SHITTY DARKNESS - Demo - CD-R - 2011

    These stupid little CD-R's are not built to last and I found this one rolling around in the bottom of a filing cabinet, all scratched up but still playing perfectly. SHITTY DARKNESS barely caused a blip during a brief tenure in their hometown of Athens, GA, serving as a pit stop between the bands CARRIE NATIONS and WADE BOGGS. Ian wrote these songs after (and during) the demise of CARRIE NATIONS and brought them to his new band PILLOWFORT, which maybe kinda morphed into SHITTY DARKNESS. They recorded this demo and then (I think) Ian broke the band up, only to have all (or most) of these songs reappear as WADE BOGGS songs a short time later.
   But if we get past hazy facts and just get into emotion, these songs are sooo catchy in their raw pop presentation. It reminds me of why I (and you) was up front at CARRIE NATIONS shows, screaming the words on the verge of tears. Put these songs on your stupid digital device, walk to the top of the tallest hill in your town while listening and see if you're not walking faster and feeling like a wet hundred dollar bill once "Senior Citizen" hits your ears. (If you don't have hills in your town, just walk downtown and glare at people until someone tells you to go away. If you don't have a downtown, walk into the field and scream these songs until your voice goes hoarse, even if you don't know the words). After all that, walk yourself over to Athens, GA and ask Ian what songs he's writing now. If he comes up empty handed, tell him the world needs his music now and always. (it's true, Ian.)

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If you need more music by this guy (you do), he was also one of the responsible parties for WELCOME HOME, NEMO.

YOUR HEART BREAKS - Tour EP - 2003 - CD-R

   This is not the first appearance of YOUR HEART BREAKS on the blog. For more info, you could look here or here or even here (kind of). This was my first introduction to the band though and I would blast it through my headphones while walking around in the cold of the small Midwestern college town where I used to live in 2004. I didn't know Clyde (the main songwriter and core member) that well then, but I agreed to quit my job and roadie for his other band for a month anyway. Sometimes I look back on that trip as a mistake, but most of the time I know that it wasn't because it solidified our friendship in many ways that might not have happened otherwise.
   On the tour, I would sit behind the merch table while oogles talked to me about their dog or people handed me a beer or a college student would hand me a check for a few hundred dollars. I would sell their band's music and sometimes people would pick up this YHB CD. I'd sit there and try to sell them on it while they looked at me skeptically. "Yeah, it's this broken hearted queer pop music...no, it's not folk-punk...no, it's not on Plan-It-X records....yeah, I know that Rymodee from THIS BIKE IS A PIPEBOMB is listed as a member but he only plays the harmonica on one song for about 45 seconds...but, anyway, YOUR HEART BREAKS is this really cool...huh? Yeah, I know Rymodee and his band..yeah, they're really nice....no...I, I don't want a CD-r of your folk punk bedroom project...yeah, I've toured with them.....so, anyway, this CD is like this cool pop band and....oh, yeah, there's a beer store right down the street. No, I don't have any extra beer for you but a tall can is only like $1.50 over there...okay, thanks, bye."
    Most of the time, kids would buy this YHB CD after seeing that Rymodee played harmonica on it and after I explained that he only played for a minimal amount of time. I would sit there and hope that they would get past that. I liked to imagine that we were coming into some of these small towns like Goldsboro, NC (where the band was asked to not use "curse words" at their show)  and passing along this nugget of queerness into a deeply religious military town. Like, maybe they listened to the words and discovered some new shit about themselves and didn't feel so alone. Maybe they started their own queer pop band and helped marines come out to each other while realizing that it's not really a bad thing to be gay around a bunch of really fit men. Maybe it helped them realize that they needed to get the fuck out of that town and never look back. Or maybe they just filed it away in a pile and never listened to it again.
   I like these songs a lot. I'm pretty sure it's the only time anyone has sang anything about the band NEW BAD THINGS.

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YOUR HEART BREAKS is still a very active band and only gets better. 

Clyde made an amazing movie called Torrey Pines and he'll be touring the US with it this fall and winter. 

VARIOUS ARTISTS - "We Will All Be Well" - Tape - 2006

   My friend Monica was attending all kinds of shows in the Bay Area (and beyond) ten years ago and she usually had some kind of recording device in tow. That recording device was often a thrifted (or lifted) handheld cassette player that might have been better off lounging away in a dumpster, but Monica dutifully dragged it around and captured some moments in backyards, dark basements, toxic beaches, bars, rock clubs, living rooms and the places in between.
   She made this compilation of some of the moments and mailed it out to friends in an edition of 15. It came in a screened cloth bag with typed out track listings and a feather. I've had this tape for ten years now and have been thinking about sharing it on here since the beginning of the blog, but most of the sound quality is abysmal. Sometimes, the tape hiss is just as loud, if not louder, than the songs themselves, but I think there are special moments on here that deserve to be shared. It's up to you to decide which moments are special, if any.
    If you listen to this on headphones, it would be a good idea to keep your hand near a volume control. Some of the songs are almost inaudible, mostly tape hiss and come out of one speaker. Some are clear, LOUD recordings. Some of the bands were never heard from again. The compilation is all over the map. Some (not all) of the bands included within are THE BOOKS, SEXUAL RITES, LIL RUNT,  MIRAH, NEUTRAL MILK HOTEL, ONE REASON, J.R.R. TALLCAN, DAVID DONDERO and about 20 more. Enjoy or don't.

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GOURMET SCUM // LANDLORD - "Scum Lord" - Split Tape - 2008

   LANDLORD starts off this tape with their ragged style of classic rock as viewed through a punk lens. Maybe you'll view it differently, but I really think they sound like a classic rock band and I'm into it. I don't really have any good stories about LANDLORD, but I can tell you that I've watched them play many, many flawless shows (and a few bad, stoned ones) and they once gave me a ride from Tennessee to Indiana wherein we dumpstered a pretty good pizza. All of the songs on their side of the tape are instant classics. You can find more stuff by them on Houseplant Records, Dead Broke and a label I won't mention because they continue to further the careers of irrelevant, misogynist, money-grubbing fuckheads.

   On the flip side, GOURMET SCUM tells your brain to fuck right the fuck off. Seriously, I don't know what they're doing on this recording because it sounds so fucked up. They play their noisy ass sludge, blown out through tape hiss and an impenetrable cloud of weed smoke. They're possibly the only band in the world who plays stoner sludge through the cheapest amps possible while singing almost exclusively about Degrassi Junior High. You can find more about them and more fucked up recordings right here.

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This tape is long out of print and was released on Magnetic South, a fine record label and recording studio out of Bloomington, IN. They specialize in some really great analog music and wild freak out jams by such amazing groups as PUPPY VS DYSLEXIA, APACHE DROPOUT, THEE TSUNAMIS and (my personal favorite) PSYCHIC BAOS.

