Sunday, December 14, 2008

Saying Goodbye to 2008 with Crackerbash

If there is a musical genre that has been more bastardized by amazingly wretched bands than grunge, it’s probably Emo. While we never flew the Emo flag or anything, we will proudly stand by some of the earlier, landmark emo bands. Rites of Spring? Still love them. Moss Icon? Sure, they had their moments. Antioch Arrow? Um, actually those guys were a bit ridiculous. And then there was Portland’s Crackerbash. Easily one of the greatest live bands to come out of Portland during the early 90s, Crackerbash obviously owed part of their abrasive pop-punk sound to the Revolutionary Summer bands (and the Wipers and SST bands), but they shouldn’t be seen as a precursor to today’s truly bizarre "emo" scene. But we are not here to knock the youth of today, ladies and germs. No, if they want to do this sorta shit, that’s fine with us. Instead, we are here to raise our glasses to Crackerbash and say, "Those guys were pretty good! You should check them out!"

Formed in 1989 by Hellcows guitarist Sean Croghan, bassist Scott Fox, and drummer Doug Nash, the band made their vinyl debut a year later with the sorta poorly mixed "Bike" b/w "Laughing Song" 7” on Audio Addict Records. Moving to Imp Records (Calamity Jane, Jackie O-Motherfucker) and handing over the drum stool to Ted Miller and the recording responsibility to Drew Canulette at Dog Fish Studios, their second single, "Holiday," sounded much, much better and showcased better songs.

By then, word on the street was that Crackerbash was a shit-hot live band, and Seattle’s Empty Records snapped them up for a couple records. Like Chapel Hill, Portland was set to become the next Seattle, and Crackerbash, Hazel, Sprinkler, Pond, and Heatmiser led the way. Of course, history can be a huge, unruly asshole, and the fact that Everclear was the sole platinum seller from that bunch is further proof.

The self-titled full-length and "Jasper" 7” came out around 1992, and while good, they didn’t fully capture the band’s live energy. Sub Pop made the band’s "Nov 1" b/w "Halloween Candy" (a Spinanes cover) the August 1992 Single of the Month, sandwiching Crackerbash between Codeine and the Mono Men. (Hopefully, you didn’t snooze when it was time to subscribe to Sub Pop's current series.)

Now for my money, the records that Crackerbash recorded with Kurt Bloch were their best. The Working Holidays September split single with Jawbox on Simple Machines Records and the Tin Top EP might be their loudest records and sound closest to their live show. Like all good punk bands, the band burned out early and broke up around 1994. Humble Records released a live 7” of their last show at La Luna; it may or may not be a boot.

Since this is the Holiday Season and we are crunk on spiked eggnog, we are including some odds and ends in the download file. “Your Gate” came from the Empty Sampler 2, and “Head Like A Weedeater” came from C/Z’s Teriyaki Asthma Vol 9, which also featured Trashcan School, Stymie, and Canada’s Superconductor. We should probably add that Superconductor contributed a decent version of the La’s “There She Goes” to this record that should (we hope) help you erase the horrid memory of the Sixpence None the Richer version. Sixpence None the Richer, if you are reading this, we are still waiting for your apology.

Anyhow, “The World According to Nouns" is a Minutemen cover that you can find on Little Brother's Our Band Can Be Your Life tribute compilation. Hazel, Treepeople, Unwound, Thurston Moore (of course), and a ton of other cool names also appeared on this record, so go track it down.

After Crackerbash exploded, Sean fronted the short-lived Jr High, who recorded a single and full-length for Empty Records before calling it a day. He did some solo stuff, which I don’t remember ever hearing, and now sings for Rapids. Scott joined up with Calamity Jane singer Gilly Anne Hammer for Starpower before reuniting with Ted in the cool instrumental band, Satan’s Pilgrims. Crackerbash did a few reunion shows over the years, and you can visit here to buy their live DVD.

And with this, we bid adieu with 2008. We hope your year was filled with grunge goodness and that St Nick left you those Cat Butt and Dickless All-Stars singles in your flannel stockings. Happy Holidays!

Get the zip of these tunes here.

