Pete Weiss & the Rock Band's first new album in 12 years: Sex Contest PW&RB existed mostly from 1995 till 1999. They played loud, unpredictable, garagey sets around Boston and occasionally ventured into middle America on "mini-tours." The band consisted of producer/engineer Pete Weiss (later of the Weisstronauts and Sool), Stephen Fredette (ex-Scruffy the Cat), and Emily Jackson (ex-Sally's Dream.) During its active period, PW&RB released two critically-lauded albums that were seen as odd-yet-accessible, somewhat subversive, and wildly diverse. Their fake-jazz instrumental "That There" has been regularly used as bumper music for many NPR programs, such as Morning Edition. After disbanding in late 1999 due to illness and various logistical factors, the band members ramained busy with other musical projects. Unexpectedly, and happily for their loyal fans, Pete, Stephen, and Emily reunited in late 2012 to record a full-length album of new material. Working with British co-producer Adam Fuest (Babyshambles, Big Audio Dynamite, Mott the Hoople etc.), they banged out their 3rd album, "Sex Contest," in just four days at Weiss' Verdant Studio in rural Vermont. ""Sex Contest" may be our best, most cohesive album," says Weiss. "There are funny songs ("Ermahgerd!"), dark songs ("Graveyard of Love," written by Charlie Chesterman), a pop cover (Tracey Ullman's 1983 hit "They Don't Know"), and even a garagey tune about non-linear audio recording ("Audio Janitor"), but they all share a spontaneous live-in-the-studio feel. You can hear the fun we were having in the studio. I think taking 12 years off really recharged our batteries! And we're all better musicians now, too." A one-off reunion show took place on Sunday October 13 at Radio in Somerville, MA, with special guests Rattle Heatre (also reuniting), Butterscott, and Shaun Wolf Wortis. Here's a review of the band's second album, "We're An American Band," from the Louisville Observer: July 19, 2000 WE’RE AN AMERICAN BAND, Pete Weiss and the Rock Band (Section 304 Records). The opening track, a mostly by-the-numbers take on Grand Funk Railroad’s “We’re an American Band,” belies the depth and wackiness of the journey that is this album. From the opener we go into “Jeden Po 909,” perhaps the most bizarre cover of any Beatles tune ever. Other highlights include “Zippah Studio Theme,” which truly sounds like a 1970s-era advertisement for the studio where this disc was recorded, and the instrumental “Boogie Me Timbers.” Pirate rock? Don’t ask for an explanation, just listen and be open-minded. And maybe a little stoned. —Kevin Gibson