Category: King G and the J Krew

December 19, 1991

Merry Christmas

December 19, 1991

Merry Christmas
various artists cassette & compact disc
[SDK-25] black & white press printed J-cards with photocopied liner notes, on-shell cassette labeling

Merry Christmas, the 1990 SLAMDEK/Scramdown Christmas tape, is a gem of Louisville’s musical uniqueness, diversity, and cooperative abilities. The nine-band, nine-song cassette was not only unique from other Slamdek Christmas tapes, but was also a unique effort by nature of who was involved and the purpose its songs served. It was a compilation of Louisville bands paying tribute to other Louisville bands.

The cassette had a unified sound and timeliness as all of its songs were recorded especially for this release, and seven of the nine at the same studio with the same engineer. And it had a unifying effect on the scene itself by inviting bands from all “sides” to participate. Bands usually thought of as “Self Destruct bands” appeared on a release with bands usually thought of as “Slamdek bands,” alongside new bands; and all of them covering mostly unpredictable songs.

However rewarding it eventually became, creating the cassette was a fiasco. Any project that involves getting about fifty people together to learn and record new songs, then scheduling all of them at convenient times in the same studio, has all the complex logistics you might imagine it would. Because of scheduling, several bands that wanted to participate could not. Shut Out planned to be on it but couldn’t get it together in time, and Sean Garrison was going to do a solo acoustic song, but ran out of time. Having those two artists on the cassette would have expanded the level of total scene cooperation in even greater degrees in both directions.

Nine bands did pull it together during November and early December, and their master DAT’s were compiled into sequence in my bedroom at the Slamdek House on Bonnycastle. Because of the tight time constraints with Christmas approaching, the cassettes were manufactured in Philadelphia at Discmakers. Discmakers offered a five-day turnaround on small orders. This worked out beautifully, and the cassette was released almost a week before Christmas. One day while Undermine was practicing with their new drummer Will Chatham at the Slamdek House, Carrie Osborne and Breck Pipes helped me fold liner note sheets and assemble the cassettes.
The liner notes were, again, especially lengthy. They listed band members and information about the performers and the groups whose songs were being covered. The monologue began with a synopsis of the three previous Christmas cassettes, which is not reprinted here. But here’s a play by play of most of the liner notes, with commentary [in brackets]:

“This year, Louisville has turned in on itself. For the first time, everything that appears on this cassette was recorded especially for the purpose of being here. Furthermore, the 1991 Christmas cassette is all Louisville bands playing covers of their favorite other Louisville bands’ songs. The reason there is so much great music in Louisville is because there are so many great people making music here. Anyone who is the least bit interested in creating can’t help but to be constantly inspired by the people of Louisville and the energy that music has here. This meager cassette stands as each band’s tribute to the Louisville musicians that have made a difference for them. Virtually forgotten bands like Anti-Youth can now shine again, while die-hard rockers like David LaDuke finally get the respect they deserve. Overlooked Louisville musicians like Patty Smith and Mildred J. Hill, whose song is as far-reaching as the sun, find a new interpretation in the hands of the kids who grew up singing it. Mid-’80’s punk classics by Maurice and Solution Unknown also serve to bring our generations together. Inevitably, the Slamdek bands feed off themselves as Cerebellum, Crawdad, and Endpoint are all saluted in three very different ways. Finally, this is probably the only city in the world that could crank out both Slint and some members of Midnight Star, and then put them all together in a medley.

“Without further description, let’s let the music of our hometown speak for itself. Forget all about everywhere we’ve been told new music is at its best. Everyday we’ll discover a little bit more why we don’t have to go anywhere else to get what we need. This is the ongoing sound of Louisville- crank it up and Merry Christmas!”

Dybbuk “Dare To Feel”
Eric Schmidt vocals, Jeremy Podgursky guitar, Tim Wunderlin guitar, Brian Kaelin bass, Alex Charland drums.

Originally performed by Maurice, 1986

Dybbuk, 1991: Jeremy Podgursky, Tim Wunderlin, Brian Kaelin, Eric Schmidt, and Alex Charland.

“Dybbuk (pronounced DIB-ick) has a self-titled 7″ out on Self Destruct Records. They’ve been together since April 1990 and their record came out in 1991. Eric replaced previous their vocalist Branden Faulls in June 1991. They plan to record in early 1992 for another release.

“Maurice was together from 1983 to 1987 and never released any records. Britt Walford and David Pajo continued to play together in Slint with whom they released Tweez on Jennifer Hartman Records in 1989, and Spiderland on Touch and Go Records in 1991. Brian McMahan played in Slint and Maurice for a while. Maurice was also home for Sean Garrison and Mike Bucayu. They later formed Kinghorse whose 1989 Self Destruct/Steel Heart 7″ is now out of print. Kinghorse has an LP out on Caroline Records and another one scheduled for next year sometime.”

[Dybbuk recorded a full length album, Breakfast T., which was released posthumously as a Self Destruct 12″ and cassette in 1992. The band broke up earlier that year, shortly before guitarist Tim Wunderlin tragically died in an accidental asphyxiation. He was buried at Calvary Cemetery in the Highlands.

