Phast Phreddie & Thee Precisions

Phast Phreddie & Thee Precisions was a little rock’n’roll combo that operated in Hollywood during the early eighties. It originally based it’s sound on the West Coast jump blues of the forties, but eventually evolved into a unique roots-based music with recognizable influences of swing, be-bop, R&B, soul, garage rock, psychedelia and free jazz. They liked to call what they did “Rockin’ R&B-Bop” in order to take it all in.
The group opened nearly every show with the Earl Bostic arrangement of the Count Basie standard “Lester Leaps In” (the group also performed Basie’s “Sent for You Yesterday” and “Topsy”—a full ten years before the “swing revival” of the early nineties). From there, it would perform R&B drinking songs (at one point there were nine such songs in the set, including an instrumental called “Liquor Run,” during which Phast would go to the bar and fetch drinks for the band), jazz vocals (Mose Allison’s “Your Mind Is on Vacation,” Dizzy Gillespie’s “Rebop Boogie Blues” and Tiny Grimes’ “Romance Without Finance”), and, toward the end of its life, rock songs (“Hungry Freaks Daddy” by The Mothers of Invention, “2+2=” by The Bob Seger System, “The Ostrich” by Steppenwolf) and even a reggae song—“Fade Away” by Junior Byles.
Instrumentals were a key component of the act. Since Phast Phreddie was an aggressive dancer on stage, the band would play the Cozy Cole arrangement of “Topsy” (featuring drummer Chris “The Grand Poobah” Bailey) or Gato Barbieri’s “Last Tango in Paris” (featuring Steve Berlin or Jay Work), in order for the singer to change out of his sweaty clothes. Another instrumental the group enjoyed performing was “Peaches En Regalia” from Frank Zappa’s Hot Rats album.
One of the founding members of the group was Jeffrey Lee Pierce—who quit (before Thee Precisions played live) when he formed his own group, The Gun Club, which achieved well-deserved critical and international fame.
Another important member was Steve Berlin. His outstanding tenor saxophone playing kept the group from becoming a bunch of crazies biting off more than they could chew. The exposure he received playing with Thee Precisions directly led him to play and/or record with such acts as The Plimsouls, The Blasters, The Plugz, The Flesheaters, Los Lobos and The Go-Go’s. Also, Steve’s musical skills kept the group from performing trite arrangements of their original material.
When Steve became too busy working with better-paying, traveling acts, Thee Precisions were lucky enough to come across Jay Work. By adding him to the group, Thee Precisions’ sound would not be compromised when Steve was traveling with The Blasters, or later, Los Lobos (with whom he still performs). When Steve was in town, the two-sax attack was unstoppable—bands with bigger horn sections never made as much noise!
In 1982, Don Snowden decided to leave the group in order to concentrate on his writing. In walked Greg Stone, another musician saved from the go-nowhere bar band scene. Like Don, Greg played his bass left handed, which meant that the two guitarists could aim their respective instruments in opposite directions, giving the Phast Man more room to move on the small stages the group often performed on.
The loyalist of the group was Chris Bailey, who was the only member to play at every gig by Phast Phreddie & Thee Precisions. Able to swing, play a shuffle or bang out punk rock, he was the versatile drummer that Thee Precisions needed. After the band broke up, he joined the punk-metal band The Little Kings that included guitarist Gore Verbinski—who went on to direct the Pirates of the Caribbean series of movies.
Guitarist Harlan “Huey” Hollander was an excellent choice as guitarist—having moved to Los Angeles from Chicago during the late seventies, he was well versed in blues riffs. He was a great guitarist, a fine co-writer of songs and a solid band member. However, evil spirits haunted him. By the mid-eighties his priorities became misplaced. At that time, he actually owned season tickets for the LA Raiders football games but did not possess a guitar. In 1985, Jeff Jourard (of The Motels) replaced him for the final months of the group’s existence.
Others deserving of acknowledgement include Marty Jourard. His day job was keyboard player with The Motels. When he was in town and available, he added a second (when Steve was not available) or third saxophone voice to the group—for a couple gigs Thee Precisions boasted four saxophonists when Rick Arbuckle was briefly added to the sax section.
