The Getaway People

Boots — guitars, percussion, lead vocals
Honda — keyboards, backing vocals
Stone — guitars and backing vocals
Race — bass and backing vocals
Leroy — drums, loops and percussion

The Getaway People have been there. As in 50,000-some-odd miles of uproarious road detail across the USA. The Getaway People are going places. The vehicle? Turnpike Diaries, the New Jersey-by-way-of-Norway quintet’s irrepressibly infectious new album.

“These songs really are turnpike diaries–each one relates to an experience we had on the road,” says Boots of the record that grew out of the tour that supported The Getaway People’s 1998 self-titled debut.

And what a musically and metaphysically transforming trip it was. “The unexpected happened at least three times a day,” says Honda. “Going to all these places, meeting all these bands, being exposed to all this new music–opening for The Dave Matthews band in front of 30,000 people, playing radio festivals on a bill with everyone from Wyclef to Everclear.”

Just as the journey inspired lyrical story lines, it strengthened the group sonically. “Being on the road made us more aggressive,” explains Boots. “The record reflects everything we absorbed. It’s more hip-hop, but it’s also got more guitars–it’s got more everything.”

What, specifically, have the Getaway People got on Turnpike Diaries? The scratchy, slinky stylings of the celebratory first single “Six Pacs.” Groove-driven, street-savvy “There She Goes,” teeming with hot horns and a steam-girl Spanish rant. The trills and spills of “Come Love Me,” boasting a rap by the Roots’ Rahzel. But wait, you also get: Pogo-stick percussion on demented dancehall number “Sleepwalkin’”; punchy preacher’s improv on “Good Life”; the sleazy-lazy guitars and throaty vocals of “Soi Cowboy,” the best song Mellow Gold-era Beck never wrote. And, yes, much, much more.

Accessible has never been so eclectic, so daringly full of sound. “A lot goes on in our songs,” admits Honda. “When we’re in the studio, we force ourselves to try new avenues–everyone comes up with ideas, so we like to see if we can work them all in.”

The Getaway People formed in the small town of Stavanger, Norway, circa 1994. All the guys had played together in some band or other before (repeat: Stavanger is a small town). They shared an appreciation for similar musical styles and the ideology from which they took their name: “The Getaway People are trying to get away from it all, live extremely free lives–like everyone else,” says Boots. The Getaway People are a band that is still trying to get away from it all. “We’re looking for a way to live extremely free lives with the least amount of hassle like everyone is. Everyone’s getaway is different. One person’s getaway might be that on his lunch hour he does five minutes of yoga and it completely refreshes him. Someone else’s may have to take up model plane building. As long as you can find something that gives some sense of release; that’s what the Getaway People are about. And when people come up to us after shows and say, pretty much, that we’ve given them a new experience, we know that our getaway w orks for them too.”

Slackers, however, they never were, setting their sights on getting signed in the States instead of some little local deal (mission accomplished) and producing their first record themselves (check). When it came time to hit the studio again, the Getaway People were geared up with typical enthusiasm and humor–plus tons of tunes they’d written in the back lounge of their tour bus and on assorted mini-breaks.

“We produced our first record and wanted to stay in creative control of Turnpike Diaries,” says Boots. “But we needed someone who’d bring out the best in us.” Nick Sansano, he of the eclectic rsum (Public Enemy, Sonic Youth, Brian Setzer), was a natural choice. The band also brought Dante Ross on for “Come Love Me. “We wanted someone who could really bring out the hip-hop flavor, and Dante did the Everlast album and the new RUN-DMC,” says Boots. “You can find the issues in all our songs, we just don’t cram them down your throat,” says Boots. “We use the grooves to lure you in. Once you’re caught up in the groove, listen to the lyrics and see where it takes you.”

Wherever that is, you’ll be glad you went.