It reinforced my desire to stay hidden in the balcony. Then the bands started. They were kicking some ass and the energy in the mosh pit was high. Lots of people were getting hurt. Lots of fights were starting. I remember people climbing the PA stacks and swinging from the curtains on the sides of the stage. It was wild. It was scary. TSOL closed the show. It was during their set that a drunk skinhead dude pickup up his drunk girlfriend and held her over the balcony to scare her.
He lost his footing and they both went over and hit the floor below. That's when Ray and I decided it was time to leave. Greg Cameron destroying the drums, Photo: Fred Hammer I know you have been involved with sound recordings for a long time. Can you tell us exactly what you do and what advice would you give to a new band recording? What are the most common mistakes you see bands doing when they record or even what mistakes bands make when they play live? My advice to any new band recording is to practice, practice practice.
And have your instruments in good working order. Studio time is expensive. If you don't have your shit together when you walk in, it's going to cost you time, money, and piss people off.
The same goes for live performance. Practice and have your gear in working order. Nobody wants to see a band that's really sloppy and acts like they don't care unless that's what the act is really supposed to be about.
Even then, there's a certain order to things. One of my biggest pet peeves with new bands, and even some old ones, is how they get their gear on and off stage.
Drummers: do NOT set up your drums on stage. Set them up when you get to the gig or at least well before your band has to be on stage. It slows down the band change over process immensely. You get in everybody's way. You cause problems. You are rude. And when you're done, get your shit off stage right away and do NOT break your drums down on the stage.
Break it down OFF the stage as you cause the same problems stated previously. Tuning on stage slows everything down. And get your amps off stage right after playing. Don't go grab a beer and chit chat. Once again it slows everything down and screws the next band in line. The gig is not about you. It's disrespectful to the next band, the fans, and the club. It does little to further your reputation with your peers and makes it less likely that you'll be asked back to play again.
Bottom line, treat your set up and tear-down as you would want the band before you HC - Various - Girls Kick Ass (Vinyl treat it. Egos be damned. If you get on late, cut your set short. Don't screw the other bands down stream. Be the "bigger" band and do the right thing. It will be better for you later down the road. It was the "New Music Seminar" where new bands get to showcase themselves for "industry" people. Talk about an interesting mix eh?
Sisters of Mercy were a bit boring as they were just getting going then. General Public was also just starting out. I was a fan of the English Beat, but this band just didn't do it for me. But what really put them on my shit list was the fact that they played almost a half hour longer than they were supposed to which cut right into Flag's set time. Then they left the stage and nobody from the band or crew came to get move their gear. It was a big snub.
So Greg Ginn grabbed me and we headed up to the stage. Ginn was so pissed that he started breaking the guitar cords off in the amps by dragging them with the cords and then shoving them over on the side of the stage. Guitars, drums, and stands were literally thrown across the stage.
It was the most pissed I'd ever seen Greg. Then we got Flag's gear up fast and they started playing angry. It was a good gig. Last question Feel free to say anything you'd like.
I'd just like to say thanks to the SST crew over the years and in particular Ray Cooper for introducing me to "punk rock", Bill Stevenson for being a good friend and mentor, Chuck Dukowski for being a generous friend and mentor, and Greg Ginn for starting SST which made a large part of my life possible.
And thanks to Mr. Fred Hammer for asking! Surely not us, but we'll take it every time. The guy simply steps up and delivers quality contribution after quality contribution and we couldn't be happier about it.
This time around Billy fills us all in on the back story of New Beginning Records. This is a story about what it was like putting records out.
I thought I was just helping out some friends. The first release was going to be Crippled Youth and shortly after that Underdog. Coordination of projects was difficult. This is before cell phones, email, scanners, laser or ink jet printers, fax machines Hell, it was before PC's. We'd mail things back and forth. The Crippled Youth 7" had a lot of technical issues. None of us knew what we were doing. The first batch of sleeves for the Crippled Youth 7" came back from the printer with a test strip a strip of tape with sequential numbers across the back of the sleeve.