UKE OF PHILLIPS & ERIN TOBEY - "Live On The Phone" - Tape - 2005

     Ever since I was a kid, I've always loved the sound of AM radio, lo-fi recordings and the way that music sounds over the phone through those tinny speakers. Put me in a tour van driving through the middle of the US at 2 am and I will guarantee that the radio will be tuned in to Coast To Coast AM. If that's not available, I'll be scanning the AM radio stations anyway. I also love it when any band has a sample of music being played over an answering machine. Once, an old friend called my house when she was at an X show and held the phone by her side for most of the show. My friends and I put it on speaker-phone and danced in my bedroom. It sounded amazing. So, imagine my delight when I stumbled across the radio show, "Phoning It In", which is comprised entirely of musicians calling in to the radio show and playing their songs over the phone!  

   The radio show ran from 2005-2011 and featured artists ranging from DANIEL JOHNSTON to DANIEL HIGGS to BILLY CHILDISH to SARAH DOUGHER to JULIE DOIRON to USAISAMONSTER to everything in between. Their archive is insane and impressive (and can be found here)(and here's another link)

   This tape compiles two separate 2005 performances by ERIN TOBEY and UKE OF PHILLIPS. Erin plays her otherworldly, nimble-fingered songs over a land line from the back room of a now-defunct punk warehouse called The Ark in Gainesville, FL (Fun Fact: A fitness club has now opened up in that warehouse that once hosted so many punk shows and debaucherous parties. That club is called...wait for it...The Ark). The tinny sound of the phone gives her songs a beautiful, faraway feel that is warm and enveloping. You can find more music by Erin here and a lot of her fantastic art here. 

   UKE OF PHILLIPS phone in from tour during a stop at MARS in Missoula, MT. They alternate between their gutter country/folky songs and just being totally "out there". On this recording, the group consists of Dan Beckman, Matt Beckman and A.M.O.S. Shit gets really weird at some points. It's cool. You can find way more stuff by UKE right here and you can find newer stuff here. Keep up with their rare appearances on their blog.

    Not so fun fact: When I went to digitize this tape, I accidentally put it in the wrong deck and the stereo immediately chewed up the analog tape and mangled it beyond all repair. I just looked at it helplessly and then just nailed the damn thing to my wall. Erin Tobey was nice enough to email over the tracks of both artists for you to enjoy in the digital realm. So, thanks Erin!

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LEG - Self Titled EP - 2002

   LEG, according to their record insert, started as a joke because their friend needed an extra band to play a show. Then, they just kept existing. Listening to their songs, I can tell that they're definitely no joke. Over the course of the few shows I saw them play (always in cramped Indiana basements), I could tell that they didn't take themselves too seriously, but still invested serious time into developing finely crafted pop hooks. Jim, the guitarist, had a bit of a lazy handed approach to playing and sometimes sloppily strummed his guitar, but then he would pull off some wizardly genius hook that let you know that he knew exactly what he was doing. After seeing them, their songs would be stuck in my head for days. I was in a band with their drummer, Matte (GIANT BAGS OF WEED), which is initially why I paid attention to LEG in the first place. When I would hear them practice or see them play shows, I soon felt like Matte and I were the ones in the joke band.

   On this recording, LEG is a four piece band with their original singer, Nick. I only saw them play with him once and he had some of the weirdest dance moves I had seen at that point in my life. Kind of like a failed marionette puppet being controlled by a blacked out senior citizen. After recording this EP, LEG became a three piece with Jim taking over on vocals. The songs are punctuated by Jim's clean guitar tones and insistent down-stroking.  I think Jim and Chris were into a lot of indie rock and took some influences from that, but I couldn't tell you what those influences were. A poor man's BUILT TO SPILL? SWIRLIES? I don't fuckin' know. I do know that I really like this band and these five songs are firmly lodged into my brain for life. If you're late to the game, now is a good time to let LEG into your life.

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I don't really know what any of these people are up to now. Matte played in NANA GRIZOL, LANDLORD, GNARX and a lot more bands. Jim put out a lot of solo stuff under the name BAD KNEES and his own given birth name. You can find his music here and here (his cover of the song "A Slippery Subject" is one of the saddest things I've ever heard....I mean that positively). Chris played in Bloomington goth act TURN PALE and a pretty good JAWBREAKER cover band. I'm sure he did more too, but I don't know what it is. I like to imagine Nick dancing like a maniac...where ever he is.

This record came out on Half-Day Records in 2002. I think the band also had a tape, but I kinda think it was the same songs. I've never owned or seen the tape. 

THE BABIES - "West Coast Tour" - Tape - 2010

   THE BABIES came out to San Francisco back in 2010 and played the basement of a seedy, beautiful bar in Chinatown. I went to see them simply because I loved the song "Somebody Else" and my friend, Naters was playing bass for them at the time. The opening bands were largely popular SF indie rock acts and the basement was packed to the gills with the kinds of people I don't usually find myself hanging out with (take that however you want), so I spent most of my time kicking it on the street out front with Naters. When THE BABIES set up to play, the basement (unfortunately for them//cool for me) had cleared out a little bit and there was room to dance. I didn't know anyone at the show, so I just stood up front and danced the whole time. It was fun. They were great, because they're good at writing simple, yet infectious pop melodies. Plus, they have a steady drummer who hits the drums like he's pounding a cop's face, even though that's probably not how he thinks about it.
   I bought this tape expecting 20-something minutes of pop excellence, but that's not really how it turned out. Once I got over the disappointment, I found out that this tape is still pretty good. It's compiled mostly of warbly acoustic home recordings and some full band compositions as well. Everything on here sounds like it was recorded on half-inch tape that has been stored underwater since 1966 and then played over an AM radio broadcast from South Korea, which gives it a little bit of a VELVET UNDERGROUND "White Light/White Heat" kind of vibe. When I was digitizing this tape, I texted Naters and asked "Is this supposed to sound warbly and distant or did I just get a bad tape?" Nate simply answered "yes", which is a perfect answer. The longer story is that even though someone might be in a legitimately famous band, they still sometimes use their friends shitty ass tape duplicator that turns a perfectly good recording into something that sounds like a 4th generation dub from the bottom of your shoe box of cassettes from 2nd grade. Still, most of these songs are gems below the surface. Have fun digging into it.

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Ex-members of THE INSURGENT, BENT OUTTA SHAPE, BOSSY, SIX PACK FOUR, RINGERS, CREEPY ALIENS and some other stuff.

Hopefully, the band won't take me to the People's Court for posting this. 

