Well, it seems I've been gone awhile.
I'm going to save you the effort of reading some tripe about where I've been or what I've been doing, because you aren't reading this anyway.
If, by some chance, someone is out there reading this... I am going to post some more vinyl rips in the very near future.
-The Mayor
Sunday, February 14, 2010
Sunday, August 2, 2009
Pedal To The Metal Tour 2009
Pedal To the Metal Tour 2009 – Big Flats, NY, July 30th
I, The Mayor, and two very important friends (Hon. Judge J. Bancroft and Duke of Mayonnaise) caught up with this show in one of the Greene Falls neighboring towns, Big Flats, NY. For those in the know, Big Flats is sort of an out of the way place for this type of tour.
The tour featured Mudvayne and Black Label Society as its co-headliners, with support by Static-X, Suicide Silence, and Bury Your Dead.
We arrived at the venue at 4:30, when the doors were slated to open, but they didn’t start letting people in until sometime between 5:00 and 5:30. It had been raining all day, and by now the sun was out. So we were standing in a long line in a wet field, sinking in the mud as the moisture crept up our slacks. We were wearing slacks, you see, because we were there on official Greene Falls Township business. Otherwise, we would’ve been in our best and most relaxing golf pants and Land’s End polo shirts.
Hellzapoppin Sideshow
This was the first indication for us that the 90’s took a giant shit all over this tour. This was collection of self proclaimed “freaks” that were sent to “entertain” the crowd while the roadies set up and tested equipment. They had a marginally attractive half naked sword swallowing chick, a dude with no arms, another guy with a glass orb on his head and some sort of guy who stuck pins through his face and lay down on blades. They were really fifteen years too late for anyone to really give a damn.
Bury Your Dead
Bury Your Dead was the first band to play, and they weren’t absolutely terrible. They were kind of just generic hardcore and didn’t really have anything unique enough to make them stand out from the other 2.5 million “metal-core” bands that are on tour at this very moment. They all had matching outfits, which seems to be all the rage with the tweens these days, but it kind of detracted from their credibility. The band wore white dress shirts with black slacks, and they had two white guitars, a white drum kit, and the bass was off white. Apparently, they were out of stock on white basses at Guitar Center. Their singer (their third or fourth, I discovered after I looked them up the next day) and his outfit was all black, which I suppose denotes he’s supposed to be their leader. He did have a good control of the crowd, and they did get most people moving during their 20 to 25 minute set.
See what I mean about the outfits? I spent more time talking about that than their set.
See what I mean about the outfits? I spent more time talking about that than their set.
Suicide Silence
This band was absolute garbage. The Duke and The Judge and I all agree. The band itself; two guitarists, a bassist and a drummer; were decent enough musicians. By their style, they definitely were more primed to be a technical death metal band (although the “lead” guitarist played the same solo for every song). They played hard and fast, but their efforts were destroyed by a singer-slash-hipster wearing black, tight, girl’s jeans with black keds and no socks. He also had that windswept hair that all the emo-kids are sporting these days.
Not only did he look like a clown, but he screeched like a dying owl through their entire set. He had a riser up front, bigger than the drum riser, to stand on to help him get the crowd moving. LAME.
About the band’s overall performance: They were playing hard, and they seemed to be really trying (except the screeching owl), but they were down tuned so low that you couldn’t even discern where they were changing chords or notes. I could see their hands moving furiously, but the sound left plenty to be desired. Not to mention that three (THREE!) of their songs had a breakdown part, then silence, then the drummer hit a tiny cymbal (I think it was a splash) that went “TING!”, then silence, then back into a breakdown. Three of their songs did this. Three of them. Out of maybe six. At least fifty percent of their set-list consisted of this gimmick.
The crowd, at this point was full of fourteen year old girls. I’m not even kidding. The thought of fourteen year old listening to this music was amusing to me, and I hoped they might be exposed to some of the other bands and expand their horizons (if only a little). But they I realized that Suicide Silence was every bit as terrible as the rotten pop music of today. In fact, it’s worse. Pop music makes no bones about what it is, where this music is masquerading as something… else.
Not only did he look like a clown, but he screeched like a dying owl through their entire set. He had a riser up front, bigger than the drum riser, to stand on to help him get the crowd moving. LAME.
