Mudhoney - March To Superfuzz, 1988 - 2006 (White Trash Soul Real R'n'R No.20)

 

Mudhoney is one of those bands that helped shape my musical taste when I was young. I never really understood why the Seattle scene was called 'grunge' or why so many different bands were lumped together under that label, but nevermind. Nirvana, for example, had more of a soft spot for indie pop or the Pixies than for punk (I am not saying this as a bad thing, of course) and Soundgarden clearly drew inspiration from Black Sabbath. Mudhoney, on the other hand, were unmistakably a garage band. In sound, attitude and image. From the first chords you could hear the Stooges and the Sonics as the main influences and they never got any heavier than Motörhead or Blue Cheer - both of which are pure rock'n'roll bands anyway.

So, if any band deserves the grunge tag, it's Mudhoney (and Tad). To me, grunge was always about the sludge punk sound of superfuzz bigmuff pedals, not the whole cardigan and jeans and pretending I'm sad and lonely middle class trend/fashion thing. The story of Mundhoney is also partly the story of Sub Pop. Without them, none of what followed would have ever happened and yet they remained outsiders and never had a problem with it (Mark still works in the back room at Sub Pop, where he personally addresses all the packages sent out!). Mark Arm and Steve Turner first formed the legendary Green River with Stone Gossard and Jeff Ament (who would later go on to form Mother Love Bone and Pearl Jam - I can't stand them really!). When former Melvins bassist Matt Lukin, who claims he was fired for "not having a pussy" and drummer Dan Peters joined, the group came to life and took its name from the 1965 Russ Meyer film. The rest is history. 

Mudhoney is one of the greatest rock'n'roll bands of all time, and I don't take seriously any other opinion on the matter. Laid-back lads, cool and down-to-earth musicians, the kind I have always been fond of. For this WTS compilation, I paraphrased the Sub Pop one about them - because I can - and used the fonts from the Australian (Au Go Go) pressing of "Superfuzz Bigmuff". Naturally, I used the pedal as the sleeve's main character. 

The Seattle quartet has never had to face the indignities of a reunion because it has never broken up. The only change to the group's line-up in its entire history was the departure of bassist Matt from the ranks in 2001 (and they were still friends!). When the band secured a major deal with Reprise in the '90s, they didn't spend their advance on luxurious recordings, they continued on a budget, kept the surplus and used it to make deposits on properties. And as I wrote already, the group never actually stopped being, despite a few occasions when they could have. In the early '90s, Turner returned to college and Peters joined Nirvana and Screaming Trees for a while. Even though they were not making records or touring, they continued to write songs, as well as starting equally amazing bands like The Monkeywrench. Perhaps the last truly independent American band. 

Electric Wizard - Supercoven 667

What if I told you that there's a band that sounds like Black Sabbath when Ozzy was behind the mic but with Ron Asheton on guitar and the rhythm section from Blue Cheer, who are obsessed with everything occult, acid and weed, S&M erotica, motorcycles and '70s horror flicks? Or imagine if Venom had formed a side-band that was really into Jimi Hendrix and performed satanic rituals to the sounds of the Stooges' 'We Will Fall'. Would you want to check them out? What if I added that they recorded all their music using vintage instruments and studios, giving it the sound of a long-lost '70s acid psych demo from some evil unknowns? And that they're actually the heaviest group of the last thirty years? Well, this band does exist and they hail from the Old Albion. They perform under the Electric Wizard marquee. And yeah, it's pretty bloody doomy. Weighty riffs, sludgy distortion, tons of fuzz. If you're not prepared, then stay away. I've fuckin' warned you...

Does It Doom? Heavy Riffs & Drugs Worship.

 

This time, I want to talk about my guilty pleasures, the music and bands that I loved listening to while pretending to hate them. This was either out of reaction or because I was just too shy to admit that I liked them. But as you grow up, you learn not to care about other people's opinion and being provocative just isn't fun anymore. Back in the 90s most bands had no problem admitting that they liked the Stooges and the MC5 as much as Black Sabbath and Hawkwind. You had never encountered music like this before, and you were at a loss as to how to categorise it, but you were absolutely certain that it was completely amazing! Does anyone not remember the first time they heard "Spine of God"? Was there anyone who said they didn't like it who wasn't an idiot?

