A Subvert Post That’s Also About Me.

So it’s 2000, and my admittedly crap band, the Recordbreakers, broke up after our drummer Brian quit to join an emo band and our bassist Kevin left to help form the much, much better Popular Shapes. After some shuffling around and twiddling our thumbs, the remaining Recordbreakers regrouped as the Catahoula Hounds with Jed on vocals/guitars, Andres on bass, and me on guitar. We kicked around for a few months without a drummer until Andres ran into Shawn, the shred-tastic guitarist from Portrait of Poverty, at a Valentine Killers show who said he was interested in playing drums with us. I think my first thought was, “the dude from Subvert wants to jam with us? Awesome!”

And why was I excited to jam with a member from Subvert? Because they were goddamn Northwest Hardcore legends! Kings of Tacoma’s Community World Theater and Rulers of KCMU’s Sunday night metal show, Brain Pain, Subvert stirred massive mosh pits from 1986 until 1991. They played fast, metal-tinged hardcore, which placed them in company with other Northwest bands like Poison idea and the Accused, but were more political than a lot of their crossover contemporaries. Think Amebix or Battalion of Saints-style thrash rather than Stormtroopers of Death or Excel.

Arizona’s Hippycore released The Madness Must End EP around 1988, which was recorded at Reciprocal Studios by Chris Hanzek. Germany’s Sellout Activities also did a pressing with different artwork and insert. Septic Death singer and Metallica shirt-designer Pushead also listed this record at 98 in the Top 100 of the 1980s – beating out the Dead Kennedys and Leeway! This record features Eric Greenwalt on vocals, Shawn Durand on screamin’ lead guitar, John Grant on guitar, Marc Brown on bass, and John Purkey on drums.

Subvert also appeared on the Hippycore Metal Gives Us a Headache compilation along with Dead Silence, Cringer (featuring the late Lance Hahn from J Church), Dissent, and a few other bands. You can check it out here.

They also released the Free Your Mind LP on the UK label, Raging Records. Produced by the band and Jerry Rejector (check out the Rejectors Thoughts of War EP here), the band thrashes so hard that your stinky dreads will stand up. You can find all of the band’s recordings on the self-titled CD on Selfless records, which came out sometime in the mid-90s.

After the band split, singer Eric Greenwalt played in Christdriver, who cut a record on the legendary crusty hardcore label, Profane Existence; he currently plays in Black Noise Cannon. Our man of the hour, Shawn, then hooked up with Flash from Apple Maggot Quarantine Area and formed Portrait of Poverty. He currently plays in Infect.

Now back to me.

The Catahoula Hounds songs are from an aborted Dirtnap records release around 2002 and were recorded in, I think, 3 days by Chris Hanzek at Hanzek Audio in Ballard. We previously recorded a demo with Chris, but it’s pretty bad and should be left forgotten.

The first song is an attempt to marry the Faces with the Lazy Cowgirls and features an attempt by me to channel the dexterity of Ross the Boss in the guitar solo, but instead I conjured a 14-year-old kid hanging out at Guitar Center. I don’t remember much about the 2nd song, but the 3rd song is noteworthy because it is probably the only garage punk song to include the phrase, “Drink from the Golden Chalice.” I believe Jed was trying to imagine a drunken David Lee Roth fronting a fantasy metal band during the ad-libbed bridge section, and in retrospect, we probably should have taken away his Magic: the Gathering gaming cards before he stepped foot in the vocal booth. Lesson learned. The last song was kind of an attempt at doing a Husker Du/Wipers sort of thing and appeared on the Dirtnap across the Northwest compilation. I don’t think we were happy with the performances or something, and we pretty much broke up during mixing and scrapped the record.

Thanks for taking a trip down memory lane with me and we’ll be back with some grunge stuff next time!

Subvert - Madness Must End
Stand Up
The Madness
Psychopath
For Who For What
We All Fall Down

Catahoula Hounds EP
Back Home
She Never Sleeps
I don't remember the title for this one
All My Friends Are In Bands

Get them all in a zip file here.

-- mc tom

Seaweed's foggy eyes

In the past, I’ve written about my first encounter with Seaweed: opening up for Gas Huffer at the Columbia Center in Seattle’s central district. The room--the bottom floor of a building--lacked a stage or even proper lighting. I went with my friend Mira. Neither of us had heard of Seaweed by this point, who had only released a single or two. A few songs into their set, someone kicked a cable with his foot and cut off all of the power--the sound, the lighting, everything. If you’ve ever seen this happen, you know it’s a pretty funny experience: you get a few seconds of drums and the faint sounds of nonamplified electric guitar. After a few minutes, someone managed to find the affected socket and get things running again. It didn’t take long before a band or audience member again knocked out the sound.