[After Dybbuk’s disbandment, Alex Charland joined Slo-Pok, and Eric Schmidt dropped out of the music scene for a while. Brian Kaelin and Jeremy Podgursky formed a new band, Lather, with drummer Brian Toth and guitarist Sean Wolfson. Lather recorded a Self Destruct 7″ in October 1992, and six more songs between April and June 1993. Those ten tracks were compiled on a Self Destruct CD, A Modest Proposal. Lather broke up in the summer of 1994.

[Slint’s Tweez was reissued on Touch and Go in 1993, and the band allegedly tried to get back together around that same time, to no avail.

[Kinghorse broke up in the fall of 1992. Their second album on Caroline never materialized. Mike Bucayu opened his Blue Moon record store in the Holiday Manor Walk shopping center in the fall of 1994. Around Christmas 1994, a Slamdek CD of nineteen unreleased Kinghorse tracks renewed interest in the group, and they reformed with Jerry Cunningham of Raze on bass. Mike was either not interested in the band, or more interested in his store.]

Step Down “Elders”
Duncan Barlow vocals, Lee Fetzer guitar, Kyle Noltemeyer guitar, Christian McCoy bass, Jon Smith drums.

Originally performed by Anti-Youth, 1986

Step Down, 1991: Lee Fetzer, Kyle Noltemeyer, and Duncan Barlow.

“Step Down formed in the summer of 1991. They recorded eight songs in November
and have put it out as a self-released cassette. Three members of Endpoint play in Step Down but play different instruments. Jon is also in Shut Out who were planning on joining this Christmas Fiesta but couldn’t because of scheduling problems.

“Anti-Youth was together in 1986. They never recorded, but ‘Can’t You See’ by Big Deal on the Louisville Sluggers compilation 7″ was originally one of their songs. Anti-Youth was Greg Smith, Todd Brashear, Gordon Gildersleeve, and Bryan Jackson.”

[Step Down changed their name to Guilt at the beginning of 1993. Shortly after the name change, Lee Fetzer left the group to join Enkindel, and Duncan Barlow began playing guitar while singing to replace him. Christian McCoy left Guilt in April 1993 and was replaced by Ashli State. Ashli played in both Guilt and the Telephone Man for a few months before leaving the latter. Guilt released a 7″, Empty?, and a 10″, Synesthesia, both on Initial Records which were later compiled on the Synesthesia CD, and an LP/CD/cassette, Bardstown Ugly Box, on Victory Records.]

Rawhide “Happy Birthday”
Breck Pipes guitar & bass, Greta Ritcher guitar, J.T. Zinn sit-in drummer.

Written by Patty Smith and Mildred J. Hill, 1893

Rawhide, 1991: Greta Ritcher and Breck Pipes.

“Rawhide, although you can see they don’t have a full line up yet, has been playing together since March 1991. They’re looking for a drummer and bass player, so write to them c/o Slamdek if you’re interested. Breck has played in Spot, Cerebellum, and Crawdad. Greta has played in Your Face and Sister Shannon. All of these bands have released records on Slamdek, but unfortunately the Cerebellum cassette is the only one that remains available today. Spot’s Proud cassette is scheduled to be reissued in January 1992. Things are looking up, so hopefully we’ll see them all again soon along with a new one from Rawhide.

“‘Happy Birthday’ was written by two Louisville ladies, Patty Smith and Mildred J. Hill, and is possibly the most widely recognized modern song in the world. The original lyrics were ‘Good Morning To You’ and the tune only caught on accidentally after they had been changed.”

[Their sit-in drummer J.T. Zinn, actually Kevin Coultas using his grandfather’s name as a pseudonym, was replaced by John Causey in early 1992. This happened after John left Undermine. David Ernst joined on bass, and Rodney Bell on vocals. Rawhide played a handful of shows but didn’t last until the end of 1992. David Ernst joined Big Wheel, John Causey joined Crain, Greta began playing drums and played them in Drinking Woman, and Breck moved to Lexington. The song “Happy Birthday” celebrated its 100th birthday in 1993.]

Sunspring “House”
John Weiss drums, Scott Ritcher guitar & vocals, Herr Hayden bass.

Originally performed by Cerebellum, 1989

“Sunspring formed in the summer of 1990 and has had two Slamdek releases in 1991. The Endpoint/Sunspring split 7″, and The Sun Cassette both are still available. Their second 7″, Slinky, was recorded in November and will be out in January. Media kills minds, Sunspring kills media.

“Cerebellum was a band from June 1988 through May 1989. Their self-titled cassette is still available from Slamdek. Cerebellum was Will Chatham, Tim Furnish, Joey Mudd, Jon Cook, Breck Pipes, and Drew Daniel. The first four of them went on to form Crain who have a 7″ out called The Rocket EP on Automatic Wreckords. Their 10-song LP will be released in early 1992.”

[Herr Hayden and The Herr were nicknames that John and I annoyed Jason Hayden with for several years. Sunspring had a run-in with the media in January 1992, when a young teenage girl, Shanda Sharer, was killed by two “friends” after a Sunspring show (see page 72). Slinky was released in February 1992. Crain’s first full length effort, Speed, was released by Automatic on LP and cassette in March 1992.]

Push Back “Wool”
Mark Brickey vocals, Billy Halter guitar, Andy Tinsley guitar, Corey Roederer bass, Leevanhook Seconds drums.

Originally performed by Endpoint, 1989

“Push Back has been together since the summer of 1991. This song is their first entry into the world of recorded sound.