As I mentioned in a previous post, all my friends were (and still are) metalheads. It was only natural that we would influence each other. I've never been keen on metal without punk or doom elements, but I didn't mind going to their place and listening to some cool thrash bands, as they didn't have either coming to mine and listening to some trashy garage punk. We all listened to Monster Magnet, Kyuss, Cathedral, Hellacopters and Mudhoney, for example (perhaps for different reasons), but the most important thing was that we all liked them! The same goes for Stooges and Sabbath. For instance, everyone else was going crazy over 'Paranoid', I was the guy who got a kick out of 'The Wizard' (that wailing harmonica!).

And it wasn't just the influence we had on each other as a gang, there were other signs as well. When I first bought and played Black Flag's "My War", I instantly thought it had more in common with "Vol. 4" than with any other punk album. In fact, their label also featured Saint Vitus, who played at an even slower pace than Iommi and Ozzy's band. At the time, both SST bands sounded punk enough to alienate metalheads, yet still metal enough to do the same for punks. They were also psychedelic, with a completely innovative druggy approach. That's what punk was always supposed to be, shock everyone, right?! The same goes for Corrosion of Conformity and Lee Dorrian, a huge punk rock fan whose label is named after a Black Flag song and whose band was as if Iommi was dead and Fred Sonic Smith and Wayne Kramer were replacing him.

Anyway, I'm not going to pretend that I'm an expert on stoner/doom genre (because I'm not), but I think I can easily handle a playlist of some of the catchiest and grooviest tracks from different decades that anyone can listen to and agree are good enough to grab a beer and roll a joint to. (I never liked marijuana. I thought of it as a hippie thing and I never liked the idea of laughing all the time for no reason. However, I admit that this plant has beneficial qualities in some cases, at least to some records. I was always a cigarette and alcohol guy, I guess, before I quit them both.) 

Here's a stoner/doom kinda compilation from someone who's certainly not a metalhead or a stoner, but who definitely knows a thing or two about fuzz, wah-wah and distortion. I mean, I've never tried heroin, of course, but I do have a shelf full of different pressings and copies of "L.A.M.F." and a tattoo on my arm, you know... Oh, and I still hate fuckin' hippies!  

1. Born Too Late - Saint Vitus
2. Funeralopolis - Electric Wizard
3. Midnight Mountain - Cathedral
4. Paegan Love Song - Acid Bath
5. Murky Fen - Slabdragger
6. Caravan - Lowrider
7. Greenthumb - Bongzilla
8. Streetside - The Obsessed
9. This Mortal Decay - Beastwars
10. To Ride, Shoot Straight And Speak The Truth - The Entombed
11. Dixie Whiskey - Eyehategod
12. God Luck And Good Speed - Weedeater
13. State Of Non-Return - Om
14. Picking From The Box - Spiritual Beggars
15. King Of The Road - Fu Manchu
16. Gardenia - Kyuss
17. Cyclops Revolution - Monster Magnet
18. Mad Prophet - Nightstalker
19. Dragonaut - Sleep
20. Empress Rising - Monolord
21. Vote With A Bullet - Corrosion Of Conformity
22. Swan Song - Down

MC5 - Black To Comm (White Trash Soul 60s Punk No.6 & White Trash Soul Real R'n'R No.19)

 

My first encounter with the MC5 was at a very young age, not through someone who played their music for me to listen to, but through a relatively mainstream yet good Greek music magazine, which had published a feature on the best live LPs of all time. "Kick Out the Jams" ranked second, surpassing names that were better known to me at the time (The Doors, Thin Lizzy, etc.). The cover art was also enough to make you fall in love with it at first sight - a psychedelic kinda collage yet punk at the same time. It might even have been the first of many albums I'd go on to buy based solely on what caught my eye (for the record, the second was "Raw Power"). The reviewer left me no room for doubt writing that this particular album "broke through the virgin membrane of rock'n'roll and gave birth to punk" or that "there's a lot of debate, with serious arguments on both sides, about whether the hippies or the punks played better but there was no question as to who sounded better." The fact that I can recall all of this without referring back to the review means that it left a lasting impression on me.

So, I bought "Kick Out the Jams" on CD (it was 1991 or '92 and vinyl records had begun to gradually disappear from the market, making way for the new format) which included the intro with the famous "motherfucker" yell - which, for some strange reason, later editions removed before reinstating it in the "Big Bang!" compilation, if I'm not mistaken. In the '90s, that particular expression didn't seem offensive at all, but just imagine how all of this would have sounded in 1968 in an America rife with racism and prudishness. Something that has been making a comeback like a whirlwind for many years now, on a global scale. The guitars cut like sickles, and the drums, maracas, and tambourines pounded like hammers. A little later, I discovered that this was by no means a coincidence, since this particular band had much more to offer in terms of challenging the fascist ideologies of the era than just their music.