BROKEN STRINGS / ICKY GIRLFRIENDS - Split - Tape- 2006

   I was just gonna write "fuck you" for the entire text for this one, but then decided against it. I don't really know anything about this tape. BROKEN STRINGS is Adam from TOMMY LASORDA, RAINBOW BRIDGE and LOS RABBIS playing home recorded solo stuff. He put out an LP a few years ago under this name that was just phenomenal. These two songs are more lo-fi (somehow) and "out there". I like them a lot.
  ICKY GIRLFRIENDS were screaming out of weird little holes in the Bay Area some years back and they completely eluded any notice from me. I never really knew they were there until they were gone. This tape is the only thing I've ever heard by them and it sounds like screamy, bratty teenagers having more fun than I was in 2006. Their full length CD is still available from Starcleaner.

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This one is from the bag of Mike Wilson's tapes on my floor.

WHITE TRASH SUPERMAN - Tape - 1994

   For long time readers (or those of you paying attention), this one will be familiar because I've already posted this tape. The reason I am reposting it is because this is one of the first tapes I ever posted on this blog and I had no clue what I was doing. The mp3's in that file sounded awful, but I posted them anyway because I thought absolutely no one was paying attention to anything on this blog. I was wrong. I've been meaning to replace the files for a long time now, but never got around to it. Ever since Mediafire suspended my account, it has been pretty easy to decide which files to re-upload. This one was at the top of the list. If you downloaded this in the past, please delete those files and download this one instead. You will be much happier with the results.
  I only saw WHITE TRASH SUPERMAN once, at a pizza place in a mall in Huntsville, Alabama. It was 1994 and I had no idea that these hair farmers were going to write my favorite song of all time. I also didn't know that in 3 short years, I would be playing in a band with one of them. No...they were just these 4 guys playing these energetic pop songs that are maybe just too wacko or adrenaline-filled to be simply classified as "Indie-rock". They probably spent more time in the air than on the ground. They were jumping around the whole time in this excited way, like they were thinking "Holy fuck, I can't believe 20 people showed up to see us!" You can't really tell from this tape, but their live shows were kind of insane. At their last show ever, the audience was throwing cans of Spam everywhere and a lot of stuff got broken, including the bass players leg after a guitar got hurled into it.
    In a perfect world, these guys would get written up in the indie-rock history books alongside SUPERCHUNK (who are great) and whatever other garbage those people like. Alas, this is our world and WTS wrote my anthems. Songs like "Clock", "Rocket" and "Thumb" have been hopelessly stuck in my head for years. They also wrote "Couldn't If I Tried", which is, in my humble opinion, the best song ever written. This is golden stuff here, my friends. If you head over to the WTS entry on Terminal Escape, you will have everything this band recorded in their short time on Earth. It's all great.
    Marsh went on to play in THE COMAS and now plays in THE OVERNIGHT LOWS with his wife of 14 years, Daphne. I never really knew Steve or Jamie from WTS, so I can't tell you they went on to do. I can tell you that Jayson went on to form THE GRUMPIES a couple of years later. These days, he is making amazing art (as he has always done) and playing music with WACO DEAD and MING DONKEY ONE MAN BAND. He also didn't ever get any credit for writing the guitar hook for that famous BLIND MELON song or for getting baked with Slash from G'N'R (all true).

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The abrupt cut off at the end of "Lb" is how my tape ends. It wasn't a mistake on my part.
Also, this is the 300th post on this blog. Thanks for reading this far.

TOMMY LASORDA - Demo Tape and 7" EP - 2001-2003

   You may remember a while back when I told you about the teenage punk band LOS RABBIS and all of their exploits (or some of them) in the Bay Area. Mike and Adam, who made up half of that band were also wailing away at another band called TOMMY LASORDA, where they constantly traded off instrument duties. The latter appeared to take the teenage freakout abandon of LOS RABBIS and mold it into wildly addictive pop hooks. They didn't ever have an easily classifiable sound, but they seemed to take equal parts of HICKEY, MELVINS, BEAT HAPPENING and anything else rattling around on their bedroom floors and just meld it into some kind of low-fi hodge-podge that was wholly their own.

"Planetary explorers" - Provided by the band.

   LOS RABBIS were supposed to come to Chattanooga many years ago when I lived there, but they ended up cancelling due to a family emergency (possibly?). Less than a year later, I got a call from Mike or Adam asking if there was a show that TOMMY LASORDA could jump onto that night because they would be driving though Chattanooga. Luckily, there was already a show set up for RESIN at our all-ages space, so I told them they could jump onto the show, even though I had never seen or heard TOMMY LASORDA in my life. They showed up in a busted ass minivan and loaded out their shit to play first. They played their hearts out to the 20 or so people in attendance, belting out two-minute-or-less ragged punk songs; each one better than the last. At the end of their set, they played "King Solomon's Reef" (included on demo tape), which is a complete departure from all of their other songs (to put it lightly) and blew my mind. I didn't watch the other bands that night because I knew that it wouldn't get any better than that (luckily, for the other touring band, the room soon filled up with people and weed smoke).

TOMMY LASORDA live at Rear Entry in Chattanooga. Photos by me.

    Later, after I moved out to SF, I was "working" one day at Mission Records when Adam and Mike walked in. They asked if they could borrow an extension cord. I rummaged around and found one behind the counter. I asked what they needed it for and Mike casually said that they were going to play a set at the BART station as the two of them walked out the door. Sarah T and I hurriedly locked up the gate to the store and rushed down there. Five minutes later, I saw one of the best sets I ever saw by the band in the middle of the day, as they played to drunks, freaks, commuters and addicts on the street corner. Mike started off the set by saying "Hi, we're TOMMY LASORDA and we really don't give a fuck!"

TOMMY LASORDA at 16th and Mission (a different time). Pic provided by the band.

   This download includes both the band's demo tape and 7" Ep, which was released by S.P.A.M. Records. The demo tape is chock full of classics, in my mind. The tape kicks off with "I Can't Swim", which passes itself off as a lackadaisical pop song until the screaming kicks in. Its followed by "Artful Dodger", which is a slice of catchy genius. Later in the tape, the listener is greeted by "Mr. Frogman Superhero", a song that suffers from something I like to call "The Sugar Bear Syndrome". Let me explain. When I first heard the beginning of the song "Sugar Bear" by THE BANANAS, I thought "Oh my god, this song has stupid cutesy lyrics. I almost can't listen to this". Then, the whole band kicked in and it became the best thing ever. This TL song did the same thing to me when I first heard it. Recently, I listened to the TOMMY LASORDA song 20 times in a row and loved it every time (nevermind that I was on a plane over the Grand Canyon, freaking out and on pills). The EP does not let up one bit and is just as good as the tape. "Racing My Ego" off of that record has been a mixtape staple for years. 

   As I've mentioned before, maintaining this blog has put me in touch with a lot of unexpected people. One of those unexpected people is Mike from TOMMY LASORDA / LOS RABBIS. He was nice enough to send some unreleased TOMMY LASORDA recordings (check back tomorrow!) and he got together with Adam (digitally) to answer some of my dumb questions. So, here is an interview with TOMMY LASORDA....