"Bike" b/w "Laughing Song"

Holiday 7"

"Walk Back" b/w "Holiday" "All Work"

Jasper 7"

"Jasper" b/w "Aluminum Siding" "Leaving"

"Nov 1" b/w "Halloween Candy"

Working Holidays September

"Back to School"b/w Jawbox "Falk"

"Your Gate"

"Head Like a Weedeater"

"The World According to Nouns"

- Santa Tom

Friday, November 07, 2008

Outta Our Caves! The Young Fresh Fellows

The record we’ve posted here is perhaps the worst possible introduction to the Young Fresh Fellows. But it’s also the best introduction.

Bassist Scott McCaughey formed the band in 1982 with Tad Hutchinson on drums and Chuck Carroll on guitar. Jim Sangster took over bass duties after their debut, The Fabulous Sounds of the Pacific Northwest, allowing McCaughey to switch to rhythm guitar. The band released Beans & Tolerance (the “official bootleg”)--the record we're posting--under the name 3 Young Fresh Fellows 3 (an homage to 3 Mustaphas 3) during the period after Carroll left but before Fastback Kurt Bloch joined.

The Young Fresh Fellows were, in some ways, both an Everytown kind of band and also the quintessential Seattle band. They played a slightly amateur-ish, brisk, self-effacing power pop; we used to call this kind of music “college rock,” and they had a decent enough college campus following that a friend of mine informed me of a tribute band (The Empty Set, I believe) formed among undergrads at the University of Chicago.

But they also grounded their pop in the classic Seattle/Tacoma garage fuzz of the 60s: the Wailers, the Sonics, the Raiders. But millions of bands farm this same garden without really embodying the region that grew it, and this is what set the Young Fresh Fellows apart. It’s not just the northwest of Rockin’ Robbin Roberts and Paul Revere, but also that of Spud Goodman, Stan Boreson, and Bill Nye: The Science Guy. In fact, they based the cover of their debut on a record put out by Pacific Northwest Bell of the same name that featured literal sounds from the northwest (ferries, that kind of thing; samples can be found here. Hell, they even name-drop Alderwood Mall in the lyrics to “Searchin’ USA.”

(That same song also references Pauline’s Cafe in Bellingham, but I’ll be damned if I can remember a place by that name from my time in the ‘Ham. Readers?)

Anyway, back to Beans & Tolerance (or Simply Wonderful, Wonderfully Simple). Trouser Press writes this about it: “Recorded quickly with more enthusiasm than care, the twelve cavalier tunes — most in a gritty and/or psychedelic '60sish vein — add up to a joyous, rock'n'rolling studio party with massed backing vocals, one-take chaos, meandering guitar solos, bum notes and everything else that such great undertakings require.” Is this true? Yes and no. My feeling on the record is that it’s a fun diversion if you already know about the band. Otherwise, I’d start building your collection with just about any other of their records. But we do take delight in posting this, because it was rather rare even in its day and is way, way out of print, never to return.

McCaughey has been busy lately with the much more earnest, jangly Minus 5 and the Baseball Project. I confess that I haven’t kept up with what he’s been up to, but I like what I hear here. Worth your time is Universal Trendsetter, a website devoted to McCaughey’s many projects. Some young, fresh person also posted an entire 80-minute concert from 1991 on youtube here.

Rock and Roll Guitars
Fruitbasket Blues
Vacation Rock
NF in Trouble
Stop Breathing, You’re Foggin’ Up My Mind
Shake Your Love
I Wanna Die in a Woman’s Prison
After Eggs
Tell It to the Raven
Whole Lotta Pappies

Here's the zip file.

Sadly, the mp3-hosting sites we've used are cracking down on people who use them to, um, host mp3s. Some idiots must be exploiting such sites to distribute the new Metallica for free instead of for the right reason, which is to ensure that you're able to hear "I Wanna Die in the Woman's Prison." So we'll likely just use zip files from here on out.

