Saturday, January 31, 2009

I've Heard Enough To Write A Book

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When I posted the "Guillotined at The Hangar" compilation last October, I mentioned that the Reducers' 1st LP back in 1984 was the first independent punk album I'd ever bought. What I didn't realize at the time was that it was still available through the Reducers' web site (www.thereducers.com) for a measly seven bucks. So, I snapped one up a couple of months ago, and here it is-- including the self-censored version of "Out of Step" that I sorta made fun of the last time.

Not having listened to this record in years, I'd forgotten how good most of these songs are; seriously, songs like "All About You" and "So Civilized"-- though they might owe as much to Dr. Feelgood and 70's pub rock as they do punk-- are as hooky as anything ever put out by The Clash, The Knack, or the Buzzcocks, believe it or not. For an unknown record that came out of Eastern Connecticut in 1984, that's pretty amazing, I think. No wonder I ate this up back then, and started craving more stuff along the same lines. Not long after I bought this album, I finally moved to a town that had a couple of decent indie record shops, and bought my first Replacements record; a few months after that, I started a fanzine (Feb. '85), and it was pretty much all downhill after that.

I'm leaving off "No Ambitions", since it suffers sound-wise from being the track closest to the label; I might get to it some other time, if I end up posting The Reducers' first single that it appears on as the b-side (though I don't actually have an original of, just the 1987 repress).


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The Reducers -

"Out of Step"

"So Civilized"

"Small Talk From a Big Mouth"

"Better Homes and Gardens"

"All About You"

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Friday, January 30, 2009

What Is Your Point

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I was about to post Kepone's "Henry" single, but the pressing on that one is a bit shredded, so I decided to go with this other Kepone single instead. Not that I could go wrong either way; pretty much everything Kepone ever put out rocks like a motherheifer, and "295" is no different. Plus, it's Mickey Rivers' lifetime batting average. Write that one down, son-- it's important to know these things.




Kepone -

"295"

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Wednesday, January 28, 2009

Stuck In A Nightmare Forever

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After three weeks of dicking around trying to find a copy, I finally got ahold of the Guilty Faces "Nightmares" EP on Saturday, and wouldn't you know, it's really really great. Just for you, I made a tape of it (meaning these are listen-only files), so you can check it out and see that I'm not completely stupid sometimes and you really should buy this thing. Plus it's got one of the best sleeves ever, like a total '78 new wave/Dangerhouse happening, which should do plenty to kick your irrational consumerism into gear. Try Sorry State Records (that's where I found mine), and save yourselves three weeks of trouble.

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Guilty Faces -

"Nightmares"

"Hospital Eyes"

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Sunday, January 25, 2009

Supertouch Pt. 2

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Supertouch interview in Jersey Beat zine, 1989

Here's an interview that I did with Mark Ryan of Supertouch back around the spring of 1989. Some of this shit's pretty funny, if I'm allowed to say so myself. I ended up giving the interview to Jersey Beat once I figured out that the next issue of my fanzine that by that point I had been working on for three years was never actually going to come out. Jim was kind enough to scan the pages for me recently, from the only copy of that particular issue of Jersey Beat that he has left.

Like with almost all of the images around here, you can click on each one of the pages to make them larger.


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Dave: Alright, who goes back to Death Before Dishonor?
Mark: Just me. Jon played some shows before it was Supertouch, but it wasn’t really Death Before Dishonor.
Dave: I remember, in the summer of ’86, you were thinking about the band but you didn’t have the name Supertouch.
Mark: We were still using Death Before Dishonor, but it really wasn’t DBD.
Dave: Your first show as Supertouch was at the Anthrax, wasn’t it? I think it was November or October, 1987…
Mark: Oh yeah, that was the one with Bold, or Sick Of It All… was that ’87 or ’88?
Dave: ’87, because the second time I saw you was January, ’88. I remember that, because it was cold and my camera lens was fogging up.

[For the record: Supertouch, Sick Of It All, and Breakdown, Oct. 9, 1987.]

