a onblur=”try {parent.deselectBloggerImageGracefully();} catch(e) {}” href=”http://photos1.blogger.com/blogger/1133/636/1600/03-01-06%20Kid%20Congo%20Powers.jpg”img style=”margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;” src=”http://photos1.blogger.com/blogger/1133/636/320/03-01-06%20Kid%20Congo%20Powers.jpg” alt=”" border=”0″ //a p class=”MsoNormal”Take a youth who has grown up during grunge’s peak years. More than likely this person, who’s now an adult, finds themselves mildly lost in the current musical landscape. They grew up during a period that is widely understood as a mix of other musical movements that had previously dissolved. Break grunge down, and you ultimately have punk; a period that combined unrivalled angst with a blossoming level of unappreciated creativity. With the previous statement in mind, where would someone who found themselves in the eye of punk’s storm find themselves today? With certain exceptions most bands, such as the Buzzcocks, and the oh-so-drab Sex Pistols, find themselves simply releasing material or touring to try and rekindle an emotion that they’ve long since lost. One such exception is Kid Congo Powers. Growing up in st1:city st=”on”st1:place st=”on”New York City/st1:place/st1:city, becoming president of the Ramones fan club in 1976, and finding residency as guitarist for The Gun Club are simply two early keys to the resume. As if that wasn’t enough, Brian Tristan would soon embrace the name Kid Congo Powers while playing with the Cramps from 1980-1984. Ultimately his departure would forecast what would become a trend his future, joining a rotisserie of bands, while developing a unique sound in each. Rather than becoming an artist burnt out by the scene he was influential in creating, he blossomed into a versatile musician through another stint with The Gun Club, st1:place st=”on”st1:placename st=”on”Nick/st1:placename st1:placename st=”on”Cave/st1:placename/st1:place the Bad Seeds and numerous other bands. With four releases in 2005 alone, his unique prolificness shows that not all performers artistically climax during the scenes they are best known for.br //p a href=”http://www.kidcongopowers.com/blackbag.mp3″Kid Congo and the Pink Monkey Birds “Black Bag”/a span style=”font-weight: bold; color: rgb(255, 0, 0);”(mp3)/spanbr /a href=”http://www.newyorknighttrain.com/recordings/kidpresskit/historyoffrench.mp3″Kid Congo and the Pink Monkey Birds “The History of French Cuisine”/a span style=”color: rgb(255, 0, 0); font-weight: bold;”(mp3)/spanbr /a href=”http://www.newyorknighttrain.com/recordings/kidpresskit/hangthemoon.mp3″Kid Congo Powers “Hang The Moon”/a span style=”font-weight: bold; color: rgb(255, 0, 0);”(mp3)/spanbr /a href=”http://www.kidcongopowers.com/power.mp3″Kid Congo Powers “Power” (Feat. Abby Travis Paul Walfisch)/a span style=”font-weight: bold; color: rgb(255, 0, 0);”(mp3)/spanbr /br /a href=”http://www.kidcongopowers.com/”Kid Congo Powers: Official Site/abr /a href=”http://www.myspace.com/kidcongoandthepinkmonkeybirds”Kid Congo and the Pink Monkey Birds: MySpace Site/a