Sunday, October 19, 2008

Mo' Wipers Covers

Tom Lamestain is back in the hizzouse! Before we get to more Wipers’ covers, we would like to say that we aren’t the only peeps back in action after a long hiatus. Yes friends, the rumors are true, and the legendary Regal Select record label has returned from the dead. As far as we know they are set to release a Leaders 7” (whom we know nothing about) and - most exciting to us - the Puget Power Vol. 5 compilation 7”. We previously posted the first three Puget Power compilations, but we lost most of our download files when Mediamax went tits up, but luckily for you, you can still get the songs over at the very fine Head Veins blog. Volume 5, our little birdie has told us, will contain exclusive and most likely awesome tracks by Spits-side project, Spider, Love Tan (formerly the Pyramids – buy their great single on Sweet Rot records here), the Intelligence (ex-HRDR!), and AFCGT (A-Frames Climax Golden Twins), who coincidentally enough, also have a forthcoming 10” on our very own Dirty Knobby Records. Regal Select doesn’t have any web presence that we can find, but we suggest checking Goner Records for availability in the next few weeks or so.

And now, back to the Wipers covers!

Mono Men – Besides being the best rock band to ever come out of Bellingham, the Mono Men were also Kings of the Cover songs (ahem – runners-up to KILLDOZER!). Pick up any Mono Men record and chances are there is at least one bad ass cover song on it. A short list of covered bands would include El Vez’s original punk band the Zeros, The (Dutch) Outsiders, Radio Birdman, Dead Moon, the Sonics, Nomads, Link Wray, and of course, the Wipers. For my money they did the best cover of “Over the Edge,” which was on the Estrus records Bent Pages compilation LP. There is also a live version of “Over the Edge” on the Lucky records, Live in Europe 7”

Nirvana might have done a slightly better version of “Return of the Rat” on the T/K tribute compilation, but the Mono Men were a close second on the Scat records10 Big Ones LP. We are big Mono Men fans over here, so expect more Lamestain coverage sometime in the future.

Melvins – You can find ‘Youth of America’ on the out of print, Electroretard CD, which was released by the now defunct Man’s Ruin label. Melvins also cover the Cows and redo some of their own classics on the record, though I think the Wipers song is the best cover they have ever recorded. If you saw them close out the Velvet Elvis in Pioneer Square, you might remember them tearing this song apart.

A few years ago, we also saw Mission of Burma close out their Neumo’s show with ‘Youth of America,’ and, as luck would have it, a studio version also exists. You can find it on itunes, and while you are in the mood, go to your local shop and buy all of the Mission of Burma records on Matador right now.

Portland’s Jackpot Records also did amazing vinyl reissues of Is this Real and Youth of America, and there is really no reason why you don’t own multiple copies of them.

The Mono Men - "Return of the Rat" "Over the Edge"
The Melvins - "Youth of America"

-- MC Tom

Thursday, October 16, 2008

Sorry for the lack of recent updates!

Our lives have been ridiculously busy lately. Here's the number one reason why:

Leni Elizabeth, my beautiful baby daughter, born on Rocktober 1st.

More Wipers and some Young Fresh Fellows to come soon!

Friday, August 29, 2008

______ vs. The Wipers

In the post I wrote about the Wipers from December 2006, I mentioned that, someday, we planned to post some of the excellent covers of Wipers’/Greg Sage’s material. Well, patient reader, we’re finally making good on our promise. In the next week or two, Tom will write about covers by Nirvana, the Mono Men, and the Melvins, but I’m going to start with the much-lauded 8 Songs for Greg Sage and the Wipers, which Tim/Kerr Records released in 1992.

(Tim/Kerr Records, also called T/K at points, deserves a blog entry of its own, simply to emphasize (a) they have no affiliation with former Big Boy/Poison 13-er/Monkeywrecher Tim Kerr; (b) they have no affiliation with TK Records, home of KC and the Sunshine Band; (c) they released tons of great records by bands like Pond, the Wipers, Calamity Jane, Pere Ubu, Kurt Cobain-William Burroughs, Smegma, the Hellcows, and the Raincoats; and (d) they also released records by the god-damned Dandy Warhols and god-damned Everclear.)

(Jesus Christ. Everclear. No, god damn it. No, no, no.)