Mark: What do you think of the new songs?
Dave: Well, I hadn’t seen you in over a year. I couldn’t tell which were the new songs. The instrumental I remember you having for a while.
Mark: The second half of it—the first part we didn’t have.
Dave: Supertouch sounds different for just about any other band coming from New York, which normally would be a problem, but now it’s easier since you’re part of the Schism/Revelation thing…
Mark: We are??
Dave: Well, you were on the compilation, those kids go to your shows…
Mark: Oh yeah, but I don’t think any of our stuff sounds like Revelation music, though.
Dave: No, I’m saying that it’s really different, but still.
Mark: …it attracts that crowd.
Dave: Yeah.
Mark: We don’t have a set thing anymore, we don’t try to sound like anything. When we first started—when it was just me and Biv and some other guys—we were like, alright, it’s gonna be somewhat a cross between Scream and Marginal Man, you know. Now we don’t even think about it. All of our songs don’t even sound like “us”, you know what I mean—a lot of them are really different from each other.
Dave: Some of your earliest songs had what could be considered “mosh” parts—you don’t really have those parts now.
Mark: Yeah, we did our funky dance parts.
Dave: I remember you used to have, like, this “chicken mosh”, you keep your hands down by your sides and you pick your knees up real high… kinda like a strut.
Mark: I think I saw somebody else do it after me, so I stopped doing it. I’m not gonna say who stole it from me…
Dave: Come on, you can say it. Those kids don’t read this.
Mark: I forget.
Dave: Probably Matt (Bold). You still have all those copies of “United Blood”?
Mark: Nah, I just have one.
Dave: Wait, you’re full of it. You had, like, a dozen copies!
Mark: Nah, that was Ray or Porcell.
Dave: No, you had a dozen copies!
Mark: No I don’t! I’ve got just the one I originally got. The only record I have a lot of copies of is The Abused.
Dave: Yeah, I have three copies of that. Are they the originals or the ones that came out later… you know, with the cheesy sleeves that are all folded over?
Mark: I guess I have two originals. The others are still originals, though. It’s the same pressing.
Dave: What are some of your songs about?
Mark: Nothing, really. I just sing about me, whatever. We don’t tackle any big subjects. I don’t wanna preach to anyone, I’ll just write a song about my friends, but it’s not like the other hardcore songs, not like a “fake friendship” song—“me and my brothers”, whatever, you know.

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Dave: What do you think of Scream now?
Mark: I still love ‘em. They’ve always been my favorite band, since their first record. Their new drummer’s great.
Dave: I think he looks a little like O.P. -- Remember O.P., from Albany Style?
Mark: Yeah, he reminds me a little of him, too.
Dave: He’s (Scream’s drummer) loud.
Mark: He’s got a great foot. [Note: We’re talking about Dave Grohl here.]
Dave: That’s the one think I was noticing—I’d be watching his hands thinking he was doing a tom fill but he wasn’t—it was his kick pedal.
Mark: That guy, I think, is the best drummer in hardcore.
Dave: That’s what they need, that’s what their music needs. Bands that play fast, the drummer’s just along for the ride, but when you slow it down the drums and bass really work more. It’s more important to the sound.
Mark: Yeah, our drummer used to even hit the drums harder, but he stopped so he could get more intricate. Which is good, but I think he’s saying he wants to hit ‘em a little harder after seeing Scream this weekend.
Dave: What’s it look like as far as Supertouch getting vinyl out?
Mark: We recorded something we thought we were gonna make an EP out of.
Dave: Was that gonna be the split 12” with Breakdown or something?
Mark: No, who said that?
Dave: I think you did! Somebody told me you were gonna split an LP on Revelation with another one of those NYC bands that wasn’t really straight edge.
Mark: We were never gonna split a record with anyone. Maybe Jordan wanted us to, he wanted to start a new label just to put us and Breakdown on it. Like we weren’t straight edge enough. We recorded an EP, but we didn’t have the money to do it like we wanted to do it. We recorded 5 or 6 songs.
Dave: How long ago?
Mark: A couple of months [early 1989].
Dave: I thought you already had stuff in the can a while ago?
Mark: Nah. We definitely don’t wanna put this stuff out, but we’re giving it to record companies—like, we’ll redo it if we get some money and a producer. I want somebody who’ll hook us up with a video. Nothing soon, we’re not gonna have a record out for a while, by the time we sign, record, and all that. But yeah, I’d be into doing a video.
Dave: I think the AF thing (“Anthem”) is kinda alright.
Mark: Haven’t seen it. What’s it like?
Dave: They filmed “Anthem” at CBGB, taking the sound off the album. It came out really good.
Mark: We might try to do a regular (storyline) video because every HC video you see, even a lot of the metal ones, it’s just stagediving and stuff like that. I don’t wanna have a typical video, you know—skateboarders, stagedivers… We’d do it cool.
Dave: Would you use one of your slow songs?
Mark: It definitely wouldn’t be a thrash song. We don’t really even have any thrash songs.
Dave: What are some of the songs you have recorded?
Mark: “What Did We Learn”, “How Do You Feel”… a lot of them don’t even have titles. The majority of our set list, none of the songs are titled.
Dave: I’ve never seen you hang out a set list.
Mark: We just write, like, “Joe One”, “New One”, “Funky New One”, “Other New One”, “On Three”… like that. We call the new instrumental “Detectives” because somebody said something and somebody else goes, “What, ‘Detectives’?” They heard them wrong, so we just call it that.
Dave: When you finally get into the studio for real, do you have an idea of the sound you want?
Mark: Like, what do you mean?
Dave: So it won’t come out like the Underdog record.
Mark: They’re a little more metal than us.
Dave: And that’s the way their record comes off.
Mark: We’re a little more rock ‘n roll.
Dave: I like the Underdog record, it just reminds me of what I imagine a Leeway record sounds like.
Mark: I know what you mean… Underdog’s one of my favorite bands.

