GEORGE KAMM

a.k.a. George Grimes

born August 14, 1965

died 2003

buried at Merton and Sutton Joint Cemetery

Garth Road, Morden (Merton, U.K.)

George was the primary songwriter for the group after its initial signing to Numa Records in 1983. 

Though "American Way" was the only song that was actually pressed on vinyl, Hohokam's stage show

included several other songs penned by George, including "The Back Room," "Shatter the Raindrop"

and "Spirit Of the Ancestors," much of which continued to explore the Native American motif.

INTERMISSION

1982

From LEFT to RIGHT:  Tony Edwards (Alum); George Grimes (Kamm); Steve Murtagh (Devier);

Dominik Taitt.

The group was originally called "Intermission" when Tony Alum and John O'Neill dropped the demo tape

into Gary Numan's letterbox in 1983.  Dave Scrace (a.k.a. Dave Earl) was not added to the line-up until

after the group were signed to Numa, and Dominik Taitt and Tony Alum were then the dominant

songwriters.  Afterward, though, when Taitt did not sign with Numa, George Kamm took on the

responsibility of being the group's songwriting shaman.

"KING"

NUM 03

The name "Hohokam" was proposed by George Kamm, whose lyrics showed a keen interest in the

culture and plight of Native Americans on the North American continent.   The picture sleeve of "King,"

therefore, highlighted the group's self-styled "Indian Warrior" theme, rather than the content of the song,

which its writer, Dominik Taitt, adamantly maintains had nothing to do with Native Americans.  Bandmate

Tony Edwards recalls, "George had a very strong idea of what he wanted for the band and he was

instrumental in shaping the early sound and look of the band.  The cover of 'King' was largely based on

his design and remains a favourite cover of mine to this day."

By the way, can anyone spot the artifact in the artwork that the band called "the bum"?  Apparently, the

sleeve's designer, Paul Ashby, did not intend it, but it commands subliminal attention all the same.  In

fact, given the phallocentric themes of the lyrics and the big ol' totem pole at the right, I tend to associate

the the feature more with a glans.  I guess it all depends on orientation . . . errr, the picture's, that is.

"THE AMERICAN WAY"

The reverse side of the "King" sleeve was actually entirely given over to showcasing the track written

by George Kamm, "The American Way," despite appearances.  Dominik Taitt, who actually wrote

"King," was left out of the loop and he is given neither written credit nor image attribution on the sleeve. 

Instead, Dave Earl is included--someone who was added after "King" had been recorded.  Dave did

play a major role in the recording of "The American Way," however.  Once again, the thematic

landscape of Native Americans both literally and figuratively dominate the sleeve artwork.

SLEEVE CREDITS for NUM 3

Dave Earl's name tops the list of the credits as the band's newest member.  However, he's also

credited with contributing something which, until now, was completely missing from the Hohokam

sound:  guitars.  Once again, Earl does not perform on "King," which was entirely a synth and

percussion composition.  George admitted in his interview with The Park fanzine in 1984, "Basically, we

are an electronic band, as you must have gathered--apart from the guitar, which we needed in the song

to give it the right feeling."  And, once again, the showcasing of Dave Earl's name points to the sleeve

attributions being primarily concerned with crediting "The American Way," rather than "King."

JUSTIN (LARRY) LOEBER, ON GEORGE KAMM

"I am very sad to hear about George Kamm. . . . I have fond memories of Hohokam and can't believe

that it's almost twenty-five years since I last saw those guys.  It's amazing how time goes by--his

untimely death is another reminder for us all to live life to the fullest, as I'm sure he did."  Larry Loeber,

as many will recall, shared Hohokam's spotlight as one of two supporting acts during Gary Numan's

Berserker Tour in 1984.

About the Photo:  The image of the band appearing on the sleeve of NUM 3 was taken outside of

Shepperton Studios during a recording session.  Its youthful line-up includes (from LEFT) Dave Earl,

Tony Alum, George Kamm, and Steve Devier. 

MANIFESTING THE HOHOKAM DESTINY

The sleeve concept, as stated before, was entirely dedicated to the Native American inspiration for the

band's new name.  The reverse side of the sleeve continued in this theme by using an old map of the

American Southwest that featured the tribal territories of American Indians.  Among these, the Hohokam

tribe is prominently showcased along with other groups, like the Cochise.  All evidence to the contrary,

George adamantly objected to claims that the group name was chosen because of this Native

American connection:  "Hohokam was the name of a Red Indian tribe, but we didn't really pick it for that

reason, but because we liked the sound of it."  Curiously, no one has ever admitted to the obvious:  that

George's alias is the last syllable of the band's new name; and that "Jo-Jo" (pronounced ho-ho in

Spanish) is a nickname for Jorge, the name that Mexican acculturated members of the Red Indian tribe

would have used instead of "George."  Hmmmm.

NUM 3 LABEL ~ SIDE A

Although the artwork and the sleeve of the NUM 3 single neglected to mention Dominik Taitt, the label

credits were scrupulously written to include him per the legally binding contract.   After Taitt signed off

on a release, Numa Records took possession of "King" and Taitt received several thousand pounds for

the song's copyright.