T/K expanded this compilation a year later, adding an additional six tracks by Nation of Ulysses, Calamity Jane, and others. We only have the original eight-song collection, which largely features other bands from the region, many of whom have a legitimate connection with the band. The label released the original as a set of singles, packaged in a silvery gray box. Now, for the track-by-track commentary.

Napalm Beach formed in 1980, and drummer Sam Henry had briefly played with the Wipers. They offer a grunged-out cover of “Potential Suicide.” Although Napalm Beach records were a constant presence in the bins at Cellophane Square in the late 80s, I don’t know much about the band itself. I like the songs on their myspace page. Good cover here.

M99’s cover of “Astro Cloud,” from Sage's 1985 solo record Straight Ahead, does little for me. Sage produced M99’s full-length Medicine, also released on T/K.

Nirvana had already become famous by the time this cover of “Return of the Rat” appeared. My assumption is that Nirvana’s fame allowed them to pick which song to cover, as I’d venture that everyone wanted to take a stab at the Wipers’ most well-known track. It’s not bad, but the Mono Men do it better.

Poison Idea almost reduces “Up Front” to a straightforward hardcore slam, but the song resists this treatment. Overall, I’ve never been a big fan of this band.

The Dharma Bums offer a countrified take on “On the Run,” also from the solo record. The Bums sound more like Counting Crows here than was generally the case in the late 80s/early 90s, but it’s still a decent cover.

Crackerbash do the debut’s “I Don’t Know What I Am” and “Mystery.” They make these songs their own, adding a Rites of Spring-like breathlessness to both tracks. We really need to write about these guys sometime.

Perhaps the best cover on this compilation is Hole’s shambolic take on “Over the Edge,” one of the best Wipers songs period and one that’s especially well suited to Courtney Love’s caterwauling (I mean that as a compliment). It sounds as if the engineer didn't properly mix the multiple tracks of vocals together, but this only adds to the appeal. Sloppy, angry, and despairing. I'll even go as far as to suggest that it's every bit as good as the original.

The Whirlees reimagine “Land of the Lost” as a butt-rocking fist-pumper. The vocals remind me of Trey Parker’s fake hard rock growl, but despite of this cover’s problems, I like it. I even rather like the changes they made to the chord progression. Tom hates it. It’s the Icky vs. Stumpy Joe battle revisited! The Whirlees released an eponymous record on Schizophrenic Records in 2003, recorded by Drew Canulette, who also produced Ultramega:OK; that’s all I know about them.

Here are the tracks:
Napalm Beach -- "Potential Suicide"
M99 -- "Astro Cloud"
Nirvana -- "Return of the Rat"
Poison Idea -- "Up Front"
The Dharma Bums -- "On the Run"
Crackerbash -- "I Don't Know What I Am"/"Mystery"
Hole -- "Over the Edge"
The Whirlees -- "Land of the Lost"

And the songs are also on the zip file here.


Tuesday, August 12, 2008

Battle of the Joes: Icky versus Stumpy

Before we get to this week’s Smackdown, we should give mad props to Sub Pop for hosting such a great anniversary party last month. Bands were enjoyed, beer (more specifically, Elysian Loser Ale) was chugged, and dudes wearing House of Large Sizes t-shirts were spotted. The Vaselines and Green River were the obvious highlights, but Mudhoney, Les Thugs, and Comets on Fire also tore shit up.

Sadly, record exec obligations prevented us from seeing the Fluid reunion show, but according to those in the know, the band sounded as great as ever. You can watch a video here. And what excuse could we have had to miss the legendary Fluid? Why the debut (and hopefully not last) live performance of the Drills! Patrick McCabe and Patrick Thomes played a smashing set at Drills headquarters and sounded amazing and nutty. The closest band I could compare them to would be Harry Pussy. McCabe recorded their performance, and we’ll hopefully be able to distribute it to the Drillamaniacs sometime.

Now back to the action in the ring.

Like the Civil War, the Icky Joey versus Stumpy Joe rivalry has pitted brother against brother. . . . Well, at least it has in our family. I am strongly in the pro-Stumpy camp, whereas William belongs to the pro-Icky camp. While blood has yet to be shed, online taunts have been thrown, and feelings have been hurt. Why is there such animosity between camps? Probably because we are bored and easily amused.