Mike and Bessie didn't want to release a half ass single so they demanded a reprint. The task of connecting the various pieces of a record's release took me on a wild goose chase of sorts. The printer was one of the unique situations. After the first batch of Crippled Youth sleeves came back screwed up, I had to drive up there to approve the next printing before they ran an entire run.
When I got to the printer, this guy that looked like Garth from Wayne's World but all coked up took me back through their warehouse to find the Crippled Youth sleeve. This printer turned out to also be the printer of choice for VHS porno sleeves. Keep in mind, I was 16 years old. I had barely seen porn in my life.
I was taken back through a literal maze of stacks of different cardstock porn video sleeves with super skanky porn chicks. This is the 80's We're not talking Jenna Jameson. I seriously thought I was in the twilight zone. Amongst all the porn were the Crippled Youth sleeves. I gave them the thumbs up and the Crippled Youth 7" was born. I should point out that the screwed up sleeves were used for the 2nd pressing I think but we put a stamp on the back side of the sleeve.
I simply can't remember some of the specific details about these early releases. He might remember. Underdog 7" Test Press Sleeve When the Underdog single was released, Mike Trouchon made a custom test pressing sleeve to mock all the trouble we had with Crippled Youth. The artwork for the test pressing sleeve incorporated the real artwork, some paperclip images and various other crap. There were ten of these test pressing sleeves.
The back side of the sleeve is stamped with the person's name that the test pressing belongs to. Our experience with the Crippled Youth and Underdog releases prepared us for the multi color Negazione "Nightmare" 7" New Beginning number 3 released in Back then, multi color meant a color separation. There were these huge sheets of transparency with each color printed on a separate sheet.
The different sheets laid on top of each other to create the final image. It seems like a cave man process compared to what is out there now. I think the Negazione cover art by a guy named Dumbo is one of the coolest pieces of art I've ever seen on a 7". Our pressing plant contact in LA was this guy named Kane Boychuck. Kane worked at Macola Records in Hollywood. Macola was the place that actually made the vinyl records.
I don't know if it's still there, but it was an anonymous white building on Santa Monica Blvd. It was always interesting to go to Macola and see the big machines stamping out vinyl records.
It made it all seem so real. There were always boxes of records laying around in various stages of the production process. Sometimes just sleeves waiting for vinyl and other times, the finished product.
I was really young back then and it was a bit intimidating to go to Hollywood on my own. There were street walking prostitutes, homeless people and occasional gang bangers. The cover art was a photo of these hardcore bloods or crips or whatever they were. These guys looked like the real thing and they were super scary. I had no idea what NWA meant, but when Kane saw me examining the cover he told me what NWA meant and that these guys were as scary as they looked.
Kane gave me one of those 12" NWA records and I've kept it to this day. It was actually a pretty good record and as it turns out, NWA became a huge band as you all know.
I actually have the HC - Various - Girls Kick Ass (Vinyl pressing of the first NWA record. For years that record was a novelty that I would take out and play for friends as a joke. I had no idea that NWA was going to be so enormous. The joke was clearly on me. Back to the New Beginning releases Those early contacts put me in touch with hardcore enthusiasts all over the country.
In each city there would be one record store that we'd ship 10 records too. It was ITkiddo. This is insane! He occasionally reads this site and will kill me when he reads this.
His name is Neil. Wireearlier this year, Corner Hotel. Song after song of it. They sneered, they gyrated. We applauded.
The show in itself only lasted about 10 minutes, but it was the best 10 minutes I ever saw them play. Hemmo, two songs in, became increasingly annoyed with a mohawked buffoon up the front who was slamming violently into everyone, so he took off his bass and swung it brutally into the upper body of said punker. I winced as I watched. Next song starts. Tim once again swings his bass and knocks him down for the count. Tim then totally cracks it, throws his bass to the ground, grabs the 5-foot-high stack of amps on stage and begins rocking them.
This gets the attention of the nervous bouncers. He sends them tumbling and an earsplitting noise hits the room. The bouncers have had it with Tim. They make a leap for him, Tim scatters off the stage, runs through the crowd and bolts out the door, bouncers not far behind. Gig is over. I went there on my own, since Jason from Perfect Sound Foreverwhom I was staying with, insisted on going to a goddamn Pavement gig!