Remote Outposts: First off, why the name Tommy Lasorda? Really, why any band name? But specifically, is there any meaning behind the band name?

 Adam: I’ve always thought of it as just an opener, a first move, a gambit. I can not recall when we actually thought of the name or if any decision making process actually even occurred. Personally, I believe the name had something to do with the canary yellow walls of the room we dubbed our tapes in. Then, it may have went something like this: Kirk Gibson? No. Fernando Valenzuela? Naw. Sandy Koufax? Naw. Yeah. Maybe. Orel Hershiser! Yeahhhnaw. Should we just be Lenny Dykstra? Dykstra? Dykstra! Yeah. Dykstra! Probably. No. For all I know, that may have been more a’ pro pro. Hindsights 40/40-- a hot bat, many a-stolen bags, and an above average amount of base hits.

 Mike: Because Boone Logan wasn’t in the Majors yet.

 Adam: Because Tommy Lasorda was in the Majors. Because Logan Hatch didn’t exist yet.

 RO: I could never really figure out if your band was from the Bay Area or Olympia? In the long run, it really doesn’t matter, but what would you say?

 Adam: Olympia. Shortly after Y2K.

 Mike: After high school everyone went off to far-flung colleges except me. I stayed in the Bay Area and enrolled at Skyline Community College only to drop out and spend all day at the Burlingame library. When I exhausted all of their books on silent movies and lucid dreaming, I moved up to Olympia where Adam was enrolled at Evergreen. I convinced him to drop out. We shared a bedroom at a house on Edison St. near Ralph’s Thriftway, both of us paying $100 a month in rent. Tommy Lasorda started in the basement of that house. We moved back and forth between Olympia and the Bay Area a couple of times during the band’s lifespan but the germ of the band began in Olympia. Olympia was good for us because it was a scene we had absolutely nothing to do with. We played maybe four shows in town the entire time we lived there. We spent all of our free time in the basement writing songs.

 Adam: Far-flung.

 Mike: Flung far.

 RO: The band started pretty soon after the disbandment of LOS RABBIS. What made the two of you keep playing together?

Mike: That’s actually a bit of a misconception. Los Rabbis was still a seasonal concern while Tommy was around. For a few years, the four of us would get together in the summer when school got out and go on a multi-week tour. Tommy Lasorda was basically what Adam and I did while Dean and Mike were in school. This caused tension down the line because at a couple of points I felt like we shouldn’t have to put Tommy on hold so Los Rabbis could re-form. It felt like we hindered ourselves by putting everything on pause for two or three months.

 Adam: Music, like a Maui timeshare: its amazing that we made it, even if but for the few times that we did!

 RO: LOS RABBIS, to me, seemed like pure unbridled teenage anger but still had a goofy, almost nerdy edge to it. Tommy Lasorda definitely retained that edge but seemed more focused on writing unhinged pop songs. Was that intentional? Were you guys just trying to be a pop band that was informed by the MELVINS?

Adam: A few descriptions I’ve heard: Dirt Pop, Camaro Rock, and Two Man Rock Armada--there may be more. We had an interesting amp-to-speaker ratio with some decent output levels. We had some fairly oversized drum skins and cymbal radii to contend with and we just kinda took it from there -- worked within that framework. Occasionally the circuits got hot, the sticks got hotter, and at that point some might have said they were in to see a pretty good fight.

 Mike: Nothing was planned, it was just a natural progression of where our mutual musical tastes were headed. As most people probably do when they move to Olympia, we were listening to a lot of Beat Happening at the time. But also a lot of godheadSilo and the Wu-Tang Clan. The Melvins were always a constant, more as a template for what was possible than actually trying to sound like them, although we played a few shows, most notably in a Manhattan bar, where we did all Melvins sets.

 RO: I got your band on a show in Chattanooga where you won the audience over with your catchy songs. At the end, you asked if you had time to play one more and then played “King Solomon’s Reef” (from the tape), which kinda blew everyone’s minds. What’s up with that song? It’s totally different from everything else, really intricate and weird. What was the inspiration for it? (besides maybe the diner in Olympia?)

Adam: Riff obsessed demolition derby Robert Christgau has never dissected. A+

 Mike: “King Solomon’s Reef” was a test. We basically wanted to see if we could do it. The jury is still out on if we succeeded. A lot of that was written outside the basement while we walked around town, just vocally passing off riffs and fills. We woodshedded it for hours and just kept adding more parts to it. The very beginning is a direct rip-off of the song “Charlotte” by the all-girl Canadian metal band Kittie, who we were kind of obsessed with at the time.

 Adam: We wanted to be actual “merchants of the riff”...like “Hey..(opens coat)...would you like to see a riff collection...allow us to respectfully pull out a few licks...tell us if you see anything you like or should I say lick...oh?...(sigh)...that one’s not for sale...

 Mike: Speaking of that show in Chattanooga, there was a local guy there filming all of the bands that night and he asked us what our band name was. We said “Tommy Lasorda” but he didn’t understand us and all night he kept calling us “Time and Disorder”, which is still the greatest punk rock band name ever. That’s what Adam says at the beginning of “Punkest Girl in Town” on the 7”.

 Adam: I also say The Reef should change it up and try going with “King Solomon’s Riff” for a while.

 RO: What do you guys have against bass players? Tommy Lasorda, Chinese, Poser Posse, Rainbow Bridge, etc,etc...No bass.

 Adam: On one hand, the lack of traditional and/or orthodox lineups is to warn against the pratfalls of anti-establishment ethos and lifestyle; a visual, if you will, symbol. On the other hand it shows and proves that there is quite possibly many more and still, yet another way. Bassist wishlist: Old St. Nick, Mickey (and Minnie!) Mouse, Vaclav Havel, Don Rickles (No!), Branch Rickey.

 Mike: And Thelma Ritter.

 Adam: A symbol, if you will.

 Mike: Our next band will be ALL bass. No drums, no guitars, no performers. Just six or seven basses all lined up in a blue bedroom. Not even plugged in.

 RO: Speaking of Poser Posse, what led to the formation of that band? (for the reader, Tommy Lasorda was Mike and Adam switching off between drums and guitar. Poser Posse was Mike and Adam both playing guitars with a drummer.)

 Mike: Like Los Rabbis, Poser Posse was originally a Dean and Adam project. They started playing with Patrick at his house in Oakland and I went along once or twice before weaseling my way into the band. Dean ended up leaving to do a million more important things while the three of us ate burritos, talked about burritos, and covered The Flying Burrito Brothers.

 Adam: The name Poser Posse originated in Olympia, but truly it could have been discovered anywhere.

 RO: What is your favorite MELVINS song and why?