In the grunge corner, you have Icky Joey. Made up of Love Battery rhythm tag-team members Jason Finn and Jason Tillman, Icky Joey also featured vocalist David Lipe, guitarist David Rott, and guitarist/artist/Thrown-Up Ed Fotheringham. Icky Joey didn’t last too long, but they were signed to C/Z and left behind the Marron, Marron 7” EP, Pooh LP, and a song on Teriyaki Asthma Volume Four. Plus they opened for Madison, Wisconsin’s, all-time greatest band, Killdozer. Really, that’s quite a pedigree.

Musically and stylistically, Icky Joey was Grunge with a capital G. They had all the benchmarks: Jack Endino production, Charles Peterson photography, wah-wah solos, and that snotty-and-proud punk rock irreverence that quickly went away once the Seattle Sound went national. Hell, Steve Turner even made a guest appearance on their record!

Now in the pop corner, you have Stumpy Joe. Named after Spinal Tap’s second drummer (who tragically died after choking on somebody else’s vomit), Stumpy Joe released records on Conrad Uno’s Popllama, Sicko’s Top Drawer, and Bellingham’s gone-but-not-forgotten Estrus Records. The band consisted of John Ramburg (vocals/guitar), Mark Hoyt (guitar), Christian Wilson (bass), and Scott Russell (drums), and most of their songs were about beer. “Drunk Idea” is their hit and has enjoyed a steady rotation in my head after I first heard it at a Popllama Picnic in the Park many battles ago.

John later formed the very fine Model Rockets, who didn’t sing about beer nearly enough, in my humble opinion.

The lines have been drawn and now it’s your turn to pick a side. Let the battle begin!

Icky Joey

Marron, Marron EP
Marron, Marron
I Love You There

Teriyaki Asthma V4

Bone of Contention
Smokin' the Devil's Bud

Stumpy Joe

Love Plumbin' 7"
Love Plumbin
I Want Some Bud

Sugar and Glue 7" Top Drawer Records 1993
Sugar and Glue
Welcome Back (Kotter's Theme)

Drunk Idea

Get 'em all in a zip file here.

--MC Tom

Tuesday, July 29, 2008

Live! Tonight! Sold Out!

In my office, we can access our co-workers’ iTunes folders through the network. Every now and then, I peruse some of these folders to see what’s new. Much to my surprise, a coworker named Brendan, who I hadn’t met before, had some Nirvana bootlegs, including a 1991 show at the Paramount Theater in Seattle. My eyes practically popped out of their sockets. Goddamn! I attended that show!!! Brendan was kind enough to let me copy the sound files.

Here’s what I remember from that show. When tickets went on sale, Nirvana had already started ascending in popularity--clearly, since the Paramount seats a few thousand people. I went with a few friends--Gray, Carolyn, and I think Joe. Bikini Kill and Mudhoney opened. We missed every note of Bikini Kill’s twenty-minute set, because hundreds of people still packed the Paramount’s small lobby, preventing us from reaching our seats, which were well in the upper tier of the venue. Mudhoney played a fine if somewhat subdued set, most of which consisted of tracks from Every Good Boy Deserves Fudge. A couple of people filmed the Nirvana show, and bits subsequently popped up in the video for “Lithium” and elsewhere. I’ve remembered some of these and other details--the mundane details--over the 15+ years since that show.

But some of the specific details came flooding back to me when I started listening to this bootleg, and I soon remembered the show as if it had happened a week ago. I think this is the exact feeling that middle-aged people like me crave when we listen to a live record: that shudder of youth that winds through you, that chance to be reminded not just of the concert but of the conflicting desires and nervous energy that drove you. It’s strange, because I’ve heard other live tracks from shows I attended, but none of them really *worked* in the way that this Paramount show did. And it started working as soon as I heard Cobain’s explanation of the Vaselines cover in the opening seconds, which I remembered distinctly as soon as I was reminded of it. But I also remembered what it was like to be 17 or 18 years old, being swept up in something that made me feel undeniably cool, even if it was only by association.