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Dave: What kind of music do you listen to?
Mark: I listen to all the HC I used to like. Scream and Bad Brains a lot, Marginal Man. I listen to a lot of Hendrix, Black Sabbath, a lot of Motown stuff too. Pink Floyd I listen to a lot now, The Who…
Dave: Alright, The Who rule.
Mark: The Who is our guitarist’s favorite band, or bassist’s too. Not our drummer though.
Dave: What’s he listen to?
Mark: Hendrix, Scream, a lotta noise bands actually, like Swans. I dunno, I never really listened to Swans and stuff.
Dave: I’ve never heard the Swans. I listen to stuff that other people would consider along the same lines, though.
Mark: You like Squirrel Bait, right?
Dave: Squirrel Bait rule. Scratch Acid…
Mark: This guy I used to work with plays drums for the Swans now. He gets like $300 a week to rehearse every day. That’s cool, y’know?
Dave: Would Supertouch ever tour? Like, before the record came out?
Mark: We were supposed to tour with Underdog last summer, but they had trouble setting it up. Doug Caron backed out, he was too busy setting up all those Revelation bands—Gorilla Biscuits, Judge, Bold. Johnny Stiff was gonna book it, and he was saying no one would touch Underdog, or something like that.
Dave: I guess that Disaster review hurt more than I thought.
Mark: I have no idea.
Dave: It might be because it took them so long to get the record out, plus they didn’t fall in with the Revelation thing when they could’ve… they wanted to do their own thing. Richie’s always had his own mind, though.

[Talk turns to Government Issue breaking up]

Mark: What’s Tom Lyle gonna do?
Dave: I think he’s gonna marry himself.
Mark: Or maybe his equipment. I heard he’s always talking about his equipment.
Dave: When they played in New York with Dag Nasty, he had four Marshalls and two of ‘em weren’t even plugged in. He just wanted to piss off Brian Baker.
Mark: Do they hate that guy (Baker)?
Dave: In a way, kinda everybody does…
Mark: Did you hear that Junkyard record yet?
Dave: It’s the usual Skid Row/G’N R/Winger stuff.
Mark: It’s like Guns ‘N Roses if they weren’t racist.
Dave: They’re just pigheaded kids from L.A. Like, nothing serious.
Mark: I like Jane’s Addiction a lot. They’re really good.

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Dave: Why is “Searching” on both Revelation compilations?
Mark: We didn’t know it was gonna be a whole different record. We recorded another song, one we had dropped, called “Inner Strength”.
Dave: What happened to that? Does Revelation still have it?
Mark: No, we never gave it to them. I gave it to one person, Duane from Some Records, and I told him not to give it to anyone, but kids told me that they have it on a tape. I remember Underdog did a tape when Carl was in the band; Danny let Duane listen to it but wouldn’t give him a copy. So Duane was taping it as he listened to it on his double cassette deck.
Dave: We could do a Schism interview and I could ask you if The Abused were hard.
Mark: The Abused had the best dance parts. Their best songs weren’t even on that EP.
Dave: I could never get that demo. Dave Stein had it. I’ve got the second Void LP, it’s so bad.