“Well, that’s punk rock,” said singer Aaron Stauffer.

Seaweed sounded great that night, as they did at each of the four or five times I saw them. They had a youthful, punk rock spirit and enthusiasm that many bands from that era (as awesome as they were) lacked. Not long after the first show, I bought some of their singles, as well as the Sub Pop Despised EP when it first came out. We later bought their first proper full-length, Weak, and the follow up Four (both on Sub Pop). I have pretty good memories of those records.

. . . which is why it was such a shock to hear the early singles and EPs again after so many years and to feel an undeniable sense of disappointment. I’m guessing that, as a teenager, I liked those early records because they served as mementos of Seaweed’s fantastic live shows. Listening to them now, I’m not moved at all. They lumber where they should sizzle, and the songs all kind of sound the same--a common criticism of the band at the time. “Star Girl” (from the self-titled EP) reminds me a bit of early Screaming Trees, and “Love Gut” has some Bleach-ish riffage, although the song sounds little like early Nirvana otherwise. Only “Foggy Eyes” (from the Estrus Half-Rack compilation) really rises above the pack, and that’s a Beat Happening cover. The remaining songs are basically mid-tempo punk, with dashes of emo and hardcore. Tom compares them to Dag Nasty and early Bad Religion. That seems reasonable to me, but I haven’t delved too deeply into either of those bands’ catalogs.

One bit of trivia I find kind of cool about Seaweed: they released songs both on K Records (motto: “Let’s hold hands and eat candy”) and Estrus Records (motto: “I’m gonna fuck you on the back of my El Camino”). I honestly can’t think of another band that had a foot in both camps.

The fellas likely recognized their own limitations. I can remember liking Despised more than these EPs and the full-lengths more than Despised. We likely have Despised kicking around somewhere; however, Sub Pop still sells it via their website, so we likely won’t post it. But hey, now you know where to find it! (They’re also selling an mp3 version of Four, but the CD isn’t in print; Weak remains out of print in all formats.)

The band’s lineup remained pretty consistent throughout their career (Aaron Stauffer, vocals; Clint Werner and Wade Neal, guitars; Bob Bulgrien, drums; and John Atkins, bass). Alan Cage took over on drums in 1999, as the band wound down. Jesse Fox has taken over on drums recently. Recently? Yep, recently: the band has been active again. They’re slated to play at Sub Pop’s 20th Birthday Bash, so make sure to catch ‘em. More can be found via their myspace page.

Seaweed EP (1990; Leopard Gecko Records)

Inside
Stargirl
Re-Think
Love Gut

"Just a Smirk" 7" (1990; Leopard Gecko Records)

Just a Smirk
Installing

"Deertrap" 7" (1991; K Records)

Deertrap
Carousel

From the Estrus Half-Rack compilation (1991; Estrus)

Foggy Eyes

The songs are all on this dandy-as-candy zip file.
--Wm

Lamestains Across the U.S. (and France)

If Sub Pop was to become a World-dominating label rather than just a Seattle-boutique one, it needed to look for bands outside the Northwest. Sure, signing Soundgarden, Mudhoney, and Nirvana was cool and all, but if the label really wanted to be put on the global rock and roll map, they needed to add a Mad Daddies or a Lonely Moans to their line-up. Or something like that. Really, their first 100 records are pretty much a who’s-who of late-eighties/early-nineties underground rock. Everybody and their mommies know and love Rapeman, Fugazi, and the Dwarves, but here are some other less-talked about, non-Seattle bands.

Stooges and 60’s garage punk-inspired band The Fluid was the first non-local band on Sub Pop and recently announced that they will be reforming for some shows, including a spot at the big Sub Pop 20^th Anniversary Party this July. Formed in Denver, Colorado, after the demise of hardcore legends, Frantix, the Fluid signed to Sub Pop in time for their second LP, Clear Black Paper. The Glue EP is certainly has the best sounding of all their early records, as well as being our personal favorite, but this week we are giving you the rarer, 1989 “Tin Top Toy” and “Tomorrow” (SP57) single. Remembered as a top-dog live band, the Fluid eventually signed to Hollywood Records, released their major label debut, Purplemetalflakemusic, and then called it a day. Members also went on to Seattle bands The Press Corp and Alta May.