About the band’s overall performance: They were playing hard, and they seemed to be really trying (except the screeching owl), but they were down tuned so low that you couldn’t even discern where they were changing chords or notes. I could see their hands moving furiously, but the sound left plenty to be desired. Not to mention that three (THREE!) of their songs had a breakdown part, then silence, then the drummer hit a tiny cymbal (I think it was a splash) that went “TING!”, then silence, then back into a breakdown. Three of their songs did this. Three of them. Out of maybe six. At least fifty percent of their set-list consisted of this gimmick.
The crowd, at this point was full of fourteen year old girls. I’m not even kidding. The thought of fourteen year old listening to this music was amusing to me, and I hoped they might be exposed to some of the other bands and expand their horizons (if only a little). But they I realized that Suicide Silence was every bit as terrible as the rotten pop music of today. In fact, it’s worse. Pop music makes no bones about what it is, where this music is masquerading as something… else.
Dope
Dope was dropped from the tour and we couldn’t have been happier. I suppose some people were upset by this, and word didn’t get out until the tour was underway, so if you paid to see them you got the shaft, which is unfortunate. I’d had the displeasure of seeing them open three times previously and they were shit every time. So for us, it was a major win to not have to sit through their set.
Static-X
I had seen Static-X five times previous to this, The Judge and The Duke four times previous each. This was the main reason we were going, really. Well, them and Mudvayne. Their set was energetic and the band really seemed to be enjoying themselves. Wayne was in top comedic form with his banter. It was also good to Kochi back on stage, as the last time we saw them, they had statutory rapist Tripp playing guitar.
Static-X only played for 30 minutes, but it was packed with all the fan favorites. Their touring drummer was very adept, and in fact my only complaint is that he overplayed some of the early songs a little bit. The early songs need to be basic, and he kind of went all over the place, but it was still good.
One thing to take note of, is that Static-X sold a thumb drive with that very evening’s show on it. This is a fantastic souvenir, to have a recording of a show you attended. I know Pearl Jam was trying to do this a few years ago, but couldn’t get them mastered in time for the fans as they left the show. That’s why a search for Pearl Jam album yields some hundreds of results because they sold each show of their tour on CD some weeks after the shows took place.
I haven’t listened to it yet, but it is a soundboard recording. It probably won’t sound as good as the Pearl Jam CDs as the thumb drives aren’t mastered, but you can tweak the audio anyway you like with software these days. I may end up posting it in the near future, depending on if the band still makes it available afterward. If they don’t and it is indeed rare, I’ll post it up and throw together some artwork.
Static-X only played for 30 minutes, but it was packed with all the fan favorites. Their touring drummer was very adept, and in fact my only complaint is that he overplayed some of the early songs a little bit. The early songs need to be basic, and he kind of went all over the place, but it was still good.
One thing to take note of, is that Static-X sold a thumb drive with that very evening’s show on it. This is a fantastic souvenir, to have a recording of a show you attended. I know Pearl Jam was trying to do this a few years ago, but couldn’t get them mastered in time for the fans as they left the show. That’s why a search for Pearl Jam album yields some hundreds of results because they sold each show of their tour on CD some weeks after the shows took place.
I haven’t listened to it yet, but it is a soundboard recording. It probably won’t sound as good as the Pearl Jam CDs as the thumb drives aren’t mastered, but you can tweak the audio anyway you like with software these days. I may end up posting it in the near future, depending on if the band still makes it available afterward. If they don’t and it is indeed rare, I’ll post it up and throw together some artwork.
Black Label Society
Zakk Wylde and BLS have this really great stable of biker people as fans, and I love to see them out and about. They generally love to have a good time and just hang out and drink beers and listen to Zakk rip.
As decent as BLS was, Zakk spent a lot of time on guitar wankery, which wasn’t that fun for me. Zakk’s vocals were buried so deep in the mix that you couldn’t make out a damn thing.
After the show, the band hung out on stage for a little bit and pulled some fans up on stage. They appreciated their fans, their fans appreciated them, and the band clearly had a close bond and that was great to see.
They weren’t a terrible way to spend an hour, but I wish I knew more of their material.
As decent as BLS was, Zakk spent a lot of time on guitar wankery, which wasn’t that fun for me. Zakk’s vocals were buried so deep in the mix that you couldn’t make out a damn thing.
After the show, the band hung out on stage for a little bit and pulled some fans up on stage. They appreciated their fans, their fans appreciated them, and the band clearly had a close bond and that was great to see.
They weren’t a terrible way to spend an hour, but I wish I knew more of their material.
Mudvayne
Before I get into this, let me just say that of all the stuff that came out in the era of “Nu Metal”, I think they had one of the most original sounds. Not only that, but they were smart enough to remove their gimmicky makeup before they got stuck with it like KISS or Slipknot. It’s too late for the ‘knot, they take them off now they are dead in the water.