“Endpoint has two albums, If The Spirits Are Willing (1989) on Slamdek, and In A Time Of Hate (1991) on Conversion Records. They have also appeared on numerous compilations and have a split 7″ out with Sunspring. ‘Wool’ was cut from their first album at the last minute because the lyrics are not to be taken seriously. They feared that people who weren’t in on the joke might not get it, and then doubt the sincerity of their other songs.”

[Leevanhook Seconds was actually Lee Fetzer. He was a part of the group again when they later changed their name to Enkindel. Andy appeared with them only for this recording.]

Hopscotch Army “Right From Wrong”
Jeff Goebel guitar, Scott Darrow bass, Mark Ritcher vocals, David Hoback drums.

Originally performed by David LaDuke, 1989

“Hopscotch Army has been together since early 1988. They have two albums, Blurry from 1989, and their new one Belief which was released in September. Both on Slamdek. Their third album is already being mixed and will possibly be available as early as February 1992 (but probably not).

“David LaDuke has been playing roots/metal/rock n’roll in Louisville since 1973. He and his group Sinbad have released several records, Sinbad, Have Rock Will Travel, and his current release, Ball Bustin Guitar Rock. His unique blend of ’70’s guitar rock with an Elvis Presley-style groove has gained him a reputation in magazines and on radio stations around the world.”

[The upcoming album mentioned by Hopscotch Army was never released.]

Undermine “Friends?”
Sean McLoughlin vocals, Takayuki Tsuji guitar, Chris Layton guitar, Scott Bryant bass, John Causey drums.

Originally performed by Solution Unknown, 1987

Undermine, 1991: Sean McLoughlin, Chris Layton, John Causey, Scott Bryant, and Takayuki Tsuji.

“Undermine formed in early 1989 and has released two seven inches on Self Destruct Records. The first one was self-titled (1990) and is out of print, the second is My Wire (1991) and is still available. In January they will be recording an album with their new drummer Will Chatham as a split release for Self Destruct and ear X-tacy Records.

“Solution Unknown was David Pajo, Kent Chappelle, Todd Brashear, Mike Bucayu, and Eric Schmidt (who does intro and outro vocals on the Undermine version). They were together from March 1986 through September 1987. Their first record was a Self Destruct 7″ in 1986, Taken For Granted. The Solution Unknown album was recorded at Inner Ear in Washington DC in 1987. The 7″ is no longer in print, but the LP is.”

[Undermine broke up before recording their first full-length work. Their 7″ and the Solution Unknown LP both went out of print. Sean McLoughlin joined Evergreen. Scott Bryant and John Causey formed Concrete who was together while John also played with Rawhide, then Crain. Takayuki Tsuji moved back to Japan and worked as an interpreter for touring English-speaking bands. Chris Layton was involved in several projects, such as The Auditory Clang and Zig Zag Way, and moved to Florida for a while. In fall 1995, Mike Bucayu and Eric Schmidt took all the Solution Unknown master reels to Sound On Sound and remixed them for a 38-song discography CD on Self Destruct.]

Shovel “Worship”
Dave Cook vocals, Chad Castetter guitar, Andy Tinsley bass, Duncan Barlow drums.

Originally performed by Crawdad, 1989

“Shovel formed very very recently and this piece of work is their first recorded stab at the world. Duncan and Chad are in Endpoint and Andy is Endpoint’s manager. Dave was in Scrub Monkey in 1990 who recorded an album entitled Shit in the back of a moving car, but it was never released.
“Crawdad was originally together from June 1989 to December 1989. Dave Ernst, Breck Pipes, Kevin Coultas, and Joey Mudd recorded a live EP, Loaded, which was released in May 1990 on Slamdek as a limited edition. In December 1990 they did a reunion show, and they are planning to do another this Christmas. Dave Ernst and Kevin were also in Sister Shannon.”

[Shovel played a few shows and self-released a cassette in early 1993. They were another spawn of long winter nights. Another Endpoint offshoot joke band, they were born at Endpoint practices at Kyle Noltemeyer’s parents’ house off Alta Vista. One of their shows was for the 1991 St. Francis Battle of the Bands. They performed a solid half hour song, during which the vibrations were so dense several audience members became sick and had to be escorted out of the building. At another show, in 1993 at the Machine, Josh Sachs was tied to a huge cross crucifixion-style. While on the cross he defecated and performed other visuals with his body to accompany the music. Shovel never played again after that.]

King G and the J Krew “Freakazoid/No Parking On The Dance Floor/Kent”
M.C. Crawdad vocals, P. Control vocals, A. Frisbee violin & guitar, Will “Cheeto” Chatham drums, M.C. Diogenes guitar & vocals, Amy Torstrick guest violin.

Originally performed by Midnight Star, 1983, and Slint, 1989

“King G and the J Krew have been together since 1989. Their first release was the 95-minute Snug Double Album EP (1990) on Hell N’Ready Records, which is not for sale anymore. Their second album will be Indestructible Songs of the Humpback Whale and will also be on Hell N’Ready sometime around February 1992.

“There seems to have been some dispute as to whether or not all the members of
Midnight Star were from Louisville. But this tune is so kickin’, that technicality has been ignored. The Slint segment qualifies it nonetheless. The fat catalog of Midnight Star stuff can be found on SOLAR Records. You know about Slint.”

