Category: Pink Aftershock

Pink Aftershock – The Last Prom

November 17, 1988
Pink Aftershock
The Last Prom cassette & DAT
[HAHX-1315] color copied inserts, laser printed labels

The third and final Pink Aftershock cassette was this eight-song collection of cassette recordings. While it offers an interesting batch of sounds, ideas, and a huge color insert that folds out eleven times, the vocals are embarrassingly straining and all around bad. Almost a step down from the Cold cassette released twelve months earlier. You can kind of tell where the words are supposed to be going but they just don’t get there. Also, like Cold, a lot of different styles and instruments are explored. The music in “Over You” is merely pulses and subsonic tones. “Shower Q” is a fast acoustic guitar song with finger snaps and the like as percussion. “The Last Prom,” “Three Days In September,” and “The Final Step” are all pushing or exceeding five minutes as drawn-out build-ups on generally the same theme; “The hardest thing I could ever do is speak a single word to you and if you came back to me now where would I start. Everyday, in every way, the world reminds me of you.” The tape closes with “A Few Minutes” which takes that same idea to a new level by putting it to a rocking beat. Certainly stealing the show, the song is completely sequenced samples of instruments with an overlaid vocal.

The liner notes list not only the titles but also track times, recording dates, printed lyrics, a lengthy explanation of recording methods, and corporate allegiances. The eight songs that make up The Last Prom were taken from a pool of 14, many of which were written while Pink Aftershock was still a functioning band. “K,” for example, predates the band. “Land Escape,” “Paint It Yellow,” and “217” are among the six spare songs not included. Essentially, “Shower Q” was the only new song on this release. Everything else was at least a year old. As anticipated, nobody really bought this one, either. Ouch.

LINER NOTES:

K Scott Ritcher, instruments and vocal

For Sabian and the world and in memory of Evelyn Cecil (1913-1988). Peace and love Dez.

Side one:
The Last Prom (5:10, July 1987)
K. (3:09, Dec. 1985)
Three Days in September (3:41, Oct. 1987)
Over You (5:17, May 1987)

Side two:
The Final Step (4:48, June 1987)
Shower Q (2:07, Sept. 1988)
Freedom Duck (4:36, June 1987)
A Few Minutes (5:50, Sept. 1987)

Pink Aftershock – Three Days In September

September 6, 1988
Pink Aftershock
Three Days In September cassette single
[HAHX-1314] color copied inserts, laser printed labels

Five months passed after the Spot cassette came out before another Slamdek release. It was embodied in this prelude to the next full length Pink Aftershock cassette. This was by no means the same Pink Aftershock. At this point the “band” was just me. I had been teaching myself to play guitar over the past year.

“Three Days In September” is a ridiculously noisy, catchy tune with whispered vocals, a pulsating keyboard bass line, and a robotic drum machine track. The seven and a half minutes of playing time on this cassette single are much more like Dorian Grey than Pink Aftershock. This single sold miserably. Maybe a half dozen? Maybe not even that many. What can you say about something like this? I mean, look at that cover picture. You can’t live with regrets, but if you could, this one would be a place to nice start.

LINER NOTES:

K Scott Ritcher, instruments and vocals

Side one:
Three Days In September
Three Days In September (alternate)

Christmas

December 1, 1987

Christmas
various artists cassette
[HAHX-2674] thermal transfer color copied inserts, dot matrix labels, red cassettes

With the third cassette release and others in the works, the idea of SLAMDEK/Scramdown becoming a record label was fully materializing. This compilation cassette, while still selling very few copies, at least got Slamdek recognized by Louisville’s then-much-smaller punk rock community via the Substance songs. The typewritten liner notes list a slew of “coming soon” Slamdek releases from which these songs are taken. However, only two of the eight releases noted actually ever existed, Rockhouse and Pink Aftershock’s first cassettes.