 Mike: Easy. “The Fool, the Meddling Idiot” off of the band’s best album, 2002’s Hostile Ambient Takeover. There are three components that make up the Melvins’ music: heavy, noisy, and pretty; and over its generous seven-and-a-half minutes “The Fool, the Meddling Idiot” covers all of these bases with utter aplomb. It is the perfect desert island selection. The song contains some crazy ass Kevin Rutmanis slide bass, a terrifyingly awesome vocal performance from Buzz, and one of Dale Crover’s greatest drum fills. Oh, and it ends with a coda that sounds like Captain Beefheart writing music for Disneyland’s Haunted Mansion.

RO: That is also my favorite Melvins album!

 Adam: There is one song that comes to mind, one song any Melvinaut should they, if they have not already, take some time to seek out. This one song is a b-side that begins with some talk about a “Principal’s Office” before settling into a nice, easy groove. The title and lyrics rhyme with “Banal Straighten”.

RO: I have no idea what you're talking about but it made me think about their Mott The Hoople cover, which is awesome....oh wait, I have that 7".

 Mike: Wait, is it too late to change my answer?

 RO: Guest question from Morgan Stickrod: Just to see if your views have changed over time, which La Cumbre taqueria is the best, in your opinion? The one in SF or the one in San Mateo?

 Mike: Well, the San Francisco La Cumbre has way better tortillas but the San Mateo one has a framed photograph of Los Rabbis hanging above the door, so the best one is the El Farolito in South San Francisco. 650!

 Adam: I fondly remember a wonderful summer time deluxe burrito from La Cumbre in San Mateo. It was really, really, really, really good. I was very impressed and it was far and away more better than the usual “its just as good as I remember, but even better,” burrito. Honestly, I just cannot tell you the last time I remember eating a burrito in that ol’ Baghdad by the Bay--so San Mateo, handily.

 RO: And since we are not living in the past, and I have no desire to do so....what projects are you both working on these days?

 Mike: I have spent the last year working on a book of essays about Disney movies. That should be coming out soon. My brother and I have also been working for the last couple of years on a hip-hop concept album all about, and for, our father. It was originally going to be a Father’s Day present, then birthday, then Christmas, and then the year was over and the cycle started again. The songs are about the Green Bay Packers, Steely Dan, and living in a retirement community in Santa Rosa. It’s my magnum opus.

 Adam: Work? I like a recently cleared desk. Thanks for the questions!

Download TOMMY LASORDA Tape and EP
Updated Aug 2013

Check back tomorrow for more from this band.

Thanks to Morgan Stickrod for loaning out the tape to digitize (mine broke years ago) and to the MRR house for their advanced digitizing capabilities.

OFVITARNIR - "Stephen Hawking/Steven Tyler" - CD - 2011

   Last night, I went to see a few films at The Roxie that were loosely based on post-punk. The last movie they showed was a surprise screening of "Rock In Reykjavik", which is a all-encompassing overview of the scene in Iceland circa 1980 or so. It was so cool and sort of alien to see this scene flourishing in the early 80's while still being so remote and cut off from the much of the punk world. My only complaint is that there was no indication of the band names anywhere in the film during their performances. I know for a fact that I witnessed a teenage Bjork singing beautifully while fronting her band TAPPI TIKARRASS, but who were those prepubescent mohawked kids that could barely play their instruments and waxed so poetically about huffing gas and glue? Who was that band all cramped together playing power-pop in a basement that was so cold that they were wearing parkas and you could see their breath? Who was that fucking group that had nausea inducing strobe lights blasting the audience as they cut the heads off of live chickens and threw their carcasses into the crowd?! I don't know! What I do know is that it was a pretty cool time capsule to watch and it was almost quaint how the punks politely sat in their seats and raised their fists while a punk band played. It all felt so distant, so remote and like a history I will never truly know.

   Do you know how hard it is to press a record in Iceland? Well, first off, you can't get it pressed in the country because there are no pressing plants, so you have to ship it out to England or the US or somewhere else. You also have to fill out some annoying customs forms and then pay an exhorbitant amount of money on postage. So much money, in fact, that the postage costs more than actually pressing the record. By the time you finally get the record, you have to charge your friends and fans an outrageous amount of money to buy the thing. So, out of necessity, Icelandic bands still put out a fair amount of CD's, CD-R's and cassette tapes, which brings us to OFVITARNIR.

    OFVITARNIR is a young indie-punk band out of Reykjavik that plays mid-tempo, somewhat downcast melodic rock and features some of the nicest people I could ever hope to meet from that town. They draw inspiration from American indie-punk, Danish garage rock and their own long history of Icelandic punk. One of my favorite songs on here is "O O O O", a melodic, laid-back garage rock song with a distant backing vocal that reminds me of PJ BONNEMAN in the best way. Members of this band also run a label out of Reykjavik called PBP (I'm not even gonna attempt to actually spell the name on this US keyboard) that puts out cassettes and CD's by local bands. They also set up punk shows and keep up the struggle to find viable all-ages venues in their town. If you're ever in Iceland, be sure to hit them up for the good record store and cheap pizza. Here is a link to their record label.

Download OFVITARNIR

  I just wanted to add that I visited Reykjavik in May and stayed with 2/3's of this band in their small apartment with their nice cats. That country, while I saw a small fraction of it, is one of the most beautiful places I've ever been in my life. Expensive, but insanely beautiful. I highly recommend going to visit if you ever get a chance.

...and no, I didn't see Bjork.

JAMES F. BECK - "Forbidden Fruit" - Year??

   You might remember when I posted Jim Beck's cover album of "A Slippery Subject" a couple of weeks ago. Well, Jim got in touch and said he was happy that more people got to hear it. He also included a link to his lesser-known tribute to THE BANANAS debut album "Forbidden Fruit", which I've never heard until now. Like the other release, it accentuates the paranoia and malaise behind their lyrics while managing to stand on its own. Take a listen for yourself.

Link to James F Beck's Bandcamp.

JAMES F BECK - "A Slippery Subject" - CD-R - 2004

    James F Beck is a singer/songwriter from the middle of Indiana who is tall and lanky. I lived in his basement for a short time and he spent most of his days in his room writing and recording heartbroken songs on his beat-up guitar. He also played in an under-appreciated local indie-rock band called LEG, who were nothing short of amazing every time I saw them. Jim always seemed to be putting out self-released CD-R's, which he sold for almost nothing at the local record store or gave away to anyone who asked. If nothing else, he was prolific and focused.
   At some point, he released this cover album of the BANANAS LP, "A Slippery Subject". I was kind of skeptical at first, but after listening to it a few times, I realized the genius behind it. Sure, it's 12 cover songs, but Jim made each song his own by lending a melancholic vibe to the whole thing that really accentuates exactly how depressing and doomed this album really is! Listen to "Disappear" or "Slippery Subject" for proof.  I barely even think of this as a cover album anymore.  It transcends all of that and manages to stand on it's own.
   I've been carrying this one around for years and putting it on during the low points in life and some of the high ones too. It still holds up after all these years, but the CD-R is getting a little worn, so I thought I would put it here for eternity.
  In the intervening years, Jim moved out to Vermont and started a family. I'm having a hard time finding any other info about his music, but you can find one of his other albums here and a little bit of info here. Expect to see the long out of print LEG 7" here in the near future.