[One of King G and the J Krew’s most recognizable assets was their propensity to take the joke-turned-obsession to inconceivable levels. M.C. Crawdad was Jason Mueller, P. Control was Heather Cantrell, A. Frisbee was Aaron Frisbee, M.C. Diogenes was Jason Noble. This six minute epic, while seemingly ridiculous in concept, totally defines the word brilliant and exceeds the boundaries of the Louisville-on-Louisville genre this release created. This song was recorded while the band was in the process of creating their masterful Indestructible Songs of the Humpback Whale CD; a process that took about two years to complete. And that’s virtually every single day for two years. After the release of the CD, they began playing shows as a rock band under the name King Kid International. That incarnation had Jon Cook on drums, Tara O’Neil on bass, and Jeff Mueller and Jason Noble singing and playing guitar. King Kid Int’l became Rodan in December 1992.]

April 24, 1992, Robyn Craxton’s Big Surprise: Sunspring and Ennui played a surprise birthday party for Robyn Craxton at her parents’ house off Herr Lane. Pictured left to right: Duncan Barlow, Natalie Sud, Amy Craft, Mindy Shapero, Dave Cook, Robyn Craxton, Matt Ronay, Katie McGee, Julie Brown, Scott Ritcher, and Lamecron “Pee Wee” Lockhearst. The two bands made up a song and played it together as Robyn came down the stairs.

Merry Christmas included a lengthy list of addresses and mail order prices for all records of all the bands who were covered and those who performed on this cassette. It was the first release tagged with the line, “A Product of Louisville, Kentucky,” and it was dedicated to the 83-year-old woman who was the senile landlady of the Slamdek House. She wrote us 3 to 4 page letters several times a week. At the top of each page she scrawled a creepy line drawing of a crucifix, along with the inverted date (such as 29th September 1991). She demanded that she would have no sinners living in her house. Among other things she was not legally able to request of her tenants, we were not fornicate in the building, consume certain beverages, open the blinds, nor were we to send our rent payments in colored envelopes. She did not have a telephone and her letters arrived virtually every other day. During the ten months in which 1919 Bonnycastle was the Slamdek House, she successively fired two real estate agents and an attorney, who had been hired to collect rent and make service calls for the property. Even when the agents were in charge of the property, she continued to write several times a week. The letters reiterated the moral limits by which residents of the house were expected to comply. The hassle of dealing with agents, attorneys, and constant mental harassment, eventually convinced Greta, Will, Breck, and I that it just wasn’t worth it anymore. In March 1992 we moved out, after which the house remained vacant for over three years. She reportedly died in 1993.

The bands on Merry Christmas paid for their own studio time. Howie Gano at Sound On Sound made a group rate deal with us so all bands involved could record for $20 an hour, a $15 discount. The SLAMDEK/Scramdown Merry Christmas cassette sold 252 units. 48 or so more were given to band members, and area stores and publications as promotional copies. Like many Slamdek releases, it did not turn a profit.

LINER NOTES:

Side one:
Dybbuk Dare To Feel
Step Down Elders
Rawhide Happy Birthday
Sunspring House
Push Back Wool

Side two:
Hopscotch Army Right From Wrong
Undermine Friends?
Shovel Worship
King G & the J Krew Freakazoid/No Parking On the Dance Floor/Kent

Special thanks to: John Timmons and everybody at ear X-tacy, Ken at Ken’s Records, Ben at Better Days, Kim at Kinko’s, Lynn at Op Brightside, and absolutely everyone in the entire world who has cut, folded, stuffed, bought, or sold Slamdek music this year. Even a little bit of thanks to those who have taped it off their friends. Merry Christmas!

Album engineered by Howie Gano at Sound On Sound. Project coordinated by Scott Ritcher and Howie Gano.

December 17, 1990

Christmas 1990 part 1

December 17, 1990

Christmas 1990
various artists cassette
[SDK-2590] color copied inserts (six different designs), 2 1/2″ clear acetate square overlay, photocopied liner notes, on-shell cassette labeling

Part One of two parts

By the end of 1990, a Slamdek mini-community was beginning to take shape. After the successes of Slamdek events such as the Crain/Deathwatch 7″ giveaway and the Earthquake Party on December 3, Zodiac Club owner Dave Ellenberger and his partner Dhebi Barber were interested in doing more of the same type of thing on a regular basis. While settling up the night of the Earthquake Party, Dave offered me the opportunity to book Wednesday nights with whatever kind of stuff he thought would bring people in. As a weeknight, Wednesdays would have ordinarily found the club closed. From Dave and Dhebi’s perspective, any income was better than none. Wednesdays were dubbed Slamdek Nite at the Zodiac, and while the crowds were usually 50 or fewer people, these were amazing, intimate, incredibly fun and interactive shows.

SLAMDEK/Scramdown Christmas 1990 took the basic idea of Christmas 1989 and expanded it to non-profitable, yet very gift-like, proportions. It also expanded the envelope to include bands whose past and/or future recording plans did not include Slamdek. Only one of these such groups though, had other music readily available at the time. That being King G and the J Krew, whose Snug cassette was on their own label, Hell ’N’Ready Records, and manufactured by SSDigital. Christmas 1990 was a wide open canvas that many people created, and few ultimately enjoyed. For all the effort put forth, it sold only 101 copies. Its 75 minute playing time, color packaging, and on-shell labeling, made production costs virtually equal to the retail price and served as its self defeat. Rather than reissuing its and raising its price after Christmas, other projects took precedence and it had disappeared by February 1991. With twenty-one bands involved, there’s no quick way to summarize the entire picture of Christmas 1990. Its own outrageously lengthy liner notes perhaps tell its story best. Here they are with commentary and lyrical excerpts [in brackets].