The cassette begins with a Pink Aftershock track called “Amy G.” which sounds like their first tape put into a blender. It is split-second samples from other Pink Aftershock songs interspersed with Amy Givan’s voice identification, “You’re listening to Pink Aftershock.” This was originally an untitled, hidden track on the first Pink Aftershock tape. That’s followed with the same version of “I Didn’t Want to Hurt You” from the first cassette.

Dez Kimberlin was to be a project with Betsy Porter singing and me playing the instruments. “The Night Before Christmas,” however, is the only Dez Kimberlin song ever released. It’s a noisy bunch of sampled noise set to a vague beat overlaid with samples from Louis Armstrong’s narration of “Twas The Night Before Christmas.” Not only does Betsy Porter not sing on this song, but Erin Currens is listed as a co-producer, and she, too, had nothing to do with it. This song was recorded in stereo cassette overdubs. Jeff Hinton, Sabian, and I make our debut next as Dorian Grey. This song, “Lost: A Wall of Noise,” with Jeff’s distinctively clear, yet slightly off tempo vocals, could have aspired to have been found on the Psychocandy cutting room floor. The music was recorded in stereo overdubs, and the vocals direct to DAT. Near the end, Sabian lets out a scream that could cut through the ice at any party. The two Substance songs, by most accounts, save the SLAMDEK/Scramdown Christmas tape. Substance was a pre-Deathwatch/pre-Cerebellum grouping of Duncan Barlow, Jon Cook, Will Chatham, and Sean McGuirk. Their first cut, “Undertow,” marks the historic first occasion that real drums appear on a Slamdek release. The song is a classic instrumental highlighted by a crazy phaser effect on Duncan’s guitar. “Image”


Fall 1987, skating after Substance practice on Alta Avenue in the Highlands: Duncan Barlow, Will Chatham, and Jon Cook. Will’s parents’ house is in the background on the alley. Over the years, the room inside the top right window was a practice space for Substance, Lead Pennies, Cerebellum, Sunspring, Crain, and others.

has words and is a classic punk tune about egos. The last line is, “Do you have enough authority for your image?” These two songs are part of nearly a dozen that I recorded of Substance on November 7, 1987 at Will’s parents’ house on Alta Avenue in the Highlands. Within a few months of meeting Jon and Duncan, I was invited to record the band at practice. These were recorded direct to cassette through a 12 channel mixing board and arrived with remarkable clarity. Crain would coincidentally record “Nervous Woman Nervous Man” (from the Rocket 7″) direct to DAT in the same room with the same set up three years later. The Substance material turned out so well that Jon and I talked of releasing it as recently as 1993.

The second side of SLAMDEK/Scramdown Christmas begins with “Isolation” a two year old Rockhouse track pulled from the Youth Sunday cassette. Youth Sunday was available briefly in 1987 and 1988 as a reissue with a color insert on Slamdek (as was Pink Aftershock). Live material from the November 17, 1985 Youth Sunday show was added on side two, but, for some reason, this reissue was not considered an actual Slamdek release in 1991 when the catalog numbers began running consecutively (this comment will make sense much later in the book). “Isolation” is a noisy keyboard, drum, and vocal pop song recorded at my parents’ house in the summer of 1985. It’s followed by “A Problem,” a Pink Aftershock song completely by Dave Taylor and recorded on 4 track at his parents’ house near the Toy Tiger. Very similar to “Don’t Give In,” Dave created the entire song using guitar, drum, and bass samples loaded into an Emulator drum machine, then added his Thomas Dolby-esque vocals. “Sitting in front of this paper trying to write the words that say what I want to say to you. I don’t know what I want to say to you. I think and I stare but I’m not getting anywhere.” It was going to be on a compilation cassette called Aftershock Anomalies, a collection of songs put together after the first cassette came out, but before the band broke up. That release never materialized, either. The first Slamdek Christmas tape ends with “Three God Pages” from Dorian Grey. This cut, recorded the same way as our other, clocks in at five minutes plus, while the drum machine plays the same relatively slow pattern over and over. The super distorted, quite fuzzy guitar is drenched in feedback and covered with Jeff’s more subdued vocals, “Three days for a goodbye, relocated and suffocating and then on to Canada. I fear from what I write and read. Pages that fly into a blur, I’m out on the edge of nothing.”