That having been said, they’re show was not very good. They were a disappointment to be sure. It was in the first week of the tour, and they already seemed to be phoning it in. I saw them in 2000, and they were still young and hungry and they killed it. They were definitely a hard act to follow 9 years ago.
Guitarist Greg Tribbett and Vocalist Chad Gray barely moved. Drummer Matthew McDonough was invisible behind his massive kit. However, bassist Ryan Martinie was animated and fun to watch.
The real problem was with the band’s sound. It was horribly muddy and the only thing you could hear was Greg’s guitar (which couldn’t seem to stay in tune) and Matthew’s bass drum. You couldn’t tell when Chad was singing, and Ryan’s bass (which, let’s be frank, is the best thing the band has going for them) was buried so deep in the mix you could only hear it for brief seconds in between the other band members pauses.
They only played for an hour, so the show wrapped up at 9:30 which seems kind of early. It would’ve been nice if some of the bands (anyone but Suicide Silence, please) had expanded their sets by a few minutes to make up for the absence of Dope.
All in all, not a bad way to spend an evening.
That having been said, they’re show was not very good. They were a disappointment to be sure. It was in the first week of the tour, and they already seemed to be phoning it in. I saw them in 2000, and they were still young and hungry and they killed it. They were definitely a hard act to follow 9 years ago.
Guitarist Greg Tribbett and Vocalist Chad Gray barely moved. Drummer Matthew McDonough was invisible behind his massive kit. However, bassist Ryan Martinie was animated and fun to watch.
The real problem was with the band’s sound. It was horribly muddy and the only thing you could hear was Greg’s guitar (which couldn’t seem to stay in tune) and Matthew’s bass drum. You couldn’t tell when Chad was singing, and Ryan’s bass (which, let’s be frank, is the best thing the band has going for them) was buried so deep in the mix you could only hear it for brief seconds in between the other band members pauses.
They only played for an hour, so the show wrapped up at 9:30 which seems kind of early. It would’ve been nice if some of the bands (anyone but Suicide Silence, please) had expanded their sets by a few minutes to make up for the absence of Dope.
All in all, not a bad way to spend an evening.
Saturday, July 25, 2009
Valiant Vinyl - Issue #6
The Commodores - Midnight Magic LP (1979)I have had some good luck lately, accidentally finding out of print records and such. Picked up for a whopping 99 cents, I acquired The Commodores’ Midnight Magic. At the time of this posting, this is out of print, and the import version of this on CD is going for upwards of $96 (!) on Amazon and eBay.
In reality, it’s not their best work. The “Getting’ It”, "Midnight Magic”, and “Sexy Lady” tracks are nice slabs of funk/pop, but after that it slows down, veering into Lionel Ritchie ballad territory. “Still” was a big hit, but I still don’t like it! Guffaw, guffaw…
Notably, you can get “Still” and “Sail On” (another Commodores song I’m not crazy about) on practically every “best of” collection, however this version of “Sail On” is the full five minute plus version with some more guitar and horns in the mix which makes it a much better listen, at least for me.
This is from my own vinyl rip, and it does have the tiniest bit of surface noise, but if you’re not listening for it you won’t notice. But now that I’ve told you, you’re going to make a point to hear and complain!
A1 - Getting’ It (03:40)
A2 – Midnight Magic (05:20)
A3 – You’re Special (03:28)
A4 – Still (05:49)
B1 – Wonderland (05:21)
B2 – Sexy Lady (03:32)
B3 – Lovin’ You (04:24)
B4 – Sail On (05:23)
B5 – 12:01 A.M. [Reprise] (01:05)
Monday, July 13, 2009
Valiant Vinyl - Issue #5
Gruntruck - Above Me 7" (1992)I had known of Gruntruck’s existence while I was first discovering Skin Yard, but I wasn’t well versed in their material. After I had been listening to Skin Yard for awhile, a friend of mine put in his cassette copy of Inside Yours. When it got to the track “Melt”, and Ben starts hitting the higher notes, it was like a light bulb appeared over my head. I frantically began searching for his case and insert to verify, and sure enough thereit was in black and white. So, even though I had found nearly every Skin Yard release, I now had to search out everything by Gruntruck as well, which is unfortunately not very much.
