"Philip B. Price understands the full potential of this kind of very basic and common song. I mean to say, he understands nothing. His life is lived in songs, his body has been exchanged for singing, and shared out in music. He has no easy way to subtract from us the pain of loss – all he can offer us is the fluidity a moment can be lifted into by singing – he can make us grateful here and now, as ee cummings put it 'still further, into now'.  Philip is just as vexed as you are about how past moments only leave afterimages at best, and how vulnerable those afterimages are, and how inconceivably subtle the basis of our awareness really is – does it have any basis at all?" - Paul Baumann


"The songs remind me of Joseph Cornell boxes. That’s because, beside the framing of the structure, they are (or contain), in one sense, reliquaries. There is often an amber hue, or red-shifting that goes with the fact that the songs are saying: here is something precious, something being kept, which we see through this (variously) translucent material, time. Memory has two sides – its all that keeps our past experiences; but the experiences themselves are also utterly inaccessible, gone. The opportunity to feel the impact of that absence is a dimension of the emotional generosity of these songs." - Paul Baumann



"Why does the lizard stick his tongue out? The lizard sticks its tongue out because that's the way its listening and looking and tasting its environment. It's its means of appreciating what's in front of it." – William Shatner

An ambitious, productive, romantic band (5 self-released cassette albums, a vinyl EP, 3 CD's and a 'best-of' collection) that barely toured, was overlooked and overworked (day jobs), hovered just under too many radars, signed with a well-funded & hopeful label that sadly died just before the album was released, and not long after that the band itself broke up, after too many member shifts (4), divorces, custody battles, 3 managers, and various other unsurvivables. 1993-2002. RIP.

1993-1994: Rich Dart, Max Germer, Julie Keller, Philip Price

1994-1994: Max Germer, Mike Hart, Philip Price, Meg Taylor

1994-1996: Max Germer, Philip Price, Stuart Wrigh

1996-2001: Max Germer, Adrian O'Carolan, Philip Price, Stuart Wright

2001-2002: Adam Greenberg, Ken Maiuri, Philip Price, Stuart Wright



"Memorial Garage juxtapose sub-Gang of Four aggression with exceptionally beautiful moments." - The Woodstock Times


Memorial Garage was the brainchild of musicians Philip Price and Antony Widoff, who met and started creating music together at Bennington College in the mid 1980s. Before Memorial Garage was born, Philip and Tony had orbited around several musical entities with names like Fold, the Customers, Big As A Hut, and Zpam Delila, usually with Tony's younger brother Adam Widoff and a drum machine providing beats, and playing their own songs as well as covers of songs by the Minutemen, Roxy Music and Japan.

In early 1987, Doug Ryan joined the fray and Memorial Garage was born. A friend named Lisa came up with the name by accident when Philip, describing his project with Tony, told her he wanted to make music with "more of a garage band sound." She nodded and said, "Who is Memorial Garage?" The band released only 2 albums on cassette in the time period they existed, consisting of 16 songs -- but much of the all-original material they played live was never well-recorded or released, comprising over 40 songs and hours of more experimental things. A lot of that material exists on rehearsal and live tapes, and an archival attempt is being made.

what was it?

The music was angular, jagged, self-deprecating, hysterical, with a weird soft-pop side that would emerge on occasion. The lyrics were emotionally distant, self-referential and often hilarious. The sound was dense, with a trebly-twangy bass playing off two very different sounding guitars (one, a basic Fender Telecaster jangle, the other, a technically frightening and shrill Kramer), all this working hard with imaginative and rocksteady drumming. On top of this pumice-filled bed, the lead vocals were, as stated, hysterical, Irish-tenor, sometimes pretty, mixed with the throaty harmonies of the bassist. The band played frequently in New York City and occasionally in their home town of Woodstock, NY. They were a decisively non-commercial band, on one level having no inkling and little inclination to market themselves "properly" and on another being rather politically opposed to the whole notion. It might be safe to say they were a very "art for art's sake" kind of band, though not everyone would agree. 

A June 16, 1988 Woodstock Times article about the band said: "Memorial Garage is hard to describe. The high level of musicianship here is played down. No one takes lengthy solos. All shine through the ensemble playing. Challenging and rhythmically chaotic passages are sandwiched betwixt bozo dance sections. Price and Widoff's neurotic vocals demand your attention constantly – yep, this has 'indie' stamped all over it. Never fey nor arty, Memorial Garage juxtapose sub-Gang of Four aggression with exceptionally beautiful moments. 'The Goriest Art' in particular is a testament to the group's sense of prudence and melody. 'My Life As A Priest is Coming Apart' displays equal skill in the jerky pop department."