Les Thugs were the first non-US band to record on Sub Pop, and if I remember my 2-years of French lessons correctlly, their name roughly translates to “The Thugs.” The 1500-pressed “Chess and Crime” b/w “Sunday Time” single (SP29) was their first Sub Pop record, and the band went to have around a ten-year relationship with the label. This single was released in between records by the Flaming Lips and former Chrome member Helios Creed, and it was a bit more melodic and punk rock than a lot of the other Sub Pop bands. Actually, everything the band did was pretty cool, and hopefully people will think of them more than just "that French Sub Pop band." They also announced on their website that they will be playing the Anniversary party as well as some shows in France.

I know pretty much zilch about the Lonely Moans outside that they might have been from Boston and were one of the few bands who had records on Sub Pop and Amphetamine Reptile. For years, I also judged the record by their covers and assumed that they were a 60’s garage rock revival act like the Chesterfield Kings or Cynics. Wrong-o, daddy-o. Instead, they were pretty much as grunge as you could get: sludgy riffs, plenty of feedback, and an irreverent snotty attitude. The 2000-pressed “Shoot the Cool” b/w “Texas Love Goat” (SP46) might be one of the least remembered early Sub Pop releases, and it certainly doesn’t command collectorscum prices, but it’s a pretty good, underrated grunge gem.

In an attempt to increase public awareness, we are also posting the uber-rare 1988 “Rockinerd” b/w “Welcome Home” single on Amphetamine Reptile (Scale 14). We are hoping that Lamestain exposure will encourage Sub Pop to invite the Lonely Moans to reunite at the Anniversary party. For the record, though, AmRep pressed 600 of these babies in between hot-ass singles by the Halo of Flies and the Killdozer and HoF-side project, Pogo the Clown.

"Tin Top Toy"
"Tomorrow"











"Chess and Crime"
"Sunday Time"











"Shoot the Cool"
"Texas Love Goat"













"Rockinerd"
"Welcome Home"

EDITED to add the tracks in a handy, dandy .zip file.
-- MC Tom

Lamestain may hate the Posies sometimes

Although the Posies sometimes get lumped in with the rest of the Seattle bands from the late 80s and early 90s, in truth, the only factors that connect the Posies with grunge, Sub Pop, etc. were geography and time period. They sprouted up 90 miles north of Seatttle, at Sehome High School in Bellingham, having almost nothing to do with the nascent grunge scene down south. In fact, they had even less to do with the garage rock/Estrus Records scene in their home town. While everyone else bashed out fuzzed-out, three-chord rock at the Central and while their bands formed, disbanded, and interbred, Jon Auer and Ken Stringfellow were crafting pop songs in their bedrooms and overdubbing bass and drum tracks on demo tapes. In fact, the record Failure,

later released by Pop Llama Records, had been well circulated as a demo tape in1988 before the Posies had added bassist Mike Musbeger and drummer Rick Roberts and started gigging regularly as a four-piece.

The common reference point for the Posies these days is Big Star, at least in part because Ken and Jon joined the reactivated Big Star in the late 90s. (It’s even mentioned in the first sentence of Trouser Press’s entry on the Posies.) At a certain point (specifically, “Apology” on Dear 23), the influence of Alex Chilton and co. started creeping into their music, but Failure doesn’t contain even the slightest hint of Big Star. Rather—as all of the press and even my dad noted at the time—the Posies resembled the Hollies, with a significant dash of early 80s English pop, like XTC.

In fact, for Dear 23, they even recruited former XTC producer Jon Leckie to man the boards. (Leckie also worked with the Fall, the Stone Roses, New Order, and, erm, Gene Loves Jezebel.) It’s awfully difficult to listen to this record (or even Failure) objectively anymore, as everything about it reminds me of high school. Some of Leckie’s lush soundscapes and effects (e.g., song endings fade into the sound of falling rain) layer a bit too much melodrama on the music; this, combined with the Posies sometimes corny lyrics, makes it a perfect soundtrack for high school’s melodramas but perhaps not for older listening. Don’t get me wrong—it’s a great record, but one that must be accepted with its limitations in mind. I don’t think it’s an accident that my absolute favorite track from this era is the completely unadorned b-side to “Suddenly Mary,” “Spite and Malice.”

"Solar Sister" live.