Gruntruck began as a side project of Ben McMillan’s, but continued on after Skin Yard’s demise. The band also featured Tom Niemeyer of The Accused, Scott McCollum (aka Norman Scott) previously of Skin Yard, and Tim Paul of Napalm Beach and Final Warning. The band was wrapped up in a legal battle with Roadrunner Records in 1993 and probably on into 1996 until they released the Shot EP, something over shenanigans with their contract. I know, it’s a big surprise that Roadrunner would ever do anything to hurt one of their bands… just ask Type O Negative.
This is the 7” single for “Above Me”, from the Push album. On the b-side is a demo version of “Machine Action”, and even though I don’t like it as much as the album version it is a nice little ditty.
Jack Endino produced this, and I think he may have even contributed guitar to both of Gruntruck’s full length albums, but I can’t be sure. I remember Jack mentioning in one of his updates that Ben had recorded close to 100 songs and Jack was trying to convince him to release a solo record. Now that Ben is gone, I hope that someone has the good sense to release at least on album of his best unreleased. Not that I want people profiting from his passing, but I think it would give us fans at least one last chance to hear some new stuff, perhaps some stuff Ben may have been too self conscious to release himself. After all, we are all our own worst critic.
A: Above Me (04:59)
B: Machine Action [16 Track Demo] (05:10)
"Above Me / Machine Action Demo"
Sunday, July 12, 2009
Valiant VInyl - Issue #4
Skin Yard / Loveslug Split 7" (1991)This is the Skin Yard / Loveslug split, from… well I don’t really know when. It was recorded in early 1991, so I’m going to assume it at 1991, or 1992 at the least.
The Skin Yard track, a live version of Psychoriflepowerhypnotized from 1000 Smiling Knuckles is really raunchy sounding, but it’s good. It has this raw quality that, unfortunately, you don’t hear all that often anymore.
Loveslug, a band I know nothing about, presents “Loser Bar”, which is a good little rock song. It sounds as if it were definitely influenced by what was happening around Seattle a few years prior. I do know that Loveslug is European, so they probably heard all the Sub Pop stuff before we even knew it existed.
A: Skin Yard – Psychoriflepowerhypnotized [Live 02/05/1991] (02:54)
1: Loveslug – Loser Bar (03:45)
The Skin Yard track, a live version of Psychoriflepowerhypnotized from 1000 Smiling Knuckles is really raunchy sounding, but it’s good. It has this raw quality that, unfortunately, you don’t hear all that often anymore.
Loveslug, a band I know nothing about, presents “Loser Bar”, which is a good little rock song. It sounds as if it were definitely influenced by what was happening around Seattle a few years prior. I do know that Loveslug is European, so they probably heard all the Sub Pop stuff before we even knew it existed.
A: Skin Yard – Psychoriflepowerhypnotized [Live 02/05/1991] (02:54)
1: Loveslug – Loser Bar (03:45)
Saturday, July 11, 2009
Valiant Vinyl - Issue #3
Skin Yard - Inside The Eye 10" (1993)Continuing with the out-of-print Skin Yard singles collection... you know, the entire discography is out of print and I considered posting all of it in time, but decided to do only the singles. Daniel House has copies of some stuff at this location. Jack Endino used to have a "garage sale" online, but it's down at the moment. You can purchase any of your wanted Skin Yard items from these nice fellows, or from scam artists on eBay. It's your thing, do whatcha wanna do!
This single is taken from the final Skin Yard album, Inside the Eye. Jack said he considered it more of a Gruntruck album than a proper Skins album (more on them later). This release features Pat Pedersen on bass instead of Mr. House. Pat's tenure with the band was roughly six months before they called it a day, but he also played on the first Endino's Earthworm record. Although no proper credit is given for the live version of "Kerosene", I have to imagine Daniel plays bass on it, as it must be from their final European tour behind 1000 Smiling Knuckles.
A01 – Inside The Eye (03:22)
B01 – Undertow (03:23)
B02 – Drunk On Kerosene [Live In Holland] (02:43)
Valiant Vinyl - Issue #2
Skin Yard - 1000 Smiling Knuckles / Bulldog 10" (1991)I feel bad about posting that dreadful Hott single, but it’s not like anyone is reading anyway, let alone listening... but I digress. Now is the time for you, the reader (who doesn’t exist), to be rewarded for your patience. Today, I’m going to offer you some of the delicious sounds of Seattle’s own Skin Yard.
I really wanted to post this earlier in the week, as I want to post more often than once a week, but it took me a few tries to come up with something I really wanted to post. Many people have done their rundown of Skin Yard’s history, and you can read bassist Daniel House’s account here.