Download A Slippery Subject

YOUNG LIONS - Demography - CD-R - 2006

   I remember reading about SUPERCHUNK in some mainstream bullshit rock magazine when I was 14 or 15 and thinking that they sounded like a really fuckin' cool band. The article described them as being this group of college kids that ran their own label, booked their own tours, kept it real and played loose, desperate, manic, jangly, sorta-punk music. I had this exact idea in my head of what they sounded like and I couldn't wait to hear them. I went out and bought the cassette of "No Pocky For Kitty" and threw it in the tape deck of my mom's minivan. It was good, but not really what I expected at all. It grew on me over time (I love it now), but I always expected them to be more punk than they were.
    I never saw YOUNG LIONS during their time as a band. Hell, I never even heard of them until Erick Lyle sent me a big box of music to put on my blog. This CD was kicking around in the bottom of the box, kind of neglected in the shadows of the heavy hitters in the Region-Rock or early Bay Area punk genres. I put it on a few days ago and got really into it. To me, they sound like what I wanted SUPERCHUNK to sound like all those years ago....loose, jangly, punk, kinda desperate and noodly in all the right ways. To be clear, I don't think they sound like SUPERCHUNK, but they sound like what my young teenage mind thought that band should sound like, if that makes any sense.
   "Demography" collects the band's demos from 2005 and 2006...16 songs in all. That's about all I know about this band. Oh, they're from Reno and they're great. That's it.

DOWNLOAD

Link updated Feb 2017

DIRTY MARQUEE - Demo - Tape - 2009

   When I first moved back to SF in 2008, I lived in an office building downtown that, in many ways, was ideal but also kind of lonely. I soon moved into a big house in Glen Park with a bunch of wonderful people, but I hardly ever stayed there. You see, I hated the neighborhood, I thought my room sucked and I just never felt "at home" there, even though I had great roommates. Within the 9 or 10 months that I lived there, I probably slept in the house less than 10 times.

    Tony hung out at our house a lot and played guitars with my roommate Gaybob. They were starting to amass a pretty good bundle of songs and decided to start a band. I had played with Tony briefly in one of the many lineups of SHOTWELL and he asked how I felt about playing drums for their band. I kinda felt too scattered in my life to actually be in a band at the time, but decided to do it anyway. We asked our other roommate, Sarah to play bass and started practicing later that week. Nothing too noteworthy happened in those early days, besides the time I borrowed a drum set that was covered in mold and it made Sarah really sick (Sorry Sarah).

   We played our first show at Thrillhouse Records and then Sarah decided to move to Athens, GA. We recorded this demo at Tony's house in the Mission, with the help of our friends Josh and Carly (she now works for Metallica). We waited around that day for Sarah to show up, but she never did. We were kinda bummed at the time, but I don't hold it against her (when someone takes away your dog while you are packing up your room to move across the country within 8 hours, maybe you don't have time to record a demo with a band you played in for 5 minutes. That's valid.) So, we recorded the basic tracks without her. While Tony and Gaybob did their vocals, I got drunk in Tony's living room and learned all the bass lines for the songs. On the one or two that I had trouble with, Tony played it.

  The next week, we went to the Pacific Northwest with ONION FLAVORED RINGS with their bass player Paul filling in for us. The morning of our show in Portland, we walked by the house we were gonna play at and there was a funny sight in the front yard. Tony took a picture of it, drew it and then we photocopied the covers at the Multnomah County Library in NE Portland. Needless to say, the residents of the house were confused to see a demo cover of something in their front yard (pictured above).

   When we got home, we got our friend, Mars to play bass for us. We continued on until September of 2011 with a couple more changes on the bass (thanks Jeanette and Cinque!). We put out a 4 song EP that you can get from Squirmy Records and our final six song tape that you can still get from Remote Outposts Analog. 

Download Demo

Playing at a goat farm in Jacksonville, OR.

p.s. This demo is so slow!! We played this a lot faster later on.

AYE NAKO - Demo - Tape - 2010

   When I put this tape in the stereo for the first time, I didn't know that I was dooming myself to having these songs hopelessly stuck in my head for the next year. I've known Mars (guitar/vox) and Joe (bass) for a long time now. I was (and still am) a big fan of their old band, FLEABAG back when they lived in the Bay Area, but this band is a step above, somehow. All the rough edges of FLEABAG are honed and sharpened. The guitars are thicker and more frenetic. It has the triumphant feel of being comfortable and confident with the music that you're creating.

AYE NAKO in Worcester, MA. Photo by Chris Clavin.

  AYE NAKO started in Bloomington, IN back in 2008 and broke up when Mars and Joe moved to the Bay Area. A couple of years later, the two of them ended up in Brooklyn and started playing with Angie on drums, once again as AYE NAKO with all new songs and a bigger sound. Mars sent me a early version of "Molasses" before the tape came out and I must have listened to it 5 times in a row as soon as I got it. I wanted more. I still want more. "Good Grief"'s screamy hardcore approach sounded out of place when I first heard it (also, kind of alarming after meeting Mars as a meek, almost mute acoustic performer 5 years ago), but now it fits in, in a weird way  The cacophonous guitar outro on "Slump" brings a mile-wide smile to my face. This is definitely one of my favorite tapes of the past year and as I said before, I still want more.

Download AYE NAKO

In Richmond, VA. Photo by ???
p.s. one of the best tape covers ever, in my opinion.

CARRIE NATIONS - Demo - 2002(?)

   CARRIE NATIONS was born in the little town of Athens, GA; a town that is known for its vibrant music scene that has produced countless amazing (and horrendously shitty) bands over the years. It's a place where the rent is cheap and the booze flows endlessly til the wee hours. Anyone who has ever given the town of Chattanooga a bunch of shit for its alcohol consumption should try hanging out in Athens for a week or two. You'll be wishing you were back on Cole's porch drinking tea in Tennessee in no time.
   We were talking about this band though, right? CARRIE NATIONS, I believe, didn't actually have a bass player when this demo was recorded (If I'm wrong, sorry Jon) and the other guys in the band recorded the bass parts themselves. They recorded it at Tight Pockets, the now-defunct all-ages show space in Athens, which has many countless stories of its own. Five of these six songs were re-recorded for their 2003 LP, "Be Still", but this demo shows the songs in an earlier, rougher form. I've been on tour with CARRIE NATIONS all over the East Coast, Midwest and the South, but I don't think I've ever heard them play the last song, "Dumpsters As Providers Of". Maybe it was just out of their repertoire by then? I don't know. Actually, I don't know much about this demo at all, except that it is good and you should listen to it. If you want to hear them play all of these songs a million times faster, then click here. Thanks to Chad for sending this recording to me.