One other morsel of trivia:  "Mastered at Rock City Studios" alludes to the fact that "King" was released

in its demo form and cleaned up and remastered for the release of the single.

NUM 3 LABEL ~ SIDE B

As can be plainly seen, George Kamm received full credit for writing "The American Way."  The legal

and promotional delicacy of crediting Dominik Taitt whilst creating the appearance that Hohokam were

recording their own original material forced Numa to promote "King" as a collaboration between Taitt,

Kamm, Alum and Devier--a rather brilliant ploy when it comes right down to it.  However, no such

prestidigitation was needed for "The American Way"  once Kamm proved himself to be the competent

songwriter and lyricist that would make Hohokam a viable success.  Incidentally, "The American Way"

is the only Hohokam song credited to only one of its members.  Later, when Tony Alum took over the

main job of songwriting, all four band members (excluding Andy King as the unofficial fifth member)

consistently received co-credit on the record labels regardless of their actual contribution.

DOMINIK TAITT, ON GEORGE KAMM

"Good look, nice jackets (especially the fake leopard skin one).  Great Hair.  Could be quite a naughty

boy sometimes but he was really passionate and enthusiastic about his music and he could play. . . . I

last saw George in 1992 and we reminisced about the ’82 - ’83 days.  I played him a few tracks I was

working on at the time and he straight away started making useful arrangement comments.  I wish he

was still with us, God bless him.  He really did love his music.  I know he still would now if he were

around."

THE PARK FANZINE INTERVIEW

1984

Even before Hohokam toured with Gary Numan on the Berserker Tour, the band's popularity was

steadily on the rise--such was the popularity of the single,"King."  Nevertheless, as evidenced by this

interview published in The Park music fanzine in December 1984, the Berserker Tour was a lasting

boon to their visibility and their image.  Not only is The Park interview the first one for Hohokam, it is the

only such interview featuring George Kamm.  Several months after the interview was publish, Kamm left

the band and parted ways with Numa.

Read the full interview HERE.

TONY (ALUM) EDWARDS, ON GEORGE KAMM

"I was introduced to George through a very early manager of the band (then called Intermission). . . .

We were both pretty passionate about music and shared a similar taste in many groups so formed a

friendship based on that.  George was a keen songwriter and also played bass and keyboards, which

quickly established his position in the band.  (In fact, the original demo submitted to Numa featured a

George original alongside the "King" demo.) 

HOHOKAM PROMO CARD

1983

One of Numa's few publicity projects for the band apart from the music itself was this Promo Card,

made available to promoters and at the concerts.  Keep your eye on the outfits worn by the boys in this

photo.   There seems to have been only one photo shoot, since the same clothes and haircuts show up

in every Gary Numan newsletter, tour program and yearbook right up until the "Harlequin Tears" single.

HOHOKAM PROMO CARD SIGNED BY THE BOYS

HOHOKAM IN THE STUDIO WITH GARY NUMAN

Bereft after the loss of Paul Gardiner but hopeful at the prospect of a hit new act, Gary Numan relaxes

with Hohokam at Rock City Studios.  The success of "King" makes the Webbs take the band more

seriously, including plans for a music video for the next single.  Meanwhile, the cramped quarters force

sound boards and other equipment to become makeshift seating.

HOHOKAM IN THE REHEARSAL STUDIO

1984

Photo Credit:  Tony Alum

George Kamm is, presumably, taking this photo of the trio that would soon become the next incarnation

of Hohokam once Kamm left the group.  George had what many would call and "impish" personality,

which would clash directly with the Webb family when the group were traveling on the Berserker Tour. 

Pressure was brought to bear to make Kamm resign from the band. However, Tony Alum felt that other

personal forces in George's life were at work.

GEORGE KAMM

1984

Photo Credit:  Tony Alum

"He used to play a bit of guitar, but I think I banned that.  I'm not sure how George got involved in the

band but I must have asked him 'cos he was my contact.  He must have just "wanted" his way in.  He

was always into the music though. " (Dominik Taitt, on George Kamm's involvement in the pre-

Hohokam group Intermission)

STEVE DEVIER

1984

Photo Credit:  Tony Alum

Lead vocalist Steve Devier would set himself apart on stage with a martial arts routine featuring a

sophisticated choreography of numchucks.  Throughout his entire tenure with the band, however,

Devier was hounded by the critics and cajoled by his bandmates about his voice, for which he sought

professional coaching sometime in 1985.  Truthfully, opinions were divided as to whether Devier's

sometimes flat and mildly atonal qualities actually complemented the band's otherwise overpowering

techno sound (not unlike the way Gary Numan's voice seemed eminently sympatico with his own brand

of electronica).  One thing is certain:  when Hohokam evolved its sound in 1986 and began moving

away from techno, a different kind of lead vocals were needed.  Devier was dropped from the band and

remains, to this day, quite bitter about the experience.