“Merry Christmas and welcome to the 1990 SLAMDEK/Scramdown Christmas tape. Where to begin? Gee. Well, first, there are a few things you should be aware of so that you’ll kinda know what to expect. One thing is that very few of these songs were intended to go together. They’re all here for different reasons. Some because they have nowhere else to go, yet they must be heard; some because they’ll be of interest to followers and friends of these bands; some because they were recorded just for this cassette; and some because members of these bands who want to try something different can use the Christmas tape as an open forum to create whatever they like, and get a response.

“So all these songs for all these reasons have been assembled here as a gift. And above all else they’re here just to be heard. Unaltered and uncensored. They get loud when they want and they say ‘fuck’ when they want, and our free country puts no labels on them to help us decide what’s right.

“These songs will mean something different to every soul whose ears they pass by. And for less than four-cents-a-minute you run the risk of looking at something in a new way, discovering something you never knew existed, or just enjoying yourself. If you work or go to school everyday, there’s a big chance that picking a tape to listen to in the car takes longer than the life-and-death decision you make at every yellow light on the way.

“Songs have no monetary value to the listener, only to the buyer. It seems really unfair to put a $7 price tag on something that costs $2.25 to make. That cheats everybody. Especially the musicians who have given their music away just so it can be heard, and the listener who can only spend so much. It’s not usually funny to charge $24 for a record. Sometimes but not usually. [A reference to a Crain/Deathwatch 7” I put in ear X-tacy for $24.99, which never sold.]

“For these reasons, and several others, the annual SLAMDEK/Scramdown Christmas Extravaganza carries a silly little price tag called ‘two ninety-eight.’ This is it.

“Starting now, you’ll go through twenty-three songs by twenty-one bands. In just over seventy-five minutes, you’ll touch on the thoughts and emotions of fifty-five musicians; fifty-four of whom are from Louisville. No one older than 25. You’ll hear music that’s just a few weeks old, and some that’s just a few years. Dig deep into Louisville, this is its youth, this is its sound, this is its progression. This is its thanks. Merry Christmas.

“The first band is one who debuted as a two-piece on last year’s Christmas tape. Sister Shannon opens side one with ‘Goreman.’ This digital recording was made December 5, 1990 through a mixing board at their practice [the same method used for Crain and Substance as described on page 16]. Now with four members, Sister Shannon is Robin Wallace singing, Dave Ernst on bass, Greta Ritcher on guitar, and drummer Kevin Coultas. Besides this song, their only other release is ‘Romp’ on the Christmas 1989 cassette. Kevin and Dave were in Crawdad who have a limited edition live cassette out called Loaded. Greta and Robin were also in Your Face whose Magenta Bent is also still available. Sister Shannon plans to record soon and have either a 7″ or 10″ out in 1991 with a matching cassette version.

[Sister Shannon broke up in February 1991, having never recorded in a studio. This track and the other two recorded 12/5/90 appeared on the Slamdek Singles two-tape compilation in 1992. “This is the place where I lie down, this is the place where I think of you. This is the place where I wander alone, this is the place where I touch your face. Take me back, take me back. This is the place, the place is small. I am the place, I am tall, without you.”]

“Second is Downpour with the only song they ever documented, ‘Defense.’ This was
recorded at Studio 2002 in Jeffersonville (that’s right; the Hoosier State! Hey what’s a
virgin in Indiana? A girl that can run faster than her brothers! a ha ha ha!) But anyway, Downpour is unfortunately no longer together, and this song remains as their only release. Playing on this song are E. Dan Patterson on bass, Andrew Kincade singing, John Weiss drumming, William Greene on guitar, and backing vocals by C. Sprano and S. Rose. John Weiss is now in Sunspring.

[“Break down the defense, tear down the stone walls. No one here is a stone’s throw from perfect, but don’t kill yourself, don’t kid yourself. Security comes apart. Self righteousness turns condemnation, but I want more than a lie. Take a look, turn it down, why? Why? I’ll tell you why. You’re the one who brings you down. You’re the one who tears you down. Who controls your destiny? Who stripped you of your dignity? Who took away your integrity? Left you naked in the city? Is it enough to set you free? When you were a child, unaware of denial, sheltered by your own youth. Now that you’re tall, you’ve built a stone wall, but it’s set up by the truth. Don’t turn away, the stage is real.”]

“Next is Crain whose tune called ‘Drain’ was recorded on 16 tracks at Mom’s [Sound On Sound] in August 1990. Crain is still together and they feature Tim Furnish on guitar, Jon Cook on bass, singer Joey Mudd, and drummer Will Chatham who sometimes sings for the Didjits [at a 1990 Didjits show at the Zodiac, Will was invited on stage to sing a song and the joke began to introduce Will as ‘the singer of the Didjits’]. Crain appeared on a split 7″ given away at the Zodiac September 7, 1990 which was limited to 300 copies (the other side was Deathwatch). Another Crain record or two will be released in 1991 in much greater numbers and larger areas on Woodpile Records. Watch for it.