Dorian Grey, 1987

SLAMDEK/Scramdown Christmas did not include printed lyrics or band rosters. The official lineups of the bands at that time, regardless of their participation on these tracks, are provided here:

Pink Aftershock: Mark Damron, keyboards & vocals; Larry Ray, guitar; Scott Ritcher, keyboards & vocals; Dave Taylor, electronic drums.

Dez Kimberlin: Betsy Porter, vocals; Scott Ritcher, instruments.

Substance: Duncan Barlow, guitar; Will Chatham, drums; Jon Cook, bass; Sean McGuirk, vocals.

Rockhouse (1985): Mark Damron, drums, vocals & keyboards; Larry Ray, guitar; Scott Ritcher, keyboards & vocals.

Dorian Grey: Sabian Aravis (Susanne Butler), guitar; K Scott Aravis (Scott Ritcher), guitar & drum machine; J Tora Hinton (Jeff Hinton), vocals & bass.

LINER NOTES:

Liner notes as they appeared in the original release (including notes about other releases, those which were never created are flagged by a *. “LP” inferred long playing cassette, and “EP” as extra playing cassette, not necessarily vinyl):

Side one:
01 Pink Aftershock Amy G.
02 Pink Aftershock I Didn’t Want to Hurt You
03 Dez Kimberlin The Night Before Christmas
04 Dorian Grey Lost: A Wall of Noise
05 Substance Undertow
06 Substance Image

Side two:
07 Rockhouse Isolation
08 Pink Aftershock A Problem
09 Dorian Grey Three God Pages

01-02 from the LP, Pink Aftershock, HAHX-1313.
03 from the EP, Hate Day 16, HAHX-1182*, and on a single at HAHX-1180*.
04&09 from the LP, Fall, HAHX-1605*, and on a single at HAHX-1603*.
05-06 from the LP, Substance, HAHX-1797*.
07 from the double EP, Youth Sunday, HAHX-1562.
08 from the LP, Aftershock Anomalies, HAHX-1315*.
The SLAMDEK Winterize Now Sampler Cassette [HAHX-2674].
Special thanks to Erin Currens. Merry Christmas to all.

The Slamdek Record Companyslamdek.com
K Composite Media,

Pink Aftershock

November 17, 1986
Pink Aftershock
cassette
[HAHX-1313] photocopied inserts, dot matrix labels

The self titled cassette by Pink Aftershock was the first release carrying the Slamdek name and the address of PO Box 43551. SLAMDEK is actually an acronym, formed by taking the first letter from each of the band members’ names [Mark Damron, Larry Ray, Scott Ritcher, and Dave Taylor] combined with the first initials of three friends who helped assemble the cassettes [Amy Givan, Erin Currens, and Kim Calebs]. While the name of the label retained “Slamdek” for nearly nine more years, twelve of these fourteen hands worked essentially only on this release. Your author, me (Scott Ritcher), being the one who continued, and my affection for Kim Calebs earned me the nickname “K,” which still follows me around.

The liner notes list the label name as “SLAMDEK/Scramdown & Happy American Humans Productions.” H.A.H. and Scramdown were not names of any significance, they were just extra names. In fact, all of these were simply extra names used in an attempt to make the cassette look more professional, and were not ever necessarily intended to be used again. The idea was basically seven friends worked for this single goal, the Pink Aftershock tape. SLAMDEK/Scramdown was never intended to become a record label, or to even create anything other than this cassette, that is, unless Pink Aftershock was to put out another.