BERSERKER TOUR PROGRAM NUM 3 ADVERTISEMENT

At the back of the Berserker Tour Program appeared adverts for the new releases on the newly formed

Numa Records label.  Just as Gary allowed Hohokam and Larry Loeber to share his stage in 1984,

Numan promoted their singles alongside his own, without favor or bias. 

BERSERKER TOUR PROGRAM FEATURES HOHOKAM

This full-page spotlight on Numan's support band appeared in his Berserker Tour program ostensibly to

promote its new single, "King."  However, the spread also included bio's and personal statements from

the band members about musical influences and hobbies.

A CLOSER LOOK

Tony Alum:  "Sadly, when we toured with Gary, George found it very difficult being separated from his

long time girlfriend and expressed his sadness to me on several occasions.  I'm sure this contributed to

his eventual split with the band.  For all his tough exterior I think George was much more sensitive than

he appeared and it was hard to see him so unhappy at points on the tour.  It wasn't all that way though

as George had a pretty mischievous streak and was always getting up to no good--much of it

unprintable!  We shared a lot of laughs on that tour despite it cementing the end of his relationship with

Numa.  Despite our differences I remember George for his passion and strength of attitude, he was a

very talented musician and I was always surprised that he didn't make more of a musical impact after

his time in Hohokam."

About the photo:  A detail from the Hohokam page appearing in the Berserker Tour Programme. 

Those same outfits, guys!  What gives?

BIOS AND ORIGINS

This closeup on George in the Berserker Tour Program revealed for the first time the origins of the

band, but also mentions George's work history as a DJ at a club called The Happy House.  Tony Alum

actually met George at the club and worked alongside him, which perhaps explains in some measure

the major techno and house sounds that shaped the band's early musical compositions.

BIRDMAN COMPETITION, BOGNOR

1998

1998 saw the 25th Anniversary of the world-famous annual Birdman Competition in the seaside town of

Bognor, U.K., in which contestants attempt to outdo each other in human-powered flight using a variety

of winged vehicles or (as is often the case) winged costumes.  Champion of the costume category that

year was George Grimes.  As reported in the August 24, 1998 edition of The Argus, "the fancy dress

contest was won by nightclub boss George Grimes, 33, dressed as the Red Sparrow to mimic the

famous Red Arrows."  Less than a fortnight after the Omagh bombing in Northern Ireland that left 29

people dead and many others severely injured, George pledged his £500 prize money to the bombing

victims after having already raised £400 for the cause before the competition. [More images due soon.]

HAMMERSMITH BERSERKER TOUR SHENNANIGANS

On the White Noise album, a record of Gary Numan's final performance of the Berserker Tour at

Hammersmith, the final number is interrupted by Gary's laughter.  The cause was this prank played by

Hohokam:  members borrowed women's clothing from several groupies and rushed the stage.  At left is

Tony Alum, and peeking out from under a blue wig is George Kamm.

LEICESTER GIG

Wearing punkishly dyed mohawks and Native American head-dresses, Hohokam members take to the

stage at Leicester to deliver one of the best received performances of their early career.

Nephew Barry Grimes initially notified the public of his uncle's death on October 16, 2005, with this

heart-wrenching post on IntuitiveMusic.com:

"R.I.P George Grimes (Kamm)--George Grimes (George Kamm) is dead so please anyone out there

who has a bad word to say about him, don't say it!!!  Let him rest in peace!!!  He was a good guy who

was young and impressionable and wished to live the rock star's life. But if there are any nice people

out there who can provide me with a bit more information about him and his life, please, please send it to

me at Uni_baz@hotmail.com. Cheerz, Barry Grimes"

THE SONGWRITER and THE MUSICIAN

1984

Photo Credit:  Tony Edwards

George Kamm took point as the group songwriter, and was actually quite a talented musician as well as

an interesting lyricist.  However, after he was forced to leave the group, he took with him the band's

entire repertoire of original songs, leaving nothing for the remaining trio to perform but "King." 

Afterwards, Tony Edwards stepped up to the plate to prove the group could continue with Kamm's

songwriting input.  "Harlequin Tears" is the song he wrote, and it virtually saved Hohokam from being

dropped by Numa.

It's rumored that Kamm later tried to start another band of his own, called "Badlands."  What became of

this venture, if anything, is unknown at this time.  If anyone remembers the group or its performances,

please contact me with some information.

THANK YOU!

My heartfelt appreciation goes to the following people, whose contributions to this memorial project in

word, image and deed were invaluable:

Steve Brown (Braun); Tony (Alum) Edwards; Justin (Larry) Loeber; Steve (Devier) Murtagh; Peter

Steer; Dominik Taitt.

A tremendous round of applause should go the George's nephew, Barry Grimes, who first initiated this

project with the support and assistance of the Grimes family.  Thank you, Barry, for your show of

courage and your faith in me to undertake this project with you.  I extend, not only my condolences to

the entire Grimes Family, but a standing invitation to submit at any time any further information, images

and media you desire in order to continue building this tribute in George's memory.

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