Jason, you spoilt New Yorker, you! The place was stinking hot and full to the rafters with old-time NYC scenesters. I stayed near the back, sipped my beer at a leisurely pace and awaited the great New York Rock Experience. Ronnie Spector was OK; Joey Ramone a more-than-passable nostalgia trip he was ill at the time, give him a break! Pure fucking magic. Live, they ripped the roof off the place. Daniel JohnstonAustin Uni, One of my weirdest gig experiences.
You felt like hugging him after the show. Beautiful stuff. Sax, tablas and piano. A strange set-up for a minimalist, perhaps, but the results were hypnotic. A sparse audience, I found myself seated next to… ta-da! La Monte Young and his wife! MasonnaWhat Is Music? This little Japanese guy comes out on stage, wearing flares and a silk shirt, long straight hair past his shoulders, armed with only a mic on a stand and an army of effects pedals at his feet.
HC-meets Go-go. What a bill! This is the gig the Teen Idles were supposed to play support to, but instead got bumped to the following night warming up for the Mentors!! On to the discussions…. Posted by Dave at PM No comments:. We had hours to kill in the tour van and the amount of verbal crap we both spilt on music and favourite bands could fertilise a football field for a year. He is not a man of few words, and nor, for that matter, am I. The surprise element comes from the fact that I have a handful of Homosexuals songs on tape from 5 or 6 years ago given to me by old compadreRichard Mason, who writes a gushing review of this in the latest Ugly Thingsand said tracks never left much of an impression on me.
So why would a doubting Thomas splurge on a 3CD set when he remains unconvinced from a teaser? Not a mention of any such sounds is made in the liner notes, though I found the resemblance uncanny, especially in the pot-smoking pixie, Daevid Allen -esque vibe of the earlier material. Stew it up with a bargain-bin lo-fi mix of the Pretty Things and Hawkwinda HC - Various - Girls Kick Ass (Vinyl of Buzzcocks -style power pop and murky dub, then serve.
I could go on and on. To dumb it down to the essentials: if the sounds of the Swell Maps or This Heat have ever set your blood racing, the music of the Homosexuals will give you a bump in the night.
The most staggering element of the band was their ability to write great songs. This is not art-school disaster territory. I played it to my wife yesterday and she started humming to it. Yes, nearly every song played collapses or transforms into something completely different before completion, but there lies the beauty of the Homosexuals. This set is a treasure chest, an excellent document beautifully and informatively presented. Now let me digest further…. Rudolph Grey is a musician everyone should know about, and a very interesting guy as well.
OK, and fourthly, finallyI used to be in contact with Grey about 5 years back and he was initially intended as the debut release on Lexicon Devil the labelbut things fell apart when I felt that he was asking for way too much money for a recording which was nothing compared to what Arthur Doyle asked for at the timeand this was also when the Australian dollar was worth about 48 cents in the US.
This is more of a CD-EP — ugh, what a stupid concept — than a full-length recording, since it features only one track which runs forbut it stands as the best 22 minutes and 54 seconds of sound he ever laid to tape. Posted by Dave at PM 1 comment:. Tuesday, December 21, That is, actual gigs which happened. Go figure that one. Thursday, December 16, Save on your first month only.
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We have a dedicated team that works around the clock to find, post and verify the offers we present to consumers. We have 11 million active savvy shoppers, you can join our community by signing up. We chatted to co-writer and co-director Sarah Appleton about this very informative piece. SA: Yes, I grew up watching Hammer horror movies and Japanese horror because my dad was a film critic, so I used to look through all his VHS tapes he'd taped off the late night tv and pick something to watch.
Evil Dead II was one of the first horror movies I ever saw, aged about 8. HC: Can you recall the first fo Ride-share app driver Russell picks up his Hollywood fare Charlotte Slipping him a wad of cash, she hires him for the rest of the evening. Their first stop at her ex's place sees Charlotte running out the door clutching a tiny suitcase being chased. They make their escape, but accidentally run over a pedestrian, setting in motion a chain of gruesome events that will go to places Russell could never have imagined in his wildest dreams.
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