So I bought myself a shirt…
Archive for the ‘The Book in Scraps’ Category
From the Rocket…
Love Battery, “Between the Eyes” (From the December 1989 issue)
“Here is a band astonishingly adept at recreating the best elements of ’60s psychedelia. Not as dense or complicated as the Screaming Trees, Love Battery have the sticky, pulsating wah-wah guitar sound down cold, complete with earnestly raw vocals on top.” (Grant Alden)
Sub/Pop 7 (June 1982)
“There are lots of competent, good, and even great rock bands around the country that never leave town. Sub/Pop’s intent is to make some of these ‘local’ bands available to those of us outside the immediate neighborhood….it’s great to be able to hear even just one song by a band from Kansas or Tennessee or Florida.” (Herb Levy)
Nirvana, Nevermind (December 1991)
“New rules: Axl Rose WISHES he were Kurdt Kobain….the lyrics are shrugs, tossed off, the hardest part is convincing their rancor of imbecility….Next LP we’re gonna all write the lyrics and send ’em to Nirvana….You heard it here last. Nirvana are the Anti-Christs, TOTALLY in control of Axl Rose’s mind.” (Mike Logan)
Mudhoney, Every Good Boy Deserves Fudge (July 1991)
“Certainly it is loud, passionate, and primitive, but the most astonishing characteristics of Mudhoney’s second long-player—that it will sell—elegantly epitomizes the transformation of the Seattle music scene over the last three years. Mudhoney, after all, were formed precisely to avoid this fate. Mark Arm, Steve Turner, Dan Peters and Matt Lukin are the anti-commercial spawn of Green River, the very bad boys who, at the height of the Reagan Revolution, resolutely chose art over commerce. Their comrades in Mother Love Bone (now splintered again into Pearl Jam) parlayed Green River’s underground cachet into a huge major label contract….[Fudge features] small, carefully conceived parts added by all four [Mudhoney] players to the basic tracks. This fresh interest in nuance includes quoting the guitar riff from ‘Cinnamon Girl’ as the overture to ‘Broken Hands’ and an homage to the Sonics (having been compared so often, they evidently finally checked out the godfathers of grunge) in ‘Who You Drivin’ Now.’ All that; and a big rock drum sound, too, all recorded on the old Stax/Volt board now housed in PopLlama’s Egg Studios.” (Grant Alden)
Gas Huffer, Janitors of Tomorrow (September 1991)
“Finally, a full-length Gas Huffer release. And to make sure you buy it, the initial pressing comes with the most awesome insert I’ve seen in a rock record: a comic book that has each song drawn out in comic form by a different member of the band. Most of this LP is what you’ve come to expect from the Huffer, energetic train rock on a course for adventure….Through the comic book and producer Jack Endino’s clarity, you get a chance to find out what that kook Matt Wright’s been singin’. Like a song about working in a shoe factory and a song about a family in a nuclear shelter, where the father eats his children in gluttonous hunger.” (Chris Takino)
Mr. Epp and the Calculations, Of Course I’m Happy. Why? (June 1982)
“Mr. Epp and the Calculations have a hit on their hands….‘Mohawk Man’ is a two-fisted satirical attack on the instant suburban hardcore scene—the type of kids who think it’s ‘punk’ to bash each other (and everyone else within range) with bottles, cans, fists or even their heads….Over [an] eerie cacophony Mark Arm chants ‘I’m the Mohawk Man/I can look real mean/I’ve got a Mohawk, man/I can make the scene…I’ll go see a hardcore band tonight/Gonna slam, hope I get the steps right/If I’m lucky I’ll get into a fight.’ A great song.” (Robert Newman)
From the Rocket…
Skin Yard, Hallowed Ground (from the February 1989 issue)
“Hallowed Ground is a strong, uncompromising album that proves that intelligence and sludge can mutually co-exist. Skin Yard fits neatly into no convenient musical category. I’m sure the band likes it that way.” (Robert Allen)
Nirvana, Bleach (July 1989)
“Nirvana careens from one end of the thrash spectrum to the other, giving a nod towards garage grunge, alternative noise, and hell-raising metal without swearing allegiance to any of them.” (Gillian G. Gaar)
Green River, Rehab Doll (June 1988)
“Like the aftermath of a police raid on Alki, this eight-song goodie peals out in several directions at once. It’s a refreshing, multiple-injury approach to the doomy tunes that local noise addicts have been forced to love.” (Andrea Vitalich)
Terry Lee Hale, Fools Like Me (June 1988)
“Hale describes his music as ‘modern acoustic,’ a term that implies the use of the acoustic guitar as a percussion instrument….This tape takes chances; some folks who have seen Hale perform these songs solo live might be thrown by the arrangements. This is a first class effort worthy of an audience. I hope it finds one.” (Robert Allen)
Sub Pop 200 (December 1988)
“Called the ‘ultimate document of the scene’ by its creators, Sub Pop 200 is a stylish box set of three EPs accompanied by a booklet filled with photos and data. The vinyl itself not only holds contributions from Sub Pop stablemates like TAD, Mudhoney, and Soundgarden (before their departure for the majors), but a whole slew of acts that record for other labels: the Walkabouts, Fastbacks, and Screaming Trees, to name a few. And not only is there diversity apparent in the choice of bands, it’s highlighted by the type of material the bands choose to perform.” (Gillian G. Gaar)
to satisfy two requests at the same time…
“Mark [Arm, during his Green River days] was also legendary for his stupendous stage leaps, like the time he earned a perfect ten for ruining the evening of a couple at the old Rainbow Tavern, who could have sworn they were out of his range until he landed in the middle of their table like a heat-seeking missle.”
