The Fleshtones' story began in New York in 1976. Taking inspiration from a Ramones show at C.B.G.B.'s, guitarist Keith String, bassist Jan-Marek Pakulski, and singer Peter Zaremba began jamming together in a basement in Queens. Their choice of material was unusual for the time, drawing largely from the 'sixties. Their blend of garage rock, British pop, and funky soul formed the genesis of the sound the band proudly calls "Super Rock."

Not surprisingly, artsy and elitist New York punks were not, at first, impressed. Keith Streng recalled, "We were at first considered just a dance/twist band, unlike the seriousness of groups like Television. Other groups would look at us as a kind of mindless party band."

Mindless, maybe, but never stupid, The Fleshtones soon began to attract positive attention. Maybe it was their Shindig-inspired choreography or their pastiche of rollicking retro sounds, but the band gained a reputation as one of the most high-energy, entertaining, and fun groups in Manhattan. By 1978, they signed to Red Star Records and released one single before the label went "belly up".

The Fleshtones began the 'eighties on the upswing by adding drummer Bill Milhizer and keyboardist/saxophonist Gordon Spaeth. They signed with I.R.S. Records, and released the three albums, Roman Gods, Hexbreaker, and Speed Connection, that many fans consider their definitive work. In addition, one of their songs, "American Beat '84," was featured in the Tom Hanks' comedy Bachelor Party. Unfortunately, this brush with success did not last for long. I.R.S. dropped The Fleshtones when their sales did not match the label's giants, The Go-Go's and R.E.M.

After nearly two years without a record deal, the band signed with Emergo in 1987, and released Fleshtones vs. Reality. This foreshadowed the band's darkest hour when reality almost won. The group faced extinction as Emergo dropped them after only one album, and both Pakulski and Spaeth left to pursue other interests.

Zaremba lamented that time period, "I think that Fleshtones vs. Reality was a huge disappointment as far as availability, impact, and whatnot. We loved that record, we thought we did an excellent job. That was a period when most people thought that we broke up."

Better times lay ahead as the Alternative Music explosion of 1988-1994 was underway. Alternative rock finally gained legitimacy as a commercial radio format, evidenced by the mainstream success of Nirvana's Nevermind. Zaremba, Streng and Milhizer took advantage of this upward momentum and toured small clubs around the world. With former Jason and the Scorchers' bassist Ken Fox in tow, the band signed with Ichiban Records, and returned with Power Stance in 1992.

But the 'nineties yielded mixed fortunes. Although the group continued successfully on the nightclub circuit, their album sales were not spectacular. Ichiban would release two more albums, but the band was again without a contract by the end of 1996.

Necessity being the mother of invention, The Fleshtones took to the punk "D.I.Y." spirit, and self-released Fleshtones Favorites, a collection of remakes and covers. This caught the attention of Telstar Records, who repackaged the set as Hitsburg U.S.A. Two more releases followed: More Than Skin Deep (1998) and Hitsburg Revisited (1999). Currently, the band is working with Blood Red Vinyl, who issued their most recent effort, Solid Gold Sound, in 2001.

The past year has seen the group come full circle in a number of ways. While Solid Gold Sound marks a return to the sparse fuzztone and tremolo-colored arrangements of their earlier albums, the members now take pride in being pegged as a "party band."

Bill Milhizer: "We are a party band. Its so much fun being one."

Peter Zaremba: "I don't have any problem with being a party band. That's almost an honor. If we're an instant party starter, then all the better."

Ken Fox: "A good rock 'n' roll band, the majority, should have a party element. Otherwise, you're not a rock 'n' roll band."

On a bizarre note, The Fleshtones discovered an identically named bar band in Columbus. This identity crisis has caused more than a bit of confusion for central Ohio fans, who have shown up at suburban lounges, expecting to see Zaremba, Streng, Milhizer, and Fox, but getting something entirely different. The New York "originals" have contacted the Ohio "impostors," and it appears that a peaceful resolution will take place.

This case of mistaken identity should not be a problem when The Fleshtones visit Little Brothers on Thursday, February 28. Fans can expect a highly physical and animated band whose raw energy has never been fully captured in the studio. From the time the quartet marches out like an unwholesome drill team, they exude a party spirit that infects the packed house. With Streng and Fox doing choreographed moves behind the whirling dervish Zaremba, the dance steps never let up. Often augmented by a horn section blasting cheesy go-go dancer riffs, the band aggressively tears into their set list with as much energy as punk bands half their age. By the end of the night, not a soul in the club is sitting down. Everybody is exhausted, happy, and transformed to an altered level of consciousness.