombing a McDonald’s or beating up people.

Here’s the thing that that jerk questioner didn’t get, and a lot of other people don’t get. Ian has dedicated his life to being independent of pretty much any movement (and ironically straight edge became a movement). And yet, after writing song after song that told listeners to be individuals and to think for themselves, people just stuck up Ian on a pedestal and dehumanized him.

I guess Ian underestimated how much people crave to be told what to do.

Most revelatory about Ian’s talk was that he was inspired by Jimi Hendrix to write “Straight Edge” after hearing these words in “If Six Was Nine”:

“I’ve got my own life to live
I’m the one that’s gonna die when it’s time for me to die
So let me live my life the way I want to”

“Straight Edge” inspired by a decidedly non-straight-edge man who was similarly bent on independence? Just goes to show — keep an open mind and seemingly unlikely sources may inspire your own work.

So on Friday I went to go check out what turned out to be a not-very-interesting play. Yet there was some intriguing drama — co-starring me and very capable actor Mark Ruffalo.

Let me just say from the outset that I’m a fan of Ruffalo’s work. He was great in You Can Count on Me and more recently, Zodiac.

In any case, while the audience was still arriving before the show, I had my nose in my program. Because I was close to the aisle, I had to stand up a few times to let people into my row.

Some guy dropped next to me and started fiddling around with a smartphone. A lot of people were. I didn’t pay much attention to him and kept reading the program.

When the lights came down, there was much fidgeting in the audience as people turned off their devices and socked them away. But I noticed that the guy next to me had left his device on and it was blinking.

A minute later, it was pretty clear that the blinking wasn’t a part of a shutdown sequence. Because the offender had his hand on top of his device, he couldn’t see the blinking, although I had an unobstructed view of it.

I hate people who don’t turn their shit off — more so those who continue to text friends during movies and plays. I don’t even care if it’s new and you thought you hit the off switch. You paid for it, so at least learn how to use it!

So in the second minute of the play I turned to the guy and said, not too kindly, “Could you please turn that off? It’s very distracting!”

He leaned out of the shadows and I could see his face by the light of the blinking smartphone. Gee, I thought, that guy kinda looks like Mark Ruffalo.

“I don’t have anything on!” insisted the Ruffalo-look-a-like.

“Dude, it’s blinking!” I said. Gee, I thought, that guy even kinda sounds like Mark Ruffalo. I saw a measure of scrutiny in his eyes. Maybe he wasn’t used to being spoken to in that way and he was evaluating my face that was surely illuminated by the blinking light of his smartphone.

Who the fuck is this guy, maybe he was thinking. Chow Yun-Fat? Damn, he kicked some ass in The Killer!

Suddenly he looked down, moved his hand and literally saw the light.

“Oh, sorry, sorry, sorry!” he blurted.

I turned back to the play.

Damn, I thought, I just put the hammer to Mark Ruffalo.

At intermission and at the end of the play, I thought I caught some sullen looks from him. Maybe he wanted to say something. Introduce himself.

“Hey, I’m an actor myself, so I know all about being a respectful audience member.” Something like that.

It didn’t happen. I could’ve approached him, but for what? It would have merely extended an awkward exchange to an awkward conversation.

I left the theater, got a can of Dr. Pepper and went home.

Third night, here we go! It’s your MC, Lenny (”It’s a Nugget if you dug it!”) Kaye!

Up first, The Hall Monitors, from DC. Note female guitar player to the right. She becomes the first female in the festival to sing lead on a song.

The Hall Monitors have issued a pass for a special guest: Eddie Angel from Los Straitjackets! Adding Eddie brings hot licks to this band, which is ambitious, but wasn’t really there yet, musically, for me. Great energy, though!

Ah, now it’s The Wildebeests from Scotland. This beat trio sounded great from the get-go, opening with “Skinny Minnie.” Trios typically sound a little thin during guitar solos, but that rectangular guitar cranked out sparks; they sounded even more full during the solos! Great stuff!

The Lyres! Yeah! Nobody danced more to any other band in all three days, and the third-billed band even got to do an encore: “No Reason to Complain.” An Alarm Clocks (who played the previous night) cover.

And now The Fleshtones! They give you the shirt off their backs. At least singer Peter Zaremba will. (He also MC’d the first two Cavestomp nights.) The theatrics (entering the stage from the audience, playing wireless guitars; bassist Ken Fox and guitarist Keith Streng playing each other’s instruments while still wearing their own; playing on top of chairs set up in the middle of the audience) came off well, in fact, for me, better than the music itself. The PA itself was up WAY too high, reducing vocals to amplified subway announcements. The Fleshtones worked their asses off, no doubt, but I’ve never liked their songs (does that make me a jerk?). The live act is great but I don’t think I’d listen to them on my iPod.

The second night of The Sonics! Feeling confident after their triumphant return Friday night, they played louder and looser than the first night. Most notably singer Jerry Roslie was howling and screaming more. The Sonics botched the end of “Have Love, Will Travel,” but hell, they could do no wrong. The crowd wasn’t as jostling as Friday, but the music was utterly pulverizing! I understand original drummer Bob Bennett had flown in from Hawaii to watch from the audience while original bassist Andy Parypa was playing in The Daily Flash that same night (Daily Flash bassist Don Wilhelm was ironically filling in for The Sonics) so I guess the story that Andy had carpal tunnel syndrome and couldn’t play was a ruse! Let’s see all five original Sonics back together in 2008!

Well, if you’ve never been to the night spot Warsaw in Brooklyn, you’ve probably never had one of these (a kielbasa sandwich) during a 60s garage band show (people love pictures of food in blogs):

I missed taking a picture of the first band, The Higher State from England, but they were an OK, not particularly tight psych-influenced four piece. Extra points for the closing freakout, though.

Next up was The Urges from Dublin. Kinda like an Axl Rose-fronted Stones, and a bit cliche-ridden though they certainly had a lot of life in them.

Then we had The Alarm Clocks, probably best known for the “Yeah”/”No Reason to Complain” single collected on the first side of the the first LP in the “Back from the Grave” series. Singer-bassist Mike Pierce still sings and screams like a snotty teen who just got grounded. New songs and a new album early next year. “Watch” out for The Alarm Clocks!

You gotta love it when a band goes that extra mile to dress up, including thigh-high boots! Co-headliners The New Colony Six as of late have been playing various civic and corporate events, but hell, four-part harmonies never die! Cute anecdotes from Ray Graffia (who dances like a little kid after nap time) were as touching as their ballads, especially: “I wrote this song for a girl I was dating in 1966. Married her in 1967. As of September, it’s been 40 years. Now that shows you that there is faithfulness in rock ‘n’ roll.”

Co-headliner Strawberry Alarm Clock was set to close. You know there’s going to be trouble when you see this elaborate percussive setup around the drum kit.

Strawberry Alarm Clock played their entire first album “Incense and Peppermints” with the highlight the title track. Unfortunately, it’s the second-to-last-song, and psych isn’t really my thing. And a 15-minute drum solo about halfway through the album sure as hell isn’t either. Great that they dressed up and that each of their three guitarists were smokin’ players, but by the time of the encore, about 200 people were left in front of the band while the bar area off to the side had at least as many people. Contrast that with The Sonics, just the night before, when it felt like Warsaw’s capacity 800 people were pushing me around like the 6 train rush hour crowd. Psych is more mellow, too mellow for me. When another drum solo reared its ugly head during the encore, I had to leave. Sunday’s the third and last night!