[Woodpile was Jon Cook’s label that, before its first release, became Automatic Wreckords. Named after an automobile accident from which insurance money paid for the release, Automatic issued a four song Crain 7″, the Rocket EP, in 1991. It contained three more songs from the 8/90 Sound On Sound session, “Monkeywrench,” “Skinminer Pastel,” and “Painful Answer,” as well as an excerpt of a spontaneous jam from my recording at Will’s house, “Nervous Woman Nervous Man.” “You feel it build, it’s something inside you, you know it’s there, it’s all in your pocket, or in your hand. Drill a hole inside your head. Let it spill, spill to your feet. You ask yourself, what is it that is making you, taking you down. Let loose. Cut loose. Escape. Let it drain.”]

“Fourth but not least is Slambang Vanilla. They’re bringin’ it home with ‘Ricky!’ an advance cut off their upcoming 98-song, two-tape set, Sideburnin’. SBV had two songs on last year’s Christmas Fiesta as well as their own tape The Memphis Sessions & A Smokin’ Word LP. ‘Ricky!’ was recorded at 1312 Everett Avenue in September 1990. Entertaining the troops on this hit selection are: Jesus Rosebud on instruments, and Goober The Baptist on instruments.

[At this point, Joey and I had settled on our character names Jesus Rosebud and Goober The Baptist, respectively. The 98-song Sideburnin’ was never completed nor released, though we did actually record fifty songs for it. Yes, fifty songs, bringing SBV’s total works to a total of seventy songs! By now, the joke-turned-obsession was wildly out of control. “Slip me a mickey, or don’t. I get real sicky when I touch ya, you’re so sticky. Go on jump out the window, and cut my grass. Don’t take all day. Make it quickie, Ricky!”]

“Bush as in President, League as in baseball. Next is Bush League. This seven minute epic is called ‘Bain’ and was recorded in an analog fashion at Bush League practice December 6, 1990. Singing is Buzz Scumshit [Buzz Minnick], Rusty Sohm is on bass, Mike Borich is on guitar, and the drummer is Woody Delaney. This song is now their only release. They plan to go into the studio in January, though they don’t have any definite plans to put out a record any time soon. So just swallow this one for now.

[Months after the release of Christmas 1990, I learned that the track ‘Bain’ is not actually seven minutes, but rather was two songs played back to back. The second song which appeared on the cassette was ‘Close.’ They did record at Sound On Sound in early 1991 with temporary drummer David Pajo, released two seven inches on Better Days Records, and fizzled out of contention in 1993.]

“The sixth song is an earlier version of a Spot classic than the one most people are familiar with. The song is ‘Paving Your Way’ and was recorded on 8 tracks at Sound On Sound in August 1987. Playing on this song are Breck Pipes on guitar, Mark Ernst on drums, Chris Scott on bass, and vocalist Joey Mudd. There are no current plans to release the tape Go, Or I’ll Kill You! from which this song is taken. Their Proud cassette was released in April 1988 and will return to shelves this January. Jeanette Howerton, you’re first on the list!

[Jeanette Howerton was a mail order customer who had ordered the Proud cassette in the summer of 1990 when it was temporarily out of print. Her order was held for many months until it was finally filled the following year. Go, Or I’ll Kill You! contained the entire August 1987 session as well as a compilation of jam box recordings from Spot’s first practices and shows. It was finally released on cassette in April 1991 in a very limited edition and sold for 98¢. “When you pay the church, pay the priest. You’re paying for your soul to be released. Money hungry evangelists is what they are. Stealing your money so they can buy a car. Paying is paving your way. Give me some money, you’re sure to go to heaven. If not, you’ll burn in hell. Oh, well.]

“Pope Lick is a solo project by Drew Daniel who has been in Cerebellum and Crain. This song is called ‘Is That The Easter Bunny?’ and is best when your parents are home and you turn it all the way up. It was inspired by a scene in a movie where some passerby asks a gifted artist that painful question, ‘Is that the Easter Bunny?’ But as the story goes, we find that to be a big negatory. No. It’s not the Easter Bunny at all. Additional drums in some parts are played by Matthew Sussman. Except for about forty cassettes that Drew gave away, this song is only available here. It was recorded on 4-track during summer 1990 and mixed to DAT in August at Slamdek.

[Drew compiled a 90 minute cassette of a wide variety of styles of music he experimented with on his weathered and beaten 4-track. While mixing the songs at my parents’ house, he had to hold the 4-track’s power adapter cord in a certain position for it to operate. It ended up taking several days to mix all of the material. I then duplicated forty copies of it which Drew gave to friends before he went away to school in California.]

“Number eight is brand new Hopscotch Army. The song is called ‘Sundown’ and was mixed to digital from 16-track at Studio D in November 1990. It’s off an upcoming EP expected for spring. If you’re familiar with Hopscotch Army at all, you’ll notice that this is the first song they’ve ever recorded without keyboards. They had a live song called ‘Anesthesia’ on the Christmas 1989 Buffet, and a successful 12 song cassette and CD in August 1989 called Blurry. Playing bass is Scott Darrow, the guitarist is Jeff Goebel, singing and playing acoustic guitar is Mark Ritcher, and Dave Hoback is the drummer.