The wikipedia entry has a brief explanation of the nasty label pressure put on the Posies after Dear 23 (which was actually fairly successful!). In short: they started recording a follow-up, dumped/lost their bassist, scrapped the follow-up, started a new follow-up with Don Fleming, received a thumbs down from the label, added a few “hits,” got the thumbs up, replaced the rhythm section, yadda yadda yadda. The follow-up, Frosting on the Beater, has without a doubt aged the best of all their records; the harder edge that Fleming emphasized always existed in their live shows but not on their records, and it compliments the sugary harmonies wonderfully. I won’t talk about it much here, as I’m already rambling on like an old man. Failure came out when I was in high school? Christ, I should start sprinkling No Salt on my supper. Then again, if I’m making jokes about being old, it means I’m not old yet: unfortunately, it means I’m middle aged and unfunny.

We got off the train around this time. I never cottoned to the fourth record, Amazing Disgrace, and we kind of burned out on seeing them live. (We saw them around a dozen times, as they played frequently in Bellingham and Seattle. A few shows were terrible, but others were fantastic.) They had attracted a considerable cult following by this point—I remember reading an old email mailing list ages ago and learning that some fans had seen them fifty and even 75 times before Amazing Disgrace was even released! The Posies soon broke up, somehow managed to become extremely prolific while inactive, and then reformed. The new songs I’ve heard from their myspace page aren’t bad at all—in fact, I quite like some of them. What’s notable is that sounds remarkably different than their previous eras, and I commend any band that exists for 20 years while both maintaining their strengths and exploring new grounds.

Burning Sky Records will release a tribute record this spring. The band’s homepage is here. A good discography can be found here, and if you’re burning to download live shows via bittorrent, check out the message board on their homepage.

From Failure:
“I May Hate You Sometimes”
“Ironing Tuesdays”

From Dear 23:
“You Avoid Parties”
“Apology”

Suddenly Mary ep

“Suddenly Mary”
“Feel” (Big Star cover)
“Spite & Malice”

From Frosting on the Beater:

“Solar Sister”
“When Mute Tongues Speak”

And all of them are handily collected on this .zip file.

--Wm

Saying Goodbye to Empty with the Derelicts

February 8^th 2008 marked a sad day for us Lamestain grunts as the northwest’s premier punk label, Empty Records, shut its door after 20 some years. Empty USA, as it became known as after a bizarre lawsuit over the eMpTy name and logo, released great records by legendary bands, such as the Fartz, Gas Huffer, and the Supersuckers, as well as more current and certainly worthwhile acts like Pure Country Gold and King Louie and the Loose Diamonds. To read more about their history, go here and read Blake Wright and Dan Halligan’s musings.

To celebrate Empty’s long run, we thought it would be cool to post the first ever Empty USA 7” release, the Accused/Morphius split. Unfortunately, I was unable to find a copy of it before deadline, which is really too bad, because if memory serves me right, Morphius were a cool local thrash band that sung a lot about drinking beer. So instead we will bring you another early Empty Seattle band, the Derelicts.

Dan once again beat us to the punch and posted about the Derelicts a few months ago, so instead of rehashing something that was better said on 10 Things, we’ll just blab about the posted songs. And while not all of the below songs were originally released on Empty Records, they were all compiled on the now out-of-print Empty CD Going Out of Style in mid- 90s.

“I Wanna Get Out” is from their Time to Get Fucked Up 7”, which was released on Empty Records in 1990. Recorded by Jack Endino at Reciprocal Studios, it featured a cool record cover drawing by Gas Huffer’s Joe Newton; the Derelicts were singer Duane Bodenheimer, guitarist Neil Rogers, bassist Ian Dunsmore, and drummer Rick Bilotti.

Of all the great Seattle comps, one of the lesser known records was 1991’s Bobbing for Pavement on Rat House Records. Showcasing the punk rock scene centered on the East Denny house, the record also features songs by Gas Huffer, the Gits, D.C. Beggars, Bay of Pigs, Big Brown House (featuring Ben London, later of Alcohol Funnycar and Sanford Arms), Hammerbox, and My Name. The Derelicts’ song “Dirty City Rotten Life” is one of the better songs on the comp, and once again, was recorded by Jack Endino. Broken Rekids reissued Bobbing for Pavement on CD in 1994.

One thing certain about the band is that they had great choice in cover songs. We already posted their version of Fleetwood Mac-by-way-of the Rezillos “Somebody’s Gonna Get Their Head Kicked In Tonight” during our Regal Select Appreciation Month a while back, and now we are going to give you their versions of the Frantix’ Flipper-esque classic “My Dad’s A Fucking Alcoholic” and the Cosmic Psychos’ “Lost Cause.”

