CIA "GOD GUTS GUNS & MORE" LP (MTAWP #1) IS ALMOST OUT OF PRINT

I am down to my final copies of my first release, CIA's "God Guts Guns & More" LP. The first pressing of 1000 copies sold out in the blink of an eye and I quickly repressed another 350 copies. Of this second pressing, I have less than 50 copies remaining. If you would like to restock your webstore, distro, or shop, please drop me a line soon so I can help you get some wholesale copies. To the best of my knowledge, Ebullition, Revolver, Revelation, Subterranean, and Get Hip may still have wholesale copies available. If it makes more sense for you to place an order with those folks you can probably get copies from one of them too.

If you'd like to purchase a copy of the record, you can do that right here. All prices INCLUDE POSTAGE. If you'd like to get a copy of the CIA LP and anything from the last distro update, drop me a line and I'll give you the correct total price.

PLEASE SELECT WHERE YOU LIVE:

USA $13.00 CANADA $15.00 WORLD $22.00

As much as I want all of my releases to remain in print forever, I have 4 new LPs with deluxe packaging coming out this year. It is possible that I may press another 350 copies of the CIA LP at some later date but I cannot guarantee that. This CIA material is timelessly great and I'll do my best to always have some copies around. We'll see.

A few people have asked about the differences between the first and second pressings. I hope to assemble a new webpage shortly with an easy to use webstore for purchasing records and a ton of information, including pressing information on all my releases. In the meantime, here is some information on the pressing differences.

TEST PRESSINGS:

10 test pressings with custom hand silkscreened sleeves featuring alternate cover art and customized labels. Black vinyl. I one or two of these that I would be willing to trade for something cool. If you're interested in this, drop me an email.

FIRST PRESSING:

Black vinyl.

1000 copies.

White labels with black type.

Does not credit Mark Dudak on the inner sleeve.

Includes a few other typos. See if you can find them all!

Comes with More Than a Witness promo postcard.

SECOND PRESSING:

Black vinyl.

350 copies.

Red labels with black type.

Features the words "second pressing" on the printed inner sleeve.

The bottom right hand corner of the inner sleeve credits Chris Prorock for liner notes and layout and gives a special thanks to Chris Minicucci.

Comes with More Than a Witness promo postcard.

THE EFFIGIES: OZ, CHICAGO, IL. 4.10.81. SOUNDBOARD RECORDING

The Effigies were one of the first punk groups to spring up in Chicago, around late 1980. While this claim seems somewhat implausible considering Chicago’s rich musical tradition, it makes sense when you consider that blues, generic bar rock, and even disco dominated most clubs in the city. The open-mindedness of clubs like the Oz (where the “Busted At Oz” compilation was recorded, obviously) and O’Banion’s helped give the first generation fringe acts a chance at honing their chops in public.

Any disciple of 1980s American hardcore knows that the Effigies released a slew of incredible records; practically everything recorded from 1981-83 is faultless and are generally considered to be classics of the genre. They haven’t been as posthumous celebrated by the critics as their local brethren Naked Raygun or Big Black (perhaps because they weren’t as sonically pioneering), but the Effigies have survived amongst those interested in American hardcore that wish for the much appreciated basic aggression of the genre melded with the artistic finesse of UK post punk bands like Killing Joke, the Ruts, and the Stranglers.

Lyrically, it’s obvious to me that the Effigies were intelligent enough to basically withdraw from writing about the emblematic yet already cliché political themes sweeping the hardcore underground. They even caught some heat from a few known fanzines for refusing to carry the usual banners like the other then contemporary bands with names comprised of seemingly endless permutations of words such as: “state”, “control”, “youth”, “faction”, or “army”. Instead the group focused on well placed ambiguous themes (well, at least to your average 18 year old skinhead) that their songs have become known for.

Here’s an outstanding Effigies soundboard tape that I received not long ago from a longtime tape trader. This performance is one that is certainly enjoyable to listen to; the songs are delivered with a rough edged execution while totally hitting the target with clever melodic achievement. I especially dig the slapdash guitar solo in “Quota” and the incensed pace of “Strongbox”, two of their all time classic tracks. The quality of this recording is quite good; it’s a low generation soundboard recording that’s really documents what these dudes could do live. I was thinking about performing a slight EQ to give this tape a little more treble but I decided to keep it as is because this is how it sounded the night it was recorded: mighty, thick, fierce, and wholly uncompromising.

I’m uncertain if this is the entire set from this night due to it’s somewhat short length of 18 minutes. Then again, it seems that some of the between song silences have been removed so I suppose it’s possible this is the complete gig. If anyone has a different version of this gig, I’d love to obtain it.