I’ve decided I’m going to give you my introduction to, and history with, Skin Yard.
Sometime in late 1994, I picked up the Deep Six compilation (now out of print for the second time) quite by chance. I didn’t know it was re-released, and I’m not even sure I knew it existed ever. The main draw for me was early Soundgarden and Melvins, some familiarity to make the purchase safe and not a complete loss. I had heard Green River, someone had the Come On Down EP, and I thought it was alright. One thing this CD had was two tracks by Malfunkshun, which until now had been largely unheard outside of Seattle in the pre-innerweb days. The CD would of course be my first glimpse of not only Malfunkshun, but The U-Men and or course, Skin Yard.
Front to back, the disc was fantastic, but Skin Yard had this underlying darkness that the other bands didn’t possess. After hearing “The Birds” and “Throb” I was smitten. They seemed to specialize more in atmosphere, whereas The Melvins specialised in punching you in the face with an anvil as much as possible in the span of 45 seconds (at least back in those days).
Of course, in the pre-innerweb days, you actually had to work to find something you were looking for… if it even existed. Sometimes you would walk into a record store, only have the clerk tell you a record didn’t exist because a) they were ignorant, or b) it really didn’t. Some stores couldn’t order things that other stores could for whatever reason, etc, etc. I used to drive hours away to independent record stores to find what I wanted, releases you couldn’t find at Sam Goody’s or Record Town. I ventured to Music City and House of Guitars to scour the bins for obscure releases. Eventually, I contacted Jack Endino and he filled in most of the gaps in my collection, being the ultra cool dude that he is.
At that time, Skin Yard was mine and mine alone. No one I knew of them, and no one I knew was really interested because they weren’t Soundgarden or Pearl Jam. “Fools!” I cried, “Have you no courage to explore the depths of the Seattle scene?!” Regardless of my friends’ indifference, I enjoyed the thrill of the hunt and the discovery of new music from my new favorite band.
Anyhow, this is the 10 inch single. This version of The Beatles’ “Bulldog” is drastically different than the one that appears on 2001’s “Start At the Top” rarities collection.
A: 1000 Smiling Knuckles (03:19)
B: Bulldog (02:36)
I really wanted to post this earlier in the week, as I want to post more often than once a week, but it took me a few tries to come up with something I really wanted to post. Many people have done their rundown of Skin Yard’s history, and you can read bassist Daniel House’s account here.
I’ve decided I’m going to give you my introduction to, and history with, Skin Yard.
Sometime in late 1994, I picked up the Deep Six compilation (now out of print for the second time) quite by chance. I didn’t know it was re-released, and I’m not even sure I knew it existed ever. The main draw for me was early Soundgarden and Melvins, some familiarity to make the purchase safe and not a complete loss. I had heard Green River, someone had the Come On Down EP, and I thought it was alright. One thing this CD had was two tracks by Malfunkshun, which until now had been largely unheard outside of Seattle in the pre-innerweb days. The CD would of course be my first glimpse of not only Malfunkshun, but The U-Men and or course, Skin Yard.
Front to back, the disc was fantastic, but Skin Yard had this underlying darkness that the other bands didn’t possess. After hearing “The Birds” and “Throb” I was smitten. They seemed to specialize more in atmosphere, whereas The Melvins specialised in punching you in the face with an anvil as much as possible in the span of 45 seconds (at least back in those days).
Of course, in the pre-innerweb days, you actually had to work to find something you were looking for… if it even existed. Sometimes you would walk into a record store, only have the clerk tell you a record didn’t exist because a) they were ignorant, or b) it really didn’t. Some stores couldn’t order things that other stores could for whatever reason, etc, etc. I used to drive hours away to independent record stores to find what I wanted, releases you couldn’t find at Sam Goody’s or Record Town. I ventured to Music City and House of Guitars to scour the bins for obscure releases. Eventually, I contacted Jack Endino and he filled in most of the gaps in my collection, being the ultra cool dude that he is.
At that time, Skin Yard was mine and mine alone. No one I knew of them, and no one I knew was really interested because they weren’t Soundgarden or Pearl Jam. “Fools!” I cried, “Have you no courage to explore the depths of the Seattle scene?!” Regardless of my friends’ indifference, I enjoyed the thrill of the hunt and the discovery of new music from my new favorite band.
Anyhow, this is the 10 inch single. This version of The Beatles’ “Bulldog” is drastically different than the one that appears on 2001’s “Start At the Top” rarities collection.
A: 1000 Smiling Knuckles (03:19)
B: Bulldog (02:36)
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