“My Dad’s a Fucking Alcoholic” comes from their 1989 Love Machine LP, which was released by early Empty co-founder Vocker Stewart’s label, Penultimate records (PEN010). Recorded by Jack Endino at Reciprocal and guided by “2 cases of beer and a fifth of cheap whiskey,” the Derelicts do a great version of the Frantix song a few years before everybody else learned about the original version from its appearance on Killed by Death Volume 6. Members of the Frantix later went on to the Fluid, and you can hear the original version on the just-released Local Anesthetic compilation. Joe Kilbourne also played bass for this cover song.

“Lost Cause” was originally released on the 1991 Estrus Half-Rack 3x7 box (ES715-717), which also included songs by the Fastbacks, Mummies, Mudhoney, Phantom Surfers, Untamed Youth, Prisonshake, Gorilla, Seaweed, and the Mono Men. It might seem strange now that bands like the Derelicts or Seaweed (who covers Beat Happening) would be on a garage punk compilation, but at the time, nobody thought of it. Estrus pressed 2000 of these and even included a drink coaster in the box. The original version comes from Cosmic Psychos’ 1989 Sub Pop release, Go the Hack. We are also going to post it because we love that crazy gang of drunken Aussies. L7 also used to do a version of “Lost Cause,” but we favor the Derelicts’ version.

Goodbye, Empty!

"I Wanna Get Out"
"Dirty City Rotten Life"
"My Dad's a Fucking Alcoholic"
"Lost Cause"

Cosmic Psychos "Lost Cause"

-- MC Tom

Historia de la Musica Tad, vol. IV

In some regards, it’s not so amazing that Salt Lick is no longer in print. TAD probably experienced more bad luck than any other band from that era: they faced two enormous lawsuits (relating to the original scandalizing cover of 8-Way Santa and to appropriation of Pepsi’s logo for the “Jack Pepsi” single) and endured being dropped by two different labels (Giant/Warner Brothers and EastWest/Elektra), with the second of the label-losses happening a mere week into a tour. In other regards, it is amazing that Salt Lick fell out of print: we consider it among the greatest and most important records from that era, and now that indie rock has become a certifiable genre and has substituted wimpiness and affectation for genuine menace, it sounds fresher and more vibrant to my ears than it has for any time since Sub Pop released it in 1990.

The line-up on Salt Lick doesn’t differ from that on TAD’s debut, God’s Balls (Tad Doyle on guitar and vocals, Kurt Danielson on bass, Gary Thorstensen on guitar, and Steve Wied on drums), but the sounds differ quite a bit. God’s Balls sounds sludgier, slower, and more lumbering (in a good way), whereas Salt Lick has a slightly more industrial sound. If God’s Balls sounds like grave-digging, then Salt Lick sounds like demolition work. To put it better, Salt Lick sounds like Tad has been laying some cable, in both senses of the term. This is not to imply that I prefer the sound of one record over another; both were recorded appropriately. The recordings largely reflect the trademark sounds of their engineers—Jack Endino and Steve Albini.

"High on the Hog," w/ Kurt Cobain on vocals

I contacted both Doyle and Albini for comments. Doyle has been too busy to get back to me, which is fine. Albini mentioned that he doesn’t remember the sessions too well—they were 20 years ago, after all—but gracefully attempted to answer some questions anyway.

Lamestain: Did the band indicate why they wanted to record with you? (Meaning, were there any past recordings that they especially liked or referenced?)

Steve Albini: I liked God's Balls and mentioned it to Tad when I met him. That may have influenced his decision, but he never mentioned it.

Lamestain: What was the recording process like? The record was recorded well before you opened Electrical Audio. Where did you record it? Did the band use their own instruments or instruments at the studio?

Albini: Everything was recorded and mixed at CRC. They used their own guitars, I don't remember about the rest.

Lamestain: The bass sound--which is fantastic--recalls Big Black a little. Was this planned in advance or did it relate to the recording process (for example, as a result of the instruments used)?

Albini: Don't remember doing anything special. Sorry.

Lamestain: Were there any leftovers from the sessions? Any songs that appeared in different versions on later albums?

Albini: I think everything they recorded ended up on the EP.

Lamestain: Is there anything you especially love or dislike about how that record turned out?

Albini: I have mixed feelings about it. I remember some songs sounding more ass-kicking than others but not being able to put my finger on why.

