Bromo Hmnb and Ozly Poz had collaborated on a number of projects prior to settling into their tenure with The Scrub Babies like professors of rock into the university of roll. Their friendship indeed can be traced back to nocturnal jam sessions above the mean streets of South Minneapolis and late-morning music theory classes at the Minneapolis Institute of Art, where they learned to reject theory and embrace practice, though not of instruments, if that were seemingly implied.
In those formative years they wrote many of the beloved songs with which The Scrub Babies are now most identified, songs like “Honky-Tonk Blues,” first performed in the legendary attic on West 32nd Street, and “Rubber Boy,” composed in Ozly’s basement lair on Grand Avenue South; thus the highs and lows of the Hmnb-Poz collaboration, with respect to architectural elevation, were established in those storied early days.
When Taw Taw arrived with spoon in hand, the tonal Wunderhör that ensued convinced even the skeptical Ozly that they needed to head full speed like stampeding wildebeests on the verdant savannah, as Bromo might have put it if he had thought to do so, to the next level, though not architectural, if that were seemingly implied. And so The Scrub Babies came into being.
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