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26.10.2014
The ALCO Century 430 was a four-axle, 3,000 hp (2,237 kW) diesel-electric locomotive of the road switcher type. New York, Susquehanna and Western ALCO C430 Number 3000 brings back alot of great memories when I would see it roll through Utica alot. New York Night Train - home of the distinctive 45rpm "maximum rock'n'soul" DJ sets and wild parties of Jonathan ToubinVillage Voice 2015 "BEST DJ"! James Chance arrived in New York from his native Milwaukee in the mid ’70s, hauling his saxophone and his given surname, Sigfried. It was a nice locomotive to watch pull trains espeicailly the Utica and Mohawk Valley CHapter NRHS fall folliage excursions that ran from 1989 to 1992. Toubin and Styles, DJ Pasta from New Orleans, Ian Svenonius of Make-Up, Kid Congo Powers, Howie Pyro (Danzig, D-Generation, Blessed, etc), and many other prestigious Friday guests.


Cataloged as a part of ALCO's 'Century' line of locomotives, the C430 was an upgraded version of the C425 model. NYSW 3000 would always handle the freight trains bound for Binghamton on the old DL&W line through Utica. Maybe more than anyone else in the so-called No Wave set, Chance was fascinated with black music of the era, and with The Contortions, sought to integrate the horn-spiked stop-on-a-dime rhythms of funk and the heady freedom of Ornette Coleman’s sax playing with the confrontational and political theatricality of punk.
A tight rhythm section provided the band’s funky skeleton, while open-tuned slide guitar, lurching organ, squawking sax, and all manner of groans and yells gave The Contortions their wild dissonance. Even today, with numerous bands in the post-punk renaissance acknowledging their indebtedness to No Wave in general and Chance in particular, The Contortions’ blend of organized twitchiness and raw anarchy sounds remarkably unique.
I am hoping one day it gets donated to the Utica and Mohawk Valley Chapter of the National Railway Historical Society for restoration.


But like the scene to which they were so central, The Contortions burned out quickly, releasing only one album, Buy the Contortions, along with the four songs they contributed to Brian Eno’s legendary No New York comp. Chance soon resurfaced as James White (in honor of James Brown) with a new band called The Whites which actually featured almost the same personnel as The Contortions.
Part parody, part homage, part smirking catastrophe in action, James White and the Blacks moved away from the punk that had defined their earlier incarnation, and towards a fusion of the soul, funk, and free jazz with disco that ranks as one of the weirdest musical hybrids of its era.



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