Lamestain: Finally, I've been curious about the provenance of a song called "Habit & Necessity," which appeared on an early Dope, Guns, and Fucking comp. It doesn't exactly sound like anything from either the sessions with you or those with Jack Endino while at the same time sounding a little like each of those sessions. Did you record this?

Albini: Doesn't sound familiar. Sorry. That was pretty lame, sorry. I don't have that many vivid memories about those sessions.

"Wood Goblins"--too "ugly" for MTV

We’ve been happy to see TAD finally getting their due, even if it’s coming nearly two decades too late. One of Seattle Weekly’s blogs claimed that “Wood Goblin” was the best Northwest music video ever made. We’ve heard rumors of the possibility of TAD reissues. The Busted Circuits and Ringing Ears DVD came out a little more than a month ago (it’s highly recommended); it's reviewed here, indicating that we’re not the only people feeling nostalgia for TAD. Doyle has insisted that his heart isn’t in to the possibility of the reunion, so this will probably be the closest we get. As much as we would leap at the chance to see TAD again, we would like it more if some of you young whipper-snappers reading this blog would finally quit being such pussies and pick up the mantle where TAD left it.

Because of the possibility, however remote, that these records will see reissue, we’re only posting a couple of mp3s. Really, you have no excuse for not owning it already—none whatsoever! We also found a live show from this era via the computernet that we’ve added below. The sound quality is surprisingly good.

Axe to Grind
Loser

Live December 1st, 1989

Helot
Pork Chop
Wood Goblins
Boiler Room
Behemoth
(Unkown track)
Hibernation
Nipple Belt

-Wm

Celebrate President’s Day with the Thrown Ups

Regardless of what anybody tries to tell you, songs about bodily fluids are funny. In 1980s Seattle, the go-to band for songs about bowel movements was The Thrown Ups. Self-described “barf music,” the band crapped out three singles and a full-length and stained several compilations before breaking up in 1991. While Seattle prides itself today with its cosmopolitan tastes, we will never forget that she also gave birth to a band of filthy miscreants who once recorded a song called “Eat My Dump.”

Formed in 1984, the band was originally made up of bassist/mastermind Leighton Beezer (ex-Blunt Objects), guitarist Mike Faulhaber (what happened to him?), singer Steve Mack, and drummer Scott Schikler (ex-Limp Richerds). This line-up didn’t last long, as Steve quit, moved to the UK, and joined up with some ex-Undertones in the very-different-sounding That Petrol Emotion, and Scott joined the since-reformed Swallow. Leighton then recruited new band members Ed Fotheringham (vocals), Steve Turner (guitar), and Mark Arm (drums), and this is the version of the band that, according to Trouser Press, recorded some of “the most willfully inept objet de f’art ever knowingly committed to tape.”

The band convinced Tom Hazelmeyer to sign them to his new label, Amphetamine Reptile, who previously only did singles by his own band, the very cool and underrated, Halo of Flies. They debuted in 1987 with the 500-pressed Felch EP. They soon followed with the Smiling Panties (1987; 600-pressed) and Eat My Dump (1988; 600-pressed) EPs and appeared on the first Dope, Guns , and Fucking in the Street EP (with the U-Men, Mudhoney, and Halo of Flies) and the notorious Sub Pop 200 compilation record.

Some songs from the Felch sessions were also included on the 1990 Melancholy Girlhole full-length, but everything else was recorded by Jack Endino at Reciprocal in 1989. Amphetamine Reptile originally released this as a 1000-pressed 3x7 box set, while German label Glitterhouse released it on 12’ vinyl. AmRep also lovingly reissued nearly everything by the band on the 7 Golden Years CD, which you can buy here.

Leighton went on to play in Stomach Pump, whose single on Penultimate records we are still trying to find, and is also behind the official Thrown Ups webpage (there is also a great “unofficial” page here). He also played in El Grande Conquistador, although I am unsure whether they are still around or have released any records. Before Ed gave up the rock ‘n roll life for illustration, he also played in the Sad and Lonelys, Love and Respect, Icky Joey, Eddie and the Back Nine (w/ Flop), and Bushpig (w/ King Snake Roost members). Ed was only on the Bushpig AmRep single, while Steve Turner and Mark Arm were on the record. We’ll eventually post stuff by all of those bands, so sit tight, kids.

For now, though, take some time to reflect on the meaning of President’s Day and enjoy “Person in My Bowels (is Very Sad).”

"Person In My Bowels"
“Hot Lunch”
“Fleshy Web Pit”
“Sloppy Pud Love”

The songs are on a .zip file here.

-- MC Tom