For two or three gigs, D.J. Bonebrake (drummer for the great punk group X) played vibraphone (the group worked up a rockin’ version of Lionel Hampton’s “Flyin’ Home” for the occasions). Others who performed with the group live or in the studio include Peter Case (Plimsouls), The Legendary Gene Taylor (The Blasters), Dave Alvin (The Blasters), Greg Burk (saxophone). After Greg Stone left the group in 1985, the bass player was John Ciambotti, who was a member of the group Clover that backed Elvis Costello on his first album. Honorable mention should be made for Benmont Tench (Tom Petty & the Heartbreakers), who once played organ with Thee Precisions (The group had asked a keyboard player--whose name has escaped--to join the group for a gig at The Club Lingerie. The keyboard player got too drunk to play very well. Halfway through the set the organ was sounding great, but it was Benmont playing it!)
Phast Phreddie & Thee Precisions recorded and released three records.
The mini-album West Hollywood Freezeout was recorded live in the studio with friends and family hanging out. It was produced by Dan Kessell and David Kessell—the sons of jazz/session guitarist Barney Kessell. Dave Alvin played a great solo on “Sloppy Drunk” and Steve’s creative playing can be heard on the extended version of “Goodbye My Love,” a James Brown ballad that was totally rearranged by Thee Precisions when Jeffrey was still in the band. It was issued on Martian/Bomp! Records. The cover was designed by Thee Precisions’ first drummer, K.K. Barrett of The Screamers and had an insert with notes by the writer Don Waller.
Limbo was recorded in a proper studio, again with the Kessell brothers at the helm, and it began with a wild introduction by Don Waller. D.J. Bonebrake, Peter Case, Gene Taylor, Marty Jourard, Eddie Munoz, Sid Griffin, Jeffrey Lee Pierce, Keith Clark and Arlo Zoos all appear on it. The group’s original songs (“Sweet Gin,” “Misery,” “Walk With Me Baby” and “Out in the Cold Again”) worked well alongside the covers (Wynonie Harris’ “Night Train,” Nappy Brown’s “Well Well Baby” and Les McCann’s “Compared to What” among them). The purple cover and insert artwork were by Tomata Du Plenty of The Screamers, whose art became very popular before he died in 2000. Liner notes were written by Chris Morris—now a popular radio disc jockey in LA.
After Huey and Greg Stone left the band, the group made some demos on Jeff Jourard’s 4-track cassette recorder. The backing tracks—guitar, bass, drums and saxophone—were recorded on two tracks at Dean Chamberlin’s rehearsal studio. The vocal and a saxophone over-dub, including the solos, were recorded in Jeff’s living room. Two of these five songs were issued on Phast Phreddie’s own label, Revelations 21:8, after the band broke up in early 1986.
Here are some early photos of the band.

This first shot was taken at The Club Lingerie in Hollywood, probably in 1981. Thee Precisions were one of the first bands to play there. Note Marty Jourard from The Motels blowing sax next to Steve Berlin; Don Snowden on bass; Poo Bah on drums; Huey on guitar. Phast Phreddie has his hair combed, has a nice suit on and is doing the watusi.
Phast Phreddie in phlight! Note Don Snowden's face on the right. Means it's an early photo of the band--he left the group in 1982. Photo was taken by our friend Chuck Krall.
Here Phast Phreddie is diggin' what Steve Berlin is putting down. Note the bottle of gin in Phast's hand. This means the show is from before August 1981, when Phast quit drinking. Photo was probably taken at the same show as the other above, but earlier in the performance, as Phast still has his jacket on. This photo is also by Chuck Krall.
Here, Phast closes his eyes and screams. Probably even earlier in the show as his hat is still on. I'll bet he wishes he still had that spiffy jacket! Another fine Chuck Krall photograph.
These two shots--in color!!--were taken at Club Lingerie. Probably 1983. With Greg Stone on bass. On the bottom shot, the sax players were, from left to right: Steve Berlin, Marty Jourard, Rick Arbuckle and Jay Work.
The Phast Phreddie & Thee Precisions story, more photos to come!!
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Lost in action: Greg Stone, Jay Work, Rick Arbuckle. Anybody know where they are, have them contact me through this site. Thanks....Phast