Toby Dammit

Bertrand enlisted Toby and his bassist Dana Schechter (of Bee and Flower), forming a trio to debut in Russia in 2003. Berlin became a new source of inspiration for Dammit, since recording the duet album "Morphosa Harmonia" with another lifelong friend; Bad Seeds drummer, Thomas Wydler. In those pleasurable sessions he met engineer Ingo Krauss, of Conny Plank Studios.

Bertrand came to New York City to perform with Toby in 2002. Toby surprised his French producer, as he performed an all-percussion tribute to Tricatel's roster of singers with an all-girl percussion section! Burgalat invited Dammit to become musical director of his prized Tricatel chanteuse April March. Toby redesigned Bertrand's complex studio productions for stage with dynamite New York musicians and they toured Canada, America, Switzerland and France.

In 2000 he started a record label in Hamburg, Germany called Hit Thing (English translation of "drummer" in German) with Guido Randzio, (who partnered the EuroRalph label with legendary band of mystery The Residents). They've since constructed an odd repertoire, combining renegade lost re-issues and new productions of Toby's. Dammit reunited with lifelong friend Luther Hawkins in Los Angeles to record together. Working alone in Luther's house with Grammy Award winning producer Mark Howard (Lucinda Williams, Tom Waits, Daniel Lanois, Emmylou Harris), they created the mysterious instrumental album called "Karny Sutra". Luther & Toby found warm receptions waiting, as American college radio embraced the odd atmospheres of "Karny Sutra".

Soon came his invitation to record a solo album at Tricatel studios and the official crowning of his name, both which Bertrand owned! New York record store Other Music released the "Top Dollar" sessions on their label Omplatten in 1999. A French connection continued, as Monsignor Dammit toured and recorded with French artists Paul Personne, Stephan Eicher and Keren Ann.

In 1997 Johnny Depp invited Toby to accompany him up the red carpet at Cannes Film Festival for the premier of his first feature film "The Brave," which Toby had painstakingly worked on with both Depp and Iggy.

In 1995 Dammit joined the New York band Swans, relocating to New York soon after. As word got around of his symphonic instrument collection, he harnessed a mind-boggling schedule of productions as a sought-after percussionist - notably scoring the short film "Apple Jack" with a handpicked 21-piece orchestra. While working obsessively in France with Iggy, he befriended French producer Bertrand Burgalat, who began inviting him to Paris for productions.

But his life changed dramatically when Iggy Pop claimed him for his own in 1990. Iggy showed Mr.

Dammit the real ups and downs in the world of show business, as they toured incessantly from 1990 to 1999. Despite seemingly endless international tours and the thousand familiar blurred faces in so many troubled places, life on the road proved Toby a survivor. Gradually, that buried symphonic percussionist raised a muffled head, as film score productions intrigued Toby.

Originally left on an East Tennessee doorstep to wander the wacky world of Appalachian orphanages, he found the trusting care of the most significant Tympani instructor in the American South. Tutored for ten years as a tympanist, he transformed into a symphonic terror in the Southeastern U. S. A. as a teenager. Mere sight of his arrival at regional percussion competitions left many an ambitious stick-whacker grinding their teeth on the trail back home. However Toby's duration in the grown-up symphonic world didn't last. He canceled another year of stuffy attitudes and puffy conductors - turning to teenage punk-rock nightlife and local bands. As the Tennessee walls closed in, he realized he'd have to leave, perhaps not to return. By 1986 he'd fled to California to live and work with Greg Ginn, founder of Black Flag and SST Records. His trail led him into the notorious cow punk band Tex and The Horseheads for a year. He fatefully met organist Luther Hawkins and together they performed with Paul Roessler of The Screamers. During this period he also made an album with producer Lou Adler (producer of "The Rocky Horror Picture Show", Mamas and Papas, and Cheech and Chong).