Download CARRIE NATIONS Demo

CARRIE NATIONS accepting the Flagpole award for Best Punk Band in Athens. The funny part is that none of these people are in the band.

THIS NEXT PART HAS NOTHING TO DO WITH CARRIE NATIONS.

   By now, you may have heard that over the last weekend in my neighboring town of Oakland, there was a huge political march that intended to take over an abandoned building in hopes of establishing a "command center" for the local Occupy movement. Everyone has their issues with tactics and intent (including me), but I want it to be known that I support these actions wholeheartedly. My band was supposed to play either inside the building or outside of it on a bus, but that never happened because the cops exercised their power as brutish thugs by attacking innocent adults and children with gas and rubber bullets. If you only read mainstream media sources, they make it easy to point a finger at the protesters and see where they may be at fault. From their reports, it's easy to imagine a sea of black-clad people heaving boulders with makeshift catapults at innocent little cops just trying to do their job. What is actually happening is that the cops are completely out of control and attacking people for no reason. Here is a picture of the crowd marching on Saturday:

   There were families, young people, old people and little kids. I watched livestream footage of a cop knocking a middle-aged woman (who was doing absolutely nothing) backwards over her bike and then she was swarmed by 10 cops with batons drawn as she was arrested. Cops trapped people in a park, ordered them to disperse, then wouldn't let them disperse, and attacked them with tear gas in a residential area. City officials try to make protesters look bad by stating that they committed property damage by breaking down a fence. The reason they broke down the fence is because the cops trapped them, tear gassed them and then penned them in to make a mass arrest. People broke down the fence to escape (successfully) from the cops. (as a side note, the fence in question here was erected by the city around a city park at a very high cost to keep protesters out. Neighboring schools had previously used this park daily for physical education.)

   One last thing. The SF daily paper had this quote: "Among the most violent incidents that occurred Saturday night was in front of the YMCA at 23rd Street and Broadway. Police corralled protesters in front of the building and several dozen protesters stormed into the Y, apparently to escape from the police, city officials and protesters said. Protesters damaged a door and a few fixtures and frightened those inside the gym working out, said Robert Wilkins, president of the YMCA of the East Bay."

 For one thing, THAT is the "most violent incident"? That is not violence. That is some smart people escaping cops who are trying to pin them in and arrest them for a "crime" of walking around in the streets exercising their right to free speech. I found a quote elsewhere (I wish I could find it now, but I lost it) from a woman who said she was working out when a lot of protesters started running through the building. She said it kinda freaked her out, but she didn't actually feel in danger until she saw cops chasing them with their weapons drawn.

   The Oakland Police Department has really fucked up and history is going to look back on them in the same way that it has looked upon the cops in Alabama during the Civil Rights movements of the 1960's. I urge you to read articles written by independent sources who don't have corporate interests kicking money to them. If you would like some more stories about this, please check these out. Thanks

Aid and Abet

National Lawyer's Guild

Huffington Post

AlterNet - which includes a great picture of the cops teargassing themselves.

Also, keep in mind, that less than two short years ago, OPD said they didn't have enough money or resources to keep responding to certain crimes, including burglary, grand theft and failing to register as a sex offender. Article here.

DRAW THE LINES - Olympia Music Compilation - Tape - 2011

   I was tricked into buying this tape, but that's okay because it's really good. You see, I ran into the band DOGJAW a couple of times and our bands even played together in Seattle last year. I like them a lot. They play slow, driving, droning music with two intertwining female voices that are both haunting and commanding. I saw them play at a great house show in SF and wanted to buy something by them. I bought this tape without looking at the track listing and then later realized that it was a compilation of bands from their hometown of Olympia, Washington. Their guitarist, Meg offered my money back when I said something about it, but I decided to keep it because DOGJAW are quality folks and I would expect them to have some quality shit with them on their tour. I was right.
   DOGJAW opens up this tape with two sprawling, beautiful, epic songs that break the ten minute mark (combined). They are followed by CRUDE THOUGHT who blast through 3 fast, driving punk songs. Bay Area locals may be happy to know that CRUDE THOUGHT will be in the area at the end of February with the ultra-hyped (all deserved) HYSTERICS. (also, DOGJAW will be here again in March). Next up is ANASTATICA, who I initially wrote off as being kinda dramatic and hokey, but then they grew on me immediately and became one of my favorite songs on this comp. It's super stripped down, DIY, feminist black metal. Unfortunately, they broke up, so my hopes of headbanging to these songs live, ever so slowly and forcefully are now dashed. They remind me of the best parts (read: all of it) of the acoustic songs by DOOMSDAY CAULDRON. Next up, I feel like DOGJAW (the organizers of this comp, I believe) is trying to pull one over on me by throwing in a French band called BIT PART. They're from France, right? Is there an Olympian BIT PART? I don't know, but whatever nationality they choose, they are fast, punk and great. Side two starts of with HARK HOW THE BELLS, which takes a few songs from their demo, which you can find by clicking on that link. PITTED YOUTH follows it up with a dirge-y, screamy approach that rules. I regret not watching them when my band played with them, but I was just too sweaty and tired to deal with anything (because I'm old). MARGY PEPPER is kinda minimalist and reminds me of early K Records stuff. BROKEN WATER closes out the tape with a ruling song that sounds like it could have been out an outtake from "Daydream Nation" with elements of MY BLOODY VALENTINE, which I'm sure they're not too happy to hear, but that's what it sounds like to me. Deal with it.

Download DRAW THE LINES

If you'd like to get your own copy of this tape, don't hesitate to write to dogjawolympia@gmail.com and they will hook you up.

YOUR HEART BREAKS - Live in Bloomington - 2/26/08

Photo taken by me at the show, behind the drumset.

   I've already told you about YOUR HEART BREAKS before and how their sweet pop jams have provided the backdrop for many lonely nights walking down the tracks in the freezing cold. Now, I will tell you about the time, Clyde, the principal songwriter came to visit me in Bloomington for a few days after he went on a European tour and we formed a rock band to play his songs. Well, that's pretty much the whole story. I played drums (and a typewriter, air horn, tiny electronic drums and sound effects) and requested some songs. We taught Marilyn the songs on bass and she also did some back-up vocals. Matt Tobey is a busy guy and could barely make it to our 2 practices, so we just gave him free reign to sweetly solo over every song (and sometimes play a slide whistle), since he is an enlightened guitar wizard. We were able to set up a last minute show at Sweet Hickory (record store and art gallery) in a tiny little room where I also happened to have an art show up at the time. Anyway, we played. Most of it worked after practicing for only 3 or 4 hours total, some of it didn't. I like how it came out. Maybe you will too.