James Bush, from the December 1988 issue.
“I imagine Mark Arm having a dream about Iggy Pop. This in itself is nothing unusual. It seems like everyone on the ‘heavy’ side of the fence has been visited nocturnally by the Ig’s spirit. In this particular dream, however, Iggy’s trying to beat Jimmy Page down with a Les Paul while the Sonics and Husker Du compete in a U.W. ‘Battle of the Bands.’ Arm sits bolt upright and screams ‘Eureka!’”
Michael Cox review of Mudhoney’s Superfuzz Bigmuff, from the November 1988 issue.
Alice in Chains, Flop, Slam Suzzanne, Gas Huffer, Dickless, Red Dress, Young Fresh Fellows, Terry Lee Hale (some artists playing the Central in June 1990)
Gas Huffer, Treepeople, Gits (some artists playing he Squid Row in June 1990)
From the June 1990 issue.
Live Skull, Mother Love Bone (some artists playing the Central in December 1988)
Chemistry Set, Vexed, Amy Denio, Pure Joy, Girl Trouble, Crypt Kicker 5 (some artists playing the Squid Row in November 1988)
From the November 1988 issue.
from Seattle’s Rocket, by request:
“Most of this grunge stuff–for which Seattle has been notorious since the Sonics–is, for me, an object of alien curiosity in the same way rappers Public Enemy and Ice-T fascinate. There is an undeniable force driving Mudhoney and Public Enemy, a clean, pure volcanic rage which I no longer share. Rappers have transparent reasons for their displeasure with society, but what drives skinny white kids to this level of sincerity? The Sex Pistols came with a political ethos and the slam pit became a metaphor for struggle in the English slums. The famous Seattle grunge is still about sex and good times, and slamming here is a ten-year-old borrowed tradition that seems an empty gesture today.
“…“Touch Me I’m Sick”…comes with an approximation of a hook, but on any terms this is one hell of an opening salvo. Kudos to producer Jack Endino for managing to so cleanly capture all of Mudhoney’s sound on this brown-colored single.”
Grant Alden, review of Mudhoney’s ”Touch Me I’m Sick,” from the October 1988 issue.
“…Superfuzz offers six competent garage grunge things (not songs; more like brief, somewhat sophomoric essays on the art of noise), that seem dull and whining compared to [Touch Me I’m Sick’s] ragged, nasty edge….I had hoped for more.”
Grant Alden, review of Mudhoney’s Superfuzz Bigmuff, from the November 1988 issue.
Selected Top Northwest Records of All Time
#1) “Louie Louie,” the Kingsmen.
#2) Here Are the Sonics, the Sonics.
#4) Dreamboat Annie, Heart.
#6) Sub Pop 200.
#16) “Touch Me I’m Sick,” Mudhoney.
#27) Dry As A Bone, Green River.
Compiled by the Rocket staff for the October 1989 issue.
From Dawn Anderson’s fanzine Backlash (1987-1991), by request:
“I’m not just into grungy two-chord rock, I’m also into, uh, less grungy two-chord rock.”
Mudhoney’s Steve Turner, as told to James Bush in the December 1988 issue.
“Like the singer for Great White–have you ever seen that guy? He looks like Church Lady. And they’ve got this video that starts out with him playing piano and he’s got these short fat fingers with rings on every one, and then it pans up to his face and he’s got this big nose and feathered hair…fuckin’ loser.”
Nirvana’s Dave Grohl, as told to Dawn Anderson in the March 1991 issue.
Best band: Soundgarden; Best single: My Eye, “Empty Box/So Much Going On;” Best Local Album: Green River, Dry As a Bone; Best new band: Coffin Break; Best vocalist: Chris Cornell, Soundgarden; Best Dressed: Landrew, Malfunkshun/Lords of the Wasteland.
Readers poll results from the February 1988 issue
Red Dress, the Melvins, Blood Circus, Alice in Chains, Mudhoney
Some artists playing the Central in January 1990, from the January 1990 issue
Moving Parts, Chemistry Set, Nirvana, the Walkabouts, Terry Lee Hale, Prudence Dredge, Room Nine, Pure Joy, the Fastbacks, Soundgarden, Screaming Trees
Some artists playing the Central in May, June, and July 1988, from the June-July 1988 issue
July/Aug 1982. See lower right-hand corner.
Winter 1981. See SP 5 description on far right.