Track list:

1. Body Bag

2. Coarse in Vain

3. Guns or Ballots

4. Quota

5. Strongbox

6. Techno’s Gone

7. Below the Drop

8. Patternless

DOWNLOAD:

http://www.mediafire.com/?ayniuphq67c29pk

VOM: MABUHAY GARDENS, SAN FRANCISCO, CA. 4.28.78. SOUNDBOARD RECORDING

I’d be wiling to bet my bottom Quaalude that the emblematic naissance of the Los Angeles punk scene originated from Richard Meltzer’s arrival from New York sometime in early 1976. After reading his anti-intellectualist prose in ‘72’s Gulcher, it’s obvious to me that he was bound to actualize himself as the thinking man’s Peter Laughner. This type of lowbrow deconstruction was also ostensible when Meltzer was hired as the master of ceremonies for the final Sex Pistols gig at the Winterland during the start of ’78. Based on an earlier altercation, the show’s promoter barred him from the club. In an act of mythic proportions, Meltzer purportedly turned his leather jacket inside out, slinked past Graham and let loose an inundation of profanities onstage. This brand of treachery toward the farty old dinosaurs was utilized more like a weapon in the seminally brilliant punk group Vom.

The funniest thing about Vom (short for “vomit” of course) was that they were profoundly unfunny on a level that kitsch had not progressed (regressed?) to in Hollywood yet. This self-described “beat combo” formed quickly upon Meltzer’s arrival in Los Angeles. They quickly started terrorizing audiences with their gratuitously stupid sounds and iniquitous stage exploits: their initial sets consisted of launching assorted cow parts from the stage in the direction of the helpless audience.

Vom also consisted of Gregg Turner on vocals, along with Meltzer, “Metal” Mike Saunders (under the stage name of "Ted Klusewski") on drums (both would go on to form the Angry Samoans, the next logical progression both musically and ideologically after a stint in Vom), Dave Guzman on “tuneless rhythm guitar”, Phil Koehn on lead guitar, and Lisa Brenneis on bass. They’d go on to issue the “Live At Surf City” EP on White Noise during the summer of ’78. This offering included such go-nowhere epics like “I’m In Love With Your Mom”, “Too Animalistic” (later retouched by the Samoans), “Punkmobile”, “God Save the Whales” and the record’s best track: “Electrocute Your Cock”.

The latter began with a Ramones-esque drum beat and showcased the lyrics: “Electrocute your cock, electrocute your cock / Looking for a hand job? Stick it in a clock”. This is unbelievably strange considering that Saunders was the first to coin the term “heavy metal” (in a review for Humble Pie’s “As Safe As Yesterday Is” in a 1970 issue of Rolling Stone) and has a graduate degree along with Meltzer being considered one the premier rock writers of our generation and the fact that he had a graduate degree from a stint at Yale.

Let me get to the point: here’s a wonderfully slapdash set from Vom recorded live on stage at the Mabuhay in San Francisco on April 24, 1978. I received this recording many years ago from an old school San Francisco punk tape trader who claimed it was a low generation copy straight from the soundboard master. This gem of an artifact includes tracks not recorded for the “Live At Surf City” EP.

Track list:

1) My Eyes Have Seen You

2) Louie Louie

3) No Surf Commies

4) Have My Baby

5) Broads Are Equal

6) Pogo Child

7) Punkmobile

8) Dare To Be Dumb

9) (I Am) The Son Of Sam

10) Gimme Nothin'

11) I'm In Love With Your Mom

DOWNLOAD:

http://www.mediafire.com/?bmzehq9hhbjltbi

MORE THAN A WITNESS WELCOMES UNITED MUTATION TO THE FAMILY

The first few months of 2011 will be an ecstatic time to be doing More Than a Witness. I’m thrilled to announce that I will be doing an official reissue for the classic Washington DC hardcore group, United Mutation.

United Mutation were the ultimate demented outsiders of DC hardcore. When you consider the crop of other first wave DC (well, okay, Northern Virginia) hardcore acts who’ve made a name for themselves, only the mighty Void matched United Mutation when it came to playing sheer acid-thrash and freak out, face-melting ‘core. Perhaps the greatest thing about United Mutation is that they sounded truthfully damaged and isolated in the increasingly melodic and straight edged DC hardcore scene. This stuff was revolting, fuzzed-out noise pollution for true punks, the uniquely damaged, and those still turning on, tuning in, and dropping out well into the 1980s.

This is music that was so uniquely ahead of the curve when it came to truly unhinged hardcore punk of the 1980s. Michael Brown’s idiosyncratic vocal style was unquestionably the most deranged in hardcore (or any other style of music for that matter) up until that point. The lyrical themes (thankfully) didn’t manifest themselves in sloganeering or championing vacant leftist political causes like most forgettable bands of the era. Instead the band allowed a vision of their sick, introverted worldview with such a painfully unique and imaginative representation.