[Talk of D.C. hardcore]

Mark: Artificial Peace is my favorite band on “Flex Your Head”. Oh, and The Untouchables. [pause] Just kidding.
Dave: “I drink milk, I drink milk”
Mark: I like Red C, too.
Dave: Wow. A couple of years ago Porcelly came up to me and said, “You know what band’s really awesome on ‘Flex Your Head’?” I was thinking Void or Deadline or something, and he goes, “Red C.” I thought he was kidding.
Mark: That 3 song on the State of the Union compilation is really good.
Dave: I’ve got a cool 3 poster. They played Connecticut twice.
Mark: Where, some bar?
Dave: No, Anthrax and a dorm in Middletown [Eclectic House]. I saw Dinosaur there once. The fire alarm went off during their set and it took a couple of minutes before anyone knew.
Mark: I think once our album comes out, we’ll play other places than just with hardcore bands. We’ve got a lot of rock stuff. We’re getting better.
Dave: How’s it been writing songs?
Mark: Smooth, smooth. It’s fun. I look forward to each new song. We’re not just writing each song the same way, like some other bands.
Dave: Like Bold?
Mark: I don’t know, their new songs are totally different from their old stuff. Some of it’s influenced by Van Halen and Jane’s Addiction.
Dave: Come on, you’re kidding. Have you heard about Ray’s new band, ummm, Shelter?
Mark: Yeah, they’re recording.
Dave: There’s a couple of guys from 76 in the band. Ray said they’re like Fugazi… when I was talking to him, he was telling me this song that YoT used to do in ’85 called “Poisoned Minds” and I didn’t believe him because I couldn’t remember it. Then I looked at some photos in Run It and there it was on the set list—“Poisoned Minds”. I’m reserving judgment on his new band until I hear them.
Mark: Yeah. [fake thoughtful] I think I’ll write a song about that.

- - -

Also, here's the Supertouch "What Did We Learn" EP, which came out on Dave Stein's label, Combined Effort, in 1989, maybe a few months after this interview was printed. It definitely sounds a lot more raw in comparison to "The Earth Is Flat", which I think is better. My favorite Supertouch recording is the live WNYU tape from '88, which you can get here from Rocket Science blog.




Supertouch -

"Climbing Aboard"

"On Three"

"What Did We Learn"

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Saturday, January 24, 2009

Supertouch Pt. 1

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The last time a hardcore band was my new favorite band was Supertouch, back in the late '80s. Their records maybe fell a bit short on different levels, but you almost cannot believe the power they had in those first couple of years ('87-'89) if you didn't actually get to see them back then or at least hear the live WNYU tape.

What was awesome about Supertouch was that they took the melodic D.C. hardcore sound (Scream, Marginal Man, Kingface, Bad Brains) and added their own NYHC twist to it, which made it harder and even better. Mark Ryan smoothed out his words like an MC, giving his singing a flow that no other hardcore frontman could pull off at the time, except for maybe Richie Underdog, though Mark was way better at it.

Mark was sort of a spindly guy, all arms and legs, and he had dance moves like no one had ever seen, including his "chicken mosh", where he'd keep his hands down by his side while picking his knees way up in the air. To me and the rest of the suburban Ct. kids who would travel down to CB's for Sunday matinees, Mark's credibility was almost untouchable. He'd been in the NYHC scene for longer than anyone I'd ever met, and was known for supposedly having a dozen copies of "United Blood" (which turned out not to be true), and for his band, Death Before Dishonor, being on the Agnostic Front/7 Seconds flyer that hung on almost every Youth Crew kid's wall back in the '80s. Mark also never bothered bending his will to match what everyone else was doing, and he would openly speak out against white power skins and write lyrics knocking the straight edge scene, which was sort of unheard of within the circles we traveled (again, except for Richie Underdog), but Mark didn't really give a shit. He was going to say what he thought was right, and who cares what everyone else thinks.

I got to hang out a bit with Mark during the summer of '86, when Supertouch hadn't really formed yet; Mark had a lot of ideas, though, and you could tell that he was up to something big. I remember him also saying that he wanted to record a rap song, too -- "a real one, and not a fake one like the Beastie Boys." When Supertouch finally played their first show, at the Anthrax in '87, it was friggin' immense. You gotta remember that this was when everyone was trying to be just like Ray Cappo, jumping around a lot and wearing a hoodie on stage with nonstop chirping going on between every song, and then Supertouch came out and they were just smooth. It was like a different gear from everyone else. Their songs were great, they had all these great stomp parts in 'em, and I remember going home thinking, "God, this band is awesome!"