As I usually do in this space, unless the band is completely unknown, I don't think it's necessary to recount its history. Where do you even start with The 5? There are books and documentaries out there that you should look up and watch (all of them!) if you want to consider yourselves serious rock'n'roll fans, since we're talking about a group of people who unwittingly wrote the rulebook for true revolutionaries, even though they didn't like the rules themselves. They brought the entire (rich) musical tradition of Detroit (and beyond) into one package and took it even further, so much so that I don't think anyone has yet come along to take up the torch from them and carry it on. For better or worse, some people arrive and put an end to things. Like prophets who hate prophecies. Honestly, I don't care if anyone agrees or disagrees with what I write, but the MC5 played just as important a role in my life as Karl Marx.

I created this MC5 package as an alternate "Best Of" compilation, an extreme digital dirt done properly featuring their early garage punk - needle in the red and no overdubs 45s, the unused Grande Ballroom recordings that didn't make it to the "Jams", pre-production studio tapes, alternate takes, remixes, full-length versions and outtakes from their studio albums. All of these are from the best audible sources that are known to me (for more details, look at the parentheses next to the songs titles). 

"BROTHERS AND SISTERS! I WANNA SEE A SEA OF HANDS OUT THERE!"

The Misfits - Static Age, Mix-Down Tape Feb. 1978 (White Trash Soul Real R'n'R No.18)

 

It's hard to imagine just how much of an impact "Static Age" would have had if it had been released in 1978, as originally intended. Considering the hostility between the Misfits members, however, we should be grateful that it ultimately saw an official release in 1996. What I really like about that era is the absence of the campy horror punk aesthetic that they later developed and became widely known for. The Misfits look pretty much like every other punk rock band of this period but this hasn't stopped Glenn Danzig from ignoring the sociopolitical issues of the time. In his Elvis/Jim Morrison style, he sang about JFK's bullet-ridden body, Patty Hearst's kidnapping turning left-wing guerrilla bank robber and every other perverted thought that had occurred to his teenage brain. Now that I think about it, perhaps he did write political songs after all... Anyway. 

At the time, both Mercury and the Misfits were using the name 'Blank Records'. Our New Jersey psychos had already released their embryonic "Cough/Cool" and "She" recordings through their Blank imprint and Mercury wanted full ownership. In exchange for the name, Mercury suits offered them a swap: 20 hours of free studio time and the recordings has began. The end result made the band feel proud but they had a problem, no label was willing to release it. According to Jerry Only, they talked to every label - even Sire, which had The Ramones, Dead Boys, DMZ and the Voidoids on their roster but they passed on it! The (legendary) "Bullet" EP, released via Danzig's own label (Plan 9), featured four of the "Static Age" tracks: 'Bullet', 'We Are 138', 'Attitude' and 'Hollywood Babylon'. After Franché Coma and Mr Jim left in the middle of a tour in 1980, Only and Danzig decided that the "Static Age" was cursed and shelved it.

The 14 tracks of "Static Age Mix-Down Tape Feb.78" as I said in the first lines, were supposedly intended for release on the "Static Age" LP that same year. In 1986, Curtis Casella of Taang! Records made and distributed a tape containing eight songs from Glenn's vault. Of course, this was done without permission. This tape and a later CD-R bootleg of the same name were the only sources available to fans. (This is the CD-R that I am offering you in this post, which contains the complete set of songs). So, when Danzig finally provided the original multi-track masters for a standalone release, hardcore Misfits fans and completists took note that the original 1978 mix-down sequence of "Static Age" had actually been used on disc 4 of the Coffin shaped Misfits box set (based on Franché Coma's copy), rather than the remastered and overdubbed versions on "Legacy of Brutality" from 1985-86 or the re-remastered editions on "Collection II" (1995). 

In any case, this is the best place to hear the Misfits' best line-up as intended: Undubbed, unremastered and raw. This recording, originally from the 7.5 ips reel-to-reel, includes the microphone pop at the end of 'Come Back' or the conversation before 'Theme for a Jackal', both of which were edited out of the officially released versions. I would put these recordings at the very top of the list of the ten best punk rock ever produced, no matter what period or decade you look at.