"Jesus Wants Me for a Sunbeam"

While researching this particular post, I realized that this bootleg has been very well circulated, so it’s not quite the awesome rarity that is, I dunno, 64 Spiders’ lone single. The recent Sub Pop birthday bash put me in kind of a reflective mood, though, so I felt like procuring this boot and passing it on. If you don’t already have it, I highly recommend giving it a listen: as a document of Nirvana’s live show, it’s a vastly better than the official live record. It’s worth it for the takes on “Breed,” “Been a Son,” and “Negative Creep” alone.

The show occurred on Halloween night, 1991. Nevermind had attained gold record status only a few days before the show.

Track listing:

Jesus Wants Me for a Sunbeam
Drain You
Floyd the Barber
Smells Like Teen Spirit
About a Girl
Love Buzz
Been a Son
Negative Creep
On a Plain
Rape Me
Territorial Pissings
Endless Nameless

Zip file is here.


Friday, July 11, 2008

Sub Pop Rock, Comedy, and Acoustic Guitar City

It goes without saying that a lamestain representative will be attending the most awesome event in the history of mankind (i.e., the Green River reunion). Look for Tom out there: he'll be the guy with long hair, a flannel shirt, torn jeans, and a leather jacket, throwing beer cans at Iron & Wine.

As for me? Lucky me, I'll be stuck in Chicago, doing marketing and investments homework. In honor of the event, I will be extra angst-y as I calculate CAPM models.

Dan at 10 Things has photos of last night's surprise Green River show at the Sunset.

Tom wrote a Grunge 101 piece in The Seattle Weekly that's worth a read, although you already own all of these records, of course. The Weekly also has other features about the big bash.

Pitchfork has devoted the entire week to Sub Pop-related features, some of which are really quite good. I take issue with their list of 20 essential releases, however, because it doesn't include Salt Lick. How do you accidentally omit Salt Lick?

Have fun at this thing, and take lots of photos.


P.S. MediaMax, our old host for mp3s, went tits up a couple of weeks ago, so you'll find that you can't link to those mp3s anymore. We'll still use zip files and and, I hope, not have that problem any more.

Monday, July 07, 2008

Engine Kid: What Life Was Like Before Sunn O)))

If you ever wondered what Greg Anderson did between stints with False Liberty, Inner Strength, Brotherhood, Amenity, Statement, Galleons Lap and Thorr’s Hammer, Goatsnake, Teeth of Lions Rule the Divine, Sunn O))), Burial Chamber Trio, Ascend, and Pentemple, the answer would be Engine Kid. Like Louisville’s Rodan, Engine Kid were dogged with the "sounds like Slint" tag, and while it might be true for their early releases, the band moved beyond the quiet/loud dynamics toward the end of their career. By the time the band had signed to New York hardcore label Revelation, Engine Kid flirted more with metal and experimental music than just post-rock.

Bands like Engine Kid could also be seen as a sort of rejection against the grunge scene. While the grunge acts in the early 90’s either tried their luck with major labels or broke up, a crop of younger bands formed that had nothing to do with greasy hair, thrift store flannel shirts, or 70s arena rock riffs. A lot of the younger bands came from the straight-edge scene, which, of course, was pretty much the polar opposite of the grunge scene.

Their first single came out in 1992 on Greg’s own Battery Records and, uh, kinda sounds like Slint. Recorded by Stuart Hallerman, the band featured Greg on vocals and guitar, Art Behrman on bass, and Chris Vanderbrooke on drums. Their cover of “The Needle and the Damage Done” was also released on the Excursion Records compilation tape This is My World, which featured Greg’s other bands, Galleon’s Lap and Brotherhood (both bands also featured future Sunny Day Real Estate/Foo Fighter Nate Mendel). The tape also had songs by straight-edge acts like Undertow, Resolution, and Strain; pop acts like Olympia’s Lync and 10:07; and a ton of Bellingham bands, such as Grien Cow, Fat, and Outside.