This LP (MTAWP 003, my third release) will feature the classic debut 7” EP “Fugitive Family” (originally issued in 1983 as a split release between DSI/Dischord), as well as essential demo recordings, compilation tracks, and unreleased recordings. I’m working closely with the band to assemble the best track list possible. This release will be totally different than and superior to the “Freaks Out” LP that released on European label Bitzcore in the late 80s.

Check back for updates on this release. I’d imagine this will be ready to drop around late February or early March. And of course, this release will be done right: the tracks will be remastered from the original masters, it’ll have an excellent gatefold jacket (I’d imagine with some kind of odd feature that will put me into further credit card debt for at least a little while) packed with liner notes, photos, flyers, and other relevant ephemera.

THE GO-GO'S: THE WHISKEY, HOLLYWOOD, CA. 10.4.78. AUDIENCE RECORDING.

Despite their ubiquitous presence in the annals of new wave and 1980s cultural consciousness, the Go-Go’s began life as a punk rock group. Sharing the same circuit as influential Los Angeles punk groups such as X (they shared a rehearsal spot with them early on), the Germs (Belinda Carlisle was even a transitional early member under the pseudonym of “Dottie Danger”), the first 18 months of the band showed they hadn’t yet reached the seraphic lullabies of their debut album and what was to follow. This lineup featured Belinda Carlisle (vocals), Jane Wiedlin (guitar, vocals), Margot Olaverra (bass), and Elissa Bello (drums). They were a Masque stage mainstay and lived at the Canterbury Apartments, a Los Angeles punk flophouse hangout for key scene players and a variety of criminals, pimps, junkies, newly arrived immigrants, and crazies.

Here they are in all of their coats of glorious baby fat, the Go-Go’s in their infancy, way before they were a visual 1980s new wave affirmative action outfit featuring an array of two sassy punk rockers, two cheerleaders, and one tomboyish metalhead. This performance was recorded live on stage at the world famous Whiskey a Go-Go (fitting, isn’t it?) located in West Hollywood. Perhaps what is most interesting is how this shows you the great contrast between what the group was when they started when compared to when they gained mainstream prominence.

The recording is from an audience source and the quality is rough but listenable. This show consists of several unreleased tracks that have not been (officially) reissued in any form. Part of this show has been bootlegged onto vinyl as a double 7” entitled “Kellogg’s Punk Tarts”.

Track list:

1. We're Here Now

2. B-Movie

3. London Boys

4. Robert Hilburn

5. (Remember) Walking In The Sand

6. Don't Hang Up

7. Fashion Seeker

8. Screaming

9. Party Pose

10. Our Time Has Come

11. Just A Number

12. Living at the Canterbury

DOWNLOAD:
http://www.mediafire.com/?wkv1vd69jhse5cb

THE FREEZE: HARRISBURG, PA. 9.18.83. SOUNDBOARD RECORDING.

The Freeze were permanently misfits in their own time and place; they originated from the isolated location of Cape Cod, were not clandestine about their consumption of party favors contrasted with a fervid Boston straightedge scene, and never became an overt heavy metal failure. I suppose it’s these differences that allocated these guys the independence necessary to the defining their sound and image in their own terms. Cliff Hanger’s lyrics often packed a clever tongue-in-cheek sarcasm whilst more hard line Boston groups took themselves way too seriously and couldn’t write self-referential material to save themselves from the oncoming hard rock fatality. This so called crew (read: clique) considered the Freeze to be Cape Cod high school townies that weren’t hard because they didn’t live in the big city life. Although the Freeze’s lineup over the last 30 years hasn’t remained consistent (Hanger is the only current original member in the outfit), they have outlasted nearly every one of these naysayer groups, performing live with regularity, not simply for chic reminiscence-trip gigs like some of the other classic Boston hardcore groups.

This excellent soundboard recording was captured on September 18. 1983 when the Freeze played Harrisburg, PA, presumably right before their killer “Land of the Lost” debut album was released in ’84 on Modern Method. The performance here is solid; I think this gig is a really accurate sketch of what the Freeze were like live on stage during the early (and best) part of their career.

Track list:

1. Sickly Sweet

2. Nazi Fun

3. The Megawaki Cult

4. Time Bomb

5. Violent Arrest

6. No Exposure

7. Gardener and the Maid

8. Days of Desperation

9. Broken Bones

10. Refrigerator Heaven

11. Go Team Go

12. Neat Neat Neat (The Damned)

DOWNLOAD:

http://www.mediafire.com/?nmwx761num4va66