Pink Aftershock was a reformation of the group Rockhouse who had released a cassette, Youth Sunday, exactly one year earlier. Rockhouse, named after one of Rick Springfield’s early bands, consisted of Mark Damron (keyboards, electronic drums and vocals), Scott Ritcher (keyboards and vocals), Scott Thomas (keyboards), Larry Ray (guitar), and Steve Ridge (drums). In becoming Pink Aftershock, Scott Thomas and Steve Ridge left the band, and Dave Taylor was recruited after leaving Mark Ritcher’s band (my brother), Cry For Shadows. The label name on the Rockhouse tapes was CTV (Cosmicpolitain Television), named for the fanzine I did during high school, Cosmicpolitain. One of Rockhouse’s only performances was November 17, 1985 at the Commonwealth Convention Center for a church youth group conference, also called Youth Sunday. The 200 Rockhouse cassettes on hand all sold very quickly during the 20 minute show to the crowd of 800 or so, and another 100 or so were sold in the following months.

Pink Aftershock performed live only once, yet we managed to sell over 300 of those cassettes as well. During the summer of 1987, months after Damron, Ray, and myself had all graduated from Trinity High School, Pink Aftershock played the Hardcore Hoedown at the Cottrell Family Farm (Nina Cottrell was the connection) near Simpsonville, Kentucky. A generous estimate would put maybe 60 people at this show. Misguided Youth and Spot were also electrocuted in this muggy, damp field. Brain Dead and Peacemonger were scheduled but did not play. Pink Aftershock was by all means a sore thumb in this collection of punk bands, but was on the bill as I was becoming friends with this crowd.


Pink Aftershock, 1987:
Larry Ray, Scott Ritcher, Mark Damron, Dave Taylor.

Pink Aftershock recorded once more at Todd Smith’s Cleaver Productions (8 tracks at his parents’ house near Seneca Park) later in 1987. This session produced re-recordings of “I Didn’t Want to Hurt You” and “Don’t Give In” which were intended for a cassette single. The single was never released. As ideas and college began to pull the members in different directions, within a few months Pink Aftershock disbanded. A reworking of the “I Didn’t Want to Hurt You” recording ended up on a tape by Mark and Larry’s next band, Bad Boy Winter. The other two Pink Aftershock cassettes that followed were my solo handiwork and went essentially unnoticed. In our final months as a band, we were working on a 30 minute video compilation which included two concept videos and interview clips. Most of the video had been shot at Long Run Park, the Pope Lick train tressel, and Trinity High School Auditorium, but was never edited. Mark’s sister, Denise Damron, worked in the video production business and would have handled that, had the project continued.

Later in 1988 the band reformed briefly to record a cover of Elvis Presley’s “Suspicious Minds” for a single. After a few practices that deteriorated as well and never arrived in the studio.

LINER NOTES:

Mark Damron, keyboards and vocals
Larry Ray, guitar
Scott Ritcher, keyboards and vocals
Dave Taylor, drums

Amy Givan, voice identification
Scott Thomas, keyboards on “Desires”
Produced by Pink Aftershock.

Recorded summer 1986 at a house Mark’s parents were renting off Goose Creek Road, and at Scott’s parents’ house in Middletown, all on cassette 4-track and through stereo cassette overdubbing. Mixed October 1986 at the Mansion (Mark’s parents’ house) near Prospect. Cover art by Scott Ritcher based on work by Charles Dana Gibson. Photography by Dave Taylor.

Special thanks to: Steve Ridge, Bill Wrightson, Mark Ritcher, David Mawn, Sister Peggy Lynch and the 1985 Youth Sunday Committee, parents, friends, relatives, Rockhouse supporters and buyers of the Youth Sunday e.p., Kentucky Sound, and of course no doubt Erin Currens and Amy Givan and Kim Calebs.

Side one:
Impact
Serious
Mental Image
Law Heh
What’s the Matter

Second side:
Don’t Give In
I Didn’t Want to Hurt You
Dreams
Ruckriegel
Desires