“Thigh with a Desolate Thorn” came out on the 1994 C/Z records, Three on a Tree 7” compilation. Lamestain alumni Vexed and Die Kreuzen spin-off band Wreck also contributed songs. (The record was second in a compilation series; the first record was Four on the Floor with Treepeople, Gnome, Dirt Fisherman, and Alcohol Funnycar, and I don’t think the third part of the series was ever released.)

Chris eventually left the band was replaced by drummer Jade Devitt and by 1995, Engine Kid was starting to sound pretty damn evil. They released their last single on New Jersey’s still-going-strong Troubleman Unlimited Records (2000 were pressed). “Heater Sweats Nails” has a Melvins-worthy riff, while “Husk” is a minor-key instrumental, post-rock jam. After this record, it was no big shock that Greg’s next few bands would lean even more towards the metal-side of things.

1/4 Mile Thunder
Needle and the Damage Done

Thigh with a Desolate Thorn

Heater Sweater Nails

Friday, June 13, 2008

How do you like 'dem apples?

First, sorry about the French holiday between posts. Sub Pop has been gearing up the 20th Birthday celebrations with aplomb, and Tom and I were, traveling to England or trudging away on a project for a class. No doubt, you’ve all picked up the reissue of Mudhoney’s Superfuzz Bigmuff by now (unless you already have all of the tracks).

A few weeks ago, my friend Blake burned me a CD of the Cats Are Neat EP by Apple Maggot Quarantine Area (that’s AMQA, for those in the know), a hardcore band from Puyallup who banged around for a few years in the late 80s. It amazed me when he first asked me about AMQA, as they never exactly hit it big at that time. You’d see their name around town from time to time, but they lasted only a short while, didn’t release much material, and morphed into a speed metal band just as everyone else was exchanging their BC Riches for Fender Jaguars.

If you didn’t grow up or travel through the Northwest, their name seems like a non sequitur, like a splattercore version of, say, Stoney Bone Child. Not so! Apple maggots actually infest apples in parts of Western Washington, such that the local government forbids people from transporting homegrown/non-commercially grown apples across state lines, if they had been harvested in a quarantine area. You can learn more about it--and I’m certain you do, in fact, want to learn more--here.

As far as the band goes, I can’t tell you much about them. Members included Snostrebla, Mike Crum, Kevin Johnson, Kevin Ladas, Paul Kimball, Flash, Dirk Bennet, and Bob Bulgrien, but not all at once. Bob later joined Seaweed, Mike Crum and Paul Kimball later formed HellTrout, Kevin Johnson played in Leaded and ScatterBuzz, and Flash was in Portrait of Poverty. I don’t know much about any of these bands other than Seaweed, although Helltrout shared bills with Soundgarden, Tad, Skin Yard, and Fitz of Depression. They followed Cats Are Neat (Subcore Records) with a full-length, Mutant Cats Are Hell (I’m sensing a theme here) on Ever Rat Records in 1988. By this point, they’d become more of a metal band. They also recorded an unreleased split with The Dehumanizers. Perhaps our friend Mort could tell us more about them.

I wouldn’t call this record essential by a long shot. It’s mostly interesting as a document of what else was happening in the area at the time. Also, I’ll note that they were regulars at the Community World Theater, a brief-lived venue in Tacoma that hosted shows that will make the eyeballs pop out of your head. Example: Killdozer with opening band . . . Beat Happening?

The Cats Are Neat EP is on this zip file.

Our old file-sharing site, MediaMax, appears to have changed a bit, and I haven't had a chance to figure it out yet. So for the time being, we'll just use zip files and Sendspace.

Wednesday, May 07, 2008

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
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

Friday, April 25, 2008

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)

Love Gut

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

Just a Smirk

"Deertrap" 7" (1991; K Records)


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

Foggy Eyes

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

Sunday, April 13, 2008

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 20th 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"

"Chess and Crime"
"Sunday Time"

"Shoot the Cool"
"Texas Love Goat"

"Welcome Home"

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

Monday, March 24, 2008

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”

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.


Tuesday, March 18, 2008

Saying Goodbye to Empty with the Derelicts

February 8th 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

Monday, March 10, 2008

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

Live December 1st, 1989

Pork Chop
Wood Goblins

Boiler Room
(Unkown track)
Nipple Belt