Download YHB Live
It was discovered that this download didn't have the first song on it, due to some weird error somewhere. Sorry about that.
Here is the first song of that show.

50 MILLION - "This One's Pretty Cool, But I Like the Old Stuff Better" - CD - 1995

   I've already explained who 50 MILLION is and I've told you how much I love them, so I'll tell you about the first time I saw them, which is when I bought this CD.
   To be honest, I wasn't going to go to their show in Huntsville, AL back in 1997. I didn't know who they were and they were playing with some pretty crappy bands, but the flyer proclaimed "50  MILLION from San Francisco, featuring ex-members of J CHURCH". I loved J CHURCH, so I went to the show just to see 50 MILLION. (tangential side note: Wade from 50M played drums in J CHURCH for less than a year or so and recorded with them on "The Procession Of Simulacra - The Map Preceeds the Territory" 10", which coincidentally is the first record I ever heard by them.) I was more than a block away from the show and heard this loud, low booming voice of a guy talking somewhere. As I got closer, I realized that the voice was coming from this long-haired guy in front of the venue and he was talking a million miles per hour to one of my friends and telling her she had beautiful eyes. He turned to me as I walked up, saw the HICKEY patch on my jacket and introduced himself as "Shellhead". I found out that he was good friends with the guys from HICKEY (who had rolled through town a few months earlier) and they had told him to look for me and some of my friends. It was sweet. I met his brother Wade (the drummer on this tour) and their friend, Bloomie (the bass player). Shell continued to hit on my friend (very sweetly and not at all creepy, I might add. My friend was enjoying it and talking to him all night). It turns out that she was the ex of "J", this bruiser/greaser who had a reputation of starting fights with touring bands, young punks that were smaller than him and anyone who said anything slightly negative to him. He was a fucking jerk. I was afraid of him because I was young and scrawny. He had fought HICKEY, the SPAWN SACS and even tried to beat up my friend Ivy when she had a broken foot and was hobbling around on crutches. World class jerk here.

     Anyway, "J" was lurking around in the shadows, glaring at Shell talking to his ex while getting drunker and surlier. It didn't help matters that when 50 MILLION took the stage, they played a HICKEY song and dedicated their sweetest, sappiest songs to the woman. 

   As far as their live show went, I was sold. They played everything from awesome pop-punk to metallish dirges to feedback-laden experimental noise. They were pretty fucking amazing that night. Also, they set up all of their equipment in front of the band's stuff that played before them, thereby trapping it back there so that the douchey, crappy pop-punk band that played before them had to wait until they were done so that they could load out. I remember watching the members of that band stare helplessly and hopelessly as 50 MILLION played a 10 minute version of "She Is a Monster", making it drag slower and slower until Shell was laying on the floor, making his guitar feedback and Wade was playing something like 5 beats per minute. It felt like vindication for having to watch that crappy band's piss-poor excuse for pop-punk for 30 minutes.

   Anyway, at some point during the set, Shell tackled me in a faux wrestling match and we rolled around on the floor in a fake fight. "J" took that as his cue to attack and ran up to kick Shell in the head a couple of times, which he defended as protecting me (totally ridiculous, since that dude threatened me numerous times). After the show was over and 50 MILLION had packed up, Shell was talking to the woman and "J" made his move. He started pushing Shell around and threatened to kick his ass for trying to steal his girlfriend. Wade ran up, jumped between them and threatened to kill the guy, telling him that he would cut his head off. (a little background: Wade had parts of his head shaved off. He's an old Texas bad-ass covered in homemade tattoos and has a nasty disposition, but a heart of gold. On this tour, he looked like a completely deranged, sadistic, escaped mental patient.) "J", for the first time ever, looked genuinely scared of someone. I left with 50 MILLION in their van and found out that Wade had a machete tucked into his pants the whole time. He had fully intended to cut off "J"'s head if he didn't back off. As Wade was driving to my house, he calmly said "I'm glad I didn't have to blow his head off with the shotgun". I turned around and the shotgun was right behind me.

   I bought this CD from them at the show, even though Shell told me that it sounded nothing like their live show. I thought it was weird that a band would put out something that was wholly unrepresentative of their sound but I bought it anyway and it bummed me out when I listened to it for the first time. Over time, it quickly grew to be my most favorite thing that the band has ever put out. It's a collection of home recordings by the two brothers that dates back as far as the mid-70's, but mostly sticks to the early-to-mid-90's. A lot of the songs were started by one brother who recorded his part and then sent the master tape through the mail to the other brother to finish. It includes now-classic songs like "Baltimore", "Burn Away", "Egg in the Face", "Evergreen" (which Matty Luv of HICKEY once called "the saddest song ever written") and 22 more. 50 MILLION were (and are) a brilliant band that encompassed the hopes, dreams and ultimate failures of being broke and hopeless, but found solace and comfort in that and learned to be proud of and celebrate their lives, no matter what. They were also drug-addled, drunk and unapologetic, but who wasn't? I'm so very happy that they made it out of the 90's Mission punk scene alive.

Download 50 MILLION

   ...and here is the reason I didn't use "J"'s real name in the story. You may wonder, "Why would you use an alias for some jerk who beat up all of your friends?" Well, a few years after leaving Huntsville, I went back to visit for a few days. Some friends and I went out to the river to hang out and drink a few beers. On the way, they said they were gonna pick up "J" to go with us. I said "uhhh...what the fuck dudes? I don't wanna hang out with this macho fuckwad" (or something like that). They just said it was cool and picked him up. After a couple of drinks, I said "I need to talk to you" and pulled him aside. After all of these years, I had gained some self-confidence and decided to tell him how I felt. I tore into him about how demeaning it was that he beat the shit out of young punks, how fucked up it was that he threatened women with violence and what my friends across the country thought of him. I told him how angry I was at him for all of those years and how much I wanted someone to just beat the living shit out of him. Then, I braced myself for the beating he was about to give me. He didn't. He stood there and listened to everything that I had to say and then he told me that I was right and that he was sorry. I couldn't believe it. This guy had never shown any remorse in the moment or admitted any signs of weakness or apology. He explained that he grew up fighting as a means of survival and as a way of life. As he got older, he didn't see any other way of living and fighting became his only method of solving problems or disputes. He told me that he wasn't happy during that time and worked a lot on changing his behavior to become a better person. He didn't expect me or anyone else to forgive him for all of the harm he had caused so many people, but he wanted me to tell those people that he's really sorry and he wishes that he could make up for it somehow. So, if you ever lived in Huntsville or came through there in a punk band in the 90's, it's highly possible that you know who I'm talking about...and if he fought you for some stupid reason, he's sorry. The rest of that night hanging out with him was great and memorable. I even hugged that motherfucker at the end of the night. Life is strange.

If you want to order stuff by 50 MILLION and many other great bands, please visit STARCLEANER.