I remember one time when a new issue of Flipside was out and I started flipping through it, hoping that someone else was writing about how great Supertouch were, and the funny part was that everybody in Flipside was raving about this new band called Superchunk instead. I was like, "Superchunk? They've got the wrong fucking band!" That's when I knew that things were getting fucked up, as far as people really starting to not like hardcore anymore.

By the time the Supertouch album came out, even I had slowed down listening to hardcore as much, and I didn't even buy the CD until years later. Too bad that a lot of the songs that I used to love early on, like "True Colors Don't Run", never made it to this recording, because as good as the CD is, it's not really like the band I remember those first few times I saw them.

All of the photos here are from the various times I saw Supertouch at the Anthrax; I saw them a few times, in '87, '88, and '89, so I've lost track of which specific year the photos are from. I'm pretty sure the photos with Mark in a light-colored t-shirt are from the Jan. '88 show that also featured Underdog on the bill, and I'm thinking now that the rest are from either '89 or '87.

At the bottom of this post there's also a video of a full Supertouch set from '88 at what looks to be the Anthrax, which someone just posted on YouTube a few months ago. Not only is it pretty great, but it really gives a good idea of what those early Supertouch shows were like.





Supertouch -

"Engine"

"Anything It Takes"

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Sunday, January 18, 2009

If I Knew Where I'd Die I'd Go There Every Day

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Saturday night there was a big indie show in Norwich, and that in itself was kind of amazing to me, since I used to live in Norwich long ago (senior year of high school/first year of college), and it was a pretty bleak town back then. It's still a shithole now, of course, but a slightly nicer-looking shithole at least.

The show was hosted by Wonderlust at the so-called Donald Oat Theater, which is a bit less than a traditional theater but more like a loft space on the third floor of a building in what used to be the seedy welfare hotel section of downtown Norwich, but overall things were cool. Only that I forgot to bring my camera charger and so my battery crapped out before Werewolf Police played, which was kind of sucky.

Werewolf Police didn't get to play for very long anyway, going on last and getting squeezed for time because of it, but they managed to quickly rip through their 5 or 6 best songs, including a new one that practically veered into supersonic rock territory, at least for them (helped along by the second guitar player, who has really beefed up their sound). It's been a while since the last time Werewolf Police have played a show, so when they started off with "Birds" and "Silver Eagles", you almost can't imagine how good it was to hear those songs played out loud again. Their new album, "Ruin My Night", is finally out, with two variations of handmade sleeves, so check out the Goodnow web site where I'm guessing they should soon have ordering information for that.


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Wonderlust were the real revelation last night; this was the first I've heard of 'em, but I can say that if you ever were a fan of any of the '90s Danbury noise pop acts like Monsterland and Her Tears, you should run to see this band the very next chance you get. I had a really brief period once where I felt that Boyracer had to be just about the best pop band ever, and this stuff tickles that exact same spot. I don't think I've ever been floored as much by an unknown-to-me Ct. band the first time seeing them them as I was by Wonderlust last night. As it happens, a total of seven bands played for nearly four hours, and Wonderlust's "Wolves" was the best song I heard all night.

If Wonderlust were from New Haven they'd have been written up more times that the Tyler Trudeau Attempt by now, but as it is they're from the New London area, which has had a solid indie scene for decades now but has never really gotten the respect it deserves. The song I'm posting below doesn't do their amazing guitar sound any justice at all, but they're working on more new stuff now, so hopefully that'll do the trick.


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I'd thought Brava Spectre were more '90s emo spazzcore crossed with Lightning Bolt the first time I saw them, but last night their playing seemed a little more stretched out, into Slint/Don Cab territory. I still have no clue what any of their songs are, or even what song they're playing while I'm standing there watching them. Whatever, it was good. I don't think there are too many bands that can leave their skin on the floor and have your ears ringing like these guys can, so I'm just glad that they're from around here.

Post-Modern Sounds were about as sloppy as I've ever seen 'em, and also about as good as I've ever seen 'em, which is how that works sometimes. They were also one of only two bands last night that ended up having to use the stage, meaning bad angles so that their photos came out the crummiest (sorry about that). Book Slave had a new CD-R with them, which they had just finished putting together literally that day (bringing the fresh stuff!); I still have to listen to it a few more times, but so far it's pretty good.


Brava Spectre -

"Trust Us, We're Doctors"

Werewolf Police -

"Telescope Girl"

Wonderlust -

"Comfortable Real Estate"

Book Slave -

"The World in a Bad Mood"

Post-Modern Sounds -

"Machine Made Man"

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