[Studio D is actually DSL after it moved from Juniper Hill to Jeffersontown, but before the name DSL had been officially chosen. The upcoming EP mentioned was Belief which came out in August 1991 on cassette and CD. Danny Flanigan had left the band and Jeff Goebel was brought in on guitar, making Mark the singular front man, and providing the group with a more unified sound. “Cold like morning, dark like night. Teeth are sinking, take one last bite. Wind’s a knife splitting bones. With heavy steps, stifle the moan. Rain falls hard on the dirt it pounds. Shaking air, the siren sounds. Boiling burns, like ice and fire. Reflex dull through mist and wire. I can see the sunset disappear. Somehow I know the end is near.”]

“Lettuce Prey is next with a song called ‘Undermine’. It’s a live cassette recording from the Red Barn in October 1990. Recorded off the mixing board, it’s monophonic! Lettuce Prey will be recording at the Zodiac on off days and is making plans for a release also in the spring. Playing on this song are Lionell Andrews on guitar, Mitchell Douglass singing, Richie Griley on bass guitar, and master drummer Brett Hosclaw. ‘Undermine’ is the only Lettuce Prey that you can get as of now.

[Lettuce Prey never got around to releasing anything before their demise in 1991. “I see there’s nothing new, I keep it all inside. It’s just my special way. You think you know me well, I’ve got you eating out of my hand. Before you know it’s too late to take advantage of my position. Feed you my dreams, things you can’t have. Still you never understand the mind of a selfish man. You can curse me, go on, curse me. But all stays the same, you can’t stay away.”]

“The tenth would be the Rain Chorus, recorded December 5, 1990 at Snagilwet, their second show. This one is called ‘Michael’ and is also a cassette recording off the mixing board. The Rain Chorus is shopping for a record deal, but have not recorded as of yet. They are: Dony Erwin on bass, drumming is Cary Shields, and Danny Flanigan is singing and playing guitar. Guest saxophone on this song is played by Reid Jahn.

[The Rain Chorus evolved through some member changes an eventually released a cassette and CD, Sun Over Rain, on their own label Ensemble Records in 1993. After the Rain Chorus split, Danny Flanigan’s song writing went on to be showcased in Danny Flanigan and Greathouse, who released a CD on Ensemble in early 1995. “Please don’t tell me it was all a lie. I remember you saying, one way or another, you were gonna win the fight. Now I can’t believe my ears, and won’t believe my eyes. Is it true what mamma told me? Michael, have you lost your mind? When it rains it pours, Michael.”]

“Side one ends with Endpoint’s ‘Endpoint Outro’ which is a digitally recorded practice tape from December 1990. It is one of six songs on this cassette that was recorded just for the purpose of being here. Endpoint has a seventeen song cassette from June 1989 called If The Spirits Are Willing which is still available. They recently recorded a 9-song LP in Cleveland for Conversion Records. In A Time Of Hate will be out nationwide on vinyl, cassette, and compact disc in January. Among other things, they’re sponsored by Vans and will be touring with Shelter next year. Guitars are Chad Castetter and Duncan Barlow, bass by Jason Hayden, Lee Fetzer on drums, and vocals by Rob Pennington.

[This was an instrumental track with the only vocal being Rob’s announcement at the end, ‘Merry Christmas, Louisville. From Endpoint.’ The vinyl on Conversion came out about eight months behind schedule in August 1991, the cassette several months later, and the CD didn’t make it until the following year. ‘Endpoint Outro’ was included on the Slamdek CD reissue of If The Spirits Are Willing in 1994.]

“The second side opens with a new band. Just as the Back Doors salute Jim Morrison, and Stairway to Heaven revive Led Zeppelin; let us introduce the 7 Seconds tribute band: 7 More Seconds. This song is called ‘In Your Face’ and appears here as 7 More Seconds’ debut recital. The legend is recaptured by singer/drummer Lee Fetzer, guitarist Duncan Barlow (back vocals), bassist K. Scott Ritcher (back vocals), and guitarist Chad Castetter. Since 7 Seconds broke up, the door is wide open. Anything is imaginable. It’s a digital practice tape, December 1990.

[This could be candidate #2 for the joke-turned-obsession department. To this band’s dismay, the break up of the real 7 Seconds was apparently a rumor. However, 7 More Seconds did play a January 1991 show at the Zodiac Club and recorded the same night, and possibly set a record for turn around time between recording and release. The line up changed a little and, for their cassette, the band members took on the last names of the 7 Seconds members on The Crew. “You wanna be the way I am but you can never understand. You shave your fuckin’ head and turn your back on your best friends. It’s not just in my head it’s in my heart, and if I can give a fuck, you better start. So, use your head, be aware, give a fuck!”]

“The thirteenth song is a pre-Cerebellum jam box tape of a song that’s either called ‘Ditty’ or ‘Grimace’, depending on who you ask. It’s from April 3, 1988 with Tim Furnish on guitar, and Joey Mudd on bass. As a six member band, Cerebellum’s 5-song cassette came out in September 1989 and is still available. They broke up in May 1989, and four of the remaining members now comprise Crain.

[The song was listed as ‘Grimace’ and was an instrumental with a drum machine.]

