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NICODEMUS - The Strange Saga of Henryetta Flagetta
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Original sealed copies of NICODEMUS' 1984 recordings released in the mid 90s by Paul Major and Mike Ascherman on Parallel World. 500 pressed on red vinyl.\r\n
\r\n"..mysterious underground US freak who creates a bizarre mixture of electric and acoustic psych weirdness. Incredibly diverse styles are used by Nicodemus as he creates garage psych symphonies that overlay insightful and damaged lyrics." -Freak Emporium.\r\n
"Nicodemus has produced a body of work over his more than 30-year career that is stunning in its breadth and shocking in its level of accomplishment, yet is so underexposed that many have never heard of a man whose best music is easily on a par or better than the work of auteurs ranging from Lou Reed to Neil Young to John Lennon to Brian Wilson to Bruce Springsteen. Perhaps its too much to ask that the terminally clueless Rolling Stone Record Guide have caught on, but St. Nic has been consistently overlooked even by self-proclaimed underground guides like The Trouser Press Record Guide or Unknown Legends Of Rock. Excepting a brief blurb in Jello Biafras section of the RE/Search book Incredibly Strange Music, Vol. 2 and an error-riddled article in Motorbooty magazine, precious few signposts point the music consumer towards Nicodemus work. Given that the world of music journalism is prone to hyperbole, many may choose to doubt my words, but the proof is in the music: a couple of listens to amazing songs like "Sometimes I Cant Sleep", "They Whisper Here", "One Way", or "When The Daylight Fades To Nothing" should convince even the most skeptical that Nicodemus music deserves to be considered among the most creative musical art of the last thirty years.\r\nEqually as astonishing as his work is the story of the man himself; his entry into the music business almost came in his pre-teen years when Motown chief Berry Gordy almost signed his group, the Jim Harlem Trio. "We were around 11 or 12 years old, but we were doing blues and stuff like that. Fortune Records hooked us up with a guy named Bob Moss, who was some kind of big recording deal back then. He recorded us and got the tape to Berry, and he was interested in putting our work out seeing that we were young. He was branching out, and we would have been the first white people signed to that label, but my stepfather, that particular stepfather at that time, who opted to be our manager, also opted to run off with the tapes when he caught my mother and her third husband together. So he punished us all by doing that."\r\nLater Nicodemus became part of the outlaw motorcycle club Satans Last Revenge, eventually becoming its president. While an important part of his life, Nicodemus doesnt want it overemphasized in overzealous attempts to create a cartoon image of his life. "Im very against becoming a caricature of myself. Thats where I say that you have to not take yourself too seriously in life. Especially with some of the things that are said about me, cause I read some of these writings and its like Biker Of The Apocalypse? Come on‚Ķwhoever wrote that was someplace else."
\r\nAs Nicodemus began to create his first records, he quickly realized that despite his childhood chance at getting into Hitsville, his adult work was less likely to find acceptance with the industry. He thus created Zedikiah Records and self-released his albums under this imprint, years before the punk underground would claim to have originated the DIY ethos. "When I was [getting started] there was nobody to get any input from, nobody to get any ideas from. I just knew that Id had enough of being auditioned by record companies and being told that I cant do it this way. And I knew that I had to do it the way that I felt it, and that was whether or not I wanted to go la la-la, la-la-la-la la la on Spacechild Squall and end it off-key and not have somebody coming in, Oh, no, you gotta do that over, and me try to explain to them why its off key, man, cause the song, if you, you know‚ĶIts called human emotion--its not a mistake, buddy, its supposed to be there!"- Aaron Poehler.
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\r\n"..mysterious underground US freak who creates a bizarre mixture of electric and acoustic psych weirdness. Incredibly diverse styles are used by Nicodemus as he creates garage psych symphonies that overlay insightful and damaged lyrics." -Freak Emporium.\r\n
"Nicodemus has produced a body of work over his more than 30-year career that is stunning in its breadth and shocking in its level of accomplishment, yet is so underexposed that many have never heard of a man whose best music is easily on a par or better than the work of auteurs ranging from Lou Reed to Neil Young to John Lennon to Brian Wilson to Bruce Springsteen. Perhaps its too much to ask that the terminally clueless Rolling Stone Record Guide have caught on, but St. Nic has been consistently overlooked even by self-proclaimed underground guides like The Trouser Press Record Guide or Unknown Legends Of Rock. Excepting a brief blurb in Jello Biafras section of the RE/Search book Incredibly Strange Music, Vol. 2 and an error-riddled article in Motorbooty magazine, precious few signposts point the music consumer towards Nicodemus work. Given that the world of music journalism is prone to hyperbole, many may choose to doubt my words, but the proof is in the music: a couple of listens to amazing songs like "Sometimes I Cant Sleep", "They Whisper Here", "One Way", or "When The Daylight Fades To Nothing" should convince even the most skeptical that Nicodemus music deserves to be considered among the most creative musical art of the last thirty years.\r\nEqually as astonishing as his work is the story of the man himself; his entry into the music business almost came in his pre-teen years when Motown chief Berry Gordy almost signed his group, the Jim Harlem Trio. "We were around 11 or 12 years old, but we were doing blues and stuff like that. Fortune Records hooked us up with a guy named Bob Moss, who was some kind of big recording deal back then. He recorded us and got the tape to Berry, and he was interested in putting our work out seeing that we were young. He was branching out, and we would have been the first white people signed to that label, but my stepfather, that particular stepfather at that time, who opted to be our manager, also opted to run off with the tapes when he caught my mother and her third husband together. So he punished us all by doing that."\r\nLater Nicodemus became part of the outlaw motorcycle club Satans Last Revenge, eventually becoming its president. While an important part of his life, Nicodemus doesnt want it overemphasized in overzealous attempts to create a cartoon image of his life. "Im very against becoming a caricature of myself. Thats where I say that you have to not take yourself too seriously in life. Especially with some of the things that are said about me, cause I read some of these writings and its like Biker Of The Apocalypse? Come on‚Ķwhoever wrote that was someplace else."
\r\nAs Nicodemus began to create his first records, he quickly realized that despite his childhood chance at getting into Hitsville, his adult work was less likely to find acceptance with the industry. He thus created Zedikiah Records and self-released his albums under this imprint, years before the punk underground would claim to have originated the DIY ethos. "When I was [getting started] there was nobody to get any input from, nobody to get any ideas from. I just knew that Id had enough of being auditioned by record companies and being told that I cant do it this way. And I knew that I had to do it the way that I felt it, and that was whether or not I wanted to go la la-la, la-la-la-la la la on Spacechild Squall and end it off-key and not have somebody coming in, Oh, no, you gotta do that over, and me try to explain to them why its off key, man, cause the song, if you, you know‚ĶIts called human emotion--its not a mistake, buddy, its supposed to be there!"- Aaron Poehler.
