Self-styled "preppy punques", Needle Dik first appeared on the Columbia University scene in the fall of 1977 as an acoustic trio, but by the following spring, they were a fully electric quintet performing at virtually every frat house, auditorium and dorm on campus. The Diks eschewed the emerging synth-pop trend, crafting their own unique blend of "Blue Wave" and "Sophist-o-Funk", combining hard, rockin' Chicago blues with a relentless, disco-influenced backbeat that could cajole even the stiffest crowds to dance all night. The Columbia Daily Spectator described guitarist/vocalist Kevin Trainor as "a cross between Mick Jagger and Elvis Presley" and compared Bob Pomeroy’s harmonica style to blues legend, James Cotton. By 1979, Needle Dik’s growing reputation expanded beyond the Columbia campus and into New York City’s downtown club scene with gigs at CBGBs, Dan Lynch’s, Max’s Kansas City and Tramps, opening for influences like Big Joe Turner, J.B. Hutto and Roosevelt Sykes. In addition to their idiosyncratic takes on blues and R&B standards, a typical Needle Dik set featured tasty originals like "Directions”, “Blues for Christmas”, “Breakfast Special”, "Finders Keepers”, “Look Tough”, "Oedipus Rex” and "Toyboyz”. Yet as much as the Diks' sound was based on straight-up blues, the group evinced some of the era’s punk sensibility. Oozing New York attitude, "we just play for ourselves and if other people enjoy us, that’s great”, guitarist/vocalist Larry Blasius said in a 1981 interview. "But if they don’t, well, fuck 'em if they can’t take a joke. We’re gonna milk this sucker for all its worth. Who knows? Maybe someday someone will notice us." Perhaps that day has finally arrived….