“Song number fourteen is a Joey Mudd solo project called Lunge Engage. This song is a four track recording from April 1990 by the name of ‘Ode To A Chick’. At this point there are no definite plans for studio work or a Lunge Engage record. This song is the only release to date, but there may be some live shows to go with it. As mentioned above, Joey now sings for Crain.

[Joey played two great shows as Lunge Engage on Slamdek Nites at the Zodiac, December 26, 1990 with Lettuce Prey and Sunspring; and the very moving Acoustic Slamdek Nite, January 16, 1991, (the night George Bush declared war) with Simon Furnish, Andrew Kincade, Slambang Vanilla, and a very un-acoustic Kill The Man With The Ball. Joey never released anything other than this song under the Lunge Engage name. “I bounce back with a single throw. Touching the sky is my highest achievement. My goal is to penetrate the crust that bounds my flight. Cut it. Burn it. Break it.”]

“The next one is a live tune from King G and the J Krew’s Sung double album EP release party in August 1990. Sure, it’s digital. Although they’re a rap group, this is a thrash cover of an old commercial called ‘Did I Do Something Wrong?’ Their 89-minute debut cassette is still available from Hell ’N’Ready Records. Kicking out the jam are: King G (G-Man/King Mellow-D), J Kool J (M.C.E.T., M.C.2-Ripe), J-Ax (’Lectric Lick Master Lett), Kool J Kool (M.C. Diogenes/J-Sonic), and, of course, the legendary Secret Weapon! Guest drummer is Todd Osbourne. While they’re now broken up for schoolin’, King G and the J Krew plan to return with something devastating as soon as they’re educated.

[As you’ll see it develop later in the book, King G and the J Krew could easily take the cake for the joke-turned-obsession file. King G was Greg King, Kool J Kool was Jason Noble, Secret Weapon was John Hawpe, J Kool J was Jeff Mueller, and J-Ax was Alan Lett. The group evolved into King Kid International, which later became Rodan. “Hold it down I just got home. Can’t you see that I’m on the phone? Isn’t it enough that I work all day? I should have some time to get away. Dishes, diapers, dirty rags. Bosses, bills, and nag, nag, nag. Shut up, kid, you’re in the way. I’m so mad I could slap your face.”]

“Sixteenth by a long shot is the straight edge up-your-ass gospel of Kill The Man With The Ball! They’ve quickly become the most hated and feared hardcore band that Louisville youths have ever witnessed. The song, ‘Christmas Straightedge,’ is a remarkable taste of their evil and hard stance against alcohol, drugs, sex, and unseasonable tree pruning. Kill The Man With The Ball is: XCauseyX drums, XHaydenX guitar, XFetzerX bass, XBarlowX vocal assault, and XCastetterX guitar. This digital recording is their only example.

[What was wrong with everyone in late 1990? Was the Louisville scene trying to pioneer the genre of hardcore parodies? This chapter of musical chairs begins the golden age of Endpoint side bands. This song is sung to the tune of Danzig’s ‘Twist of Cain’. The group played some intentionally annoying shows in which they demonstrated their namesake by turning the pit into a huge version of the elementary school playground game Kill The Man With The Ball. Yes, this really happened. Many times. “Christmas Straightedge in your face! You drink that drink, do that dope. Can’t you see your life is a fuckin’ joke? Do that drink in your basement. You’re the loser of this game.”]

“The seventeenth band is a two-piecer called The Inside of a Shoe. The song they do goes by the same name. The music was recorded in Silver Spring, Maryland in June 1990, and the vocals in Louisville in December. This is The Inside of a Shoe’s only recording and/or release, and they have no plans to record or not to record. Playing drums is Jay Robbins of Jawbox whose first full length album will be released nationwide early next year on Dischord Records. They have a 5-song cassette and matching 4-song 7″ from May 1990 which are both still available. Playing guitar and singing is K. Scott Ritcher who is now in Sunspring. They have a 6-song cassette out called $1.50 Demo of which there are a few left. Sunspring plans to record at Studio D in 1991 and have a release shortly after.

[This was taken from a DAT of Jay and I goofing off, to which I later added vocals. Jawbox’s first album, Grippe, was released on Dischord in June 1991. Sunspring recorded in March 1991 at Sound On Sound for our first release as an actual band, a split 7″ with Endpoint. That record came out the following month on Slamdek. “Overlooked and under cooked. I don’t want to be caught with my guard down. Hit me next time and I’ll have an answer, take a step back to learn a new way. To screw the path, I’ve got nothing to say. Take a thought and make it yours. Grab a goal because it’s there.”]

“No. 18: Deathwatch ‘Invent A Law’. This song was mistakenly listed on the
Crain/Deathwatch 7″ when the song that appeared on the record was actually ‘Ignorance Downfall’. So here it is for anyone who wondered what it sounds like. This was recorded at Artists’ Recording Service in Louisville during February 1988. Off that 7-song ARS tape, only four songs now remain unreleased. Deathwatch later became Endpoint and ‘Invent A Law’ later became ‘Shattered Justice’ which is on the cassette If The Spirits Are Willing. Playing on this are: Rusty Sohm on drums, Jason Graff on bass, Rob Pennington singing, and guitarists Greg Carmichael and Duncan Barlow.

[“Invent, invent a law. See justice in action. Politicians only wishing, put down the kids in the final reaction. Foundation of our nation, invent a law for their satisfaction.”]

continued …