Thanks to Freddy Twice And Greg Brown for some of the photography.
Also Adam at Rev For always Hooking it up!
Thanks to Freddy Twice And Greg Brown for some of the photography.
Also Adam at Rev For always Hooking it up!
A few fantastic pictures from our vault by Freddy Twice
This time around Gorilla Biscuits Bologna Italy 1989
After Drooling over some of my dude @Freddytwice pics I thought it was time we had more of a look into our Italian friend.
A few of his stunning YOT pictures have found them selves posted on the Rev & Youth Crew 88 Instagram accounts recently.
Here we find about a bit more about him and have a look at some of his other great pics and Rad flyers.
There was quite a bit floating around about WBF before they dropped the demo or gave us a taste.
I know I was very interested to see/hear what all the fuss was about …and now we know.
I got in contact with front man Scott Vogel to find about a bit more on the band.
Super7 once again joins seminal hardcore band, Gorilla Biscuits, for a vinyl toy release of the GB Mascot! The Start Today Gorilla Biscuits vinyl figure is cast in Glow-in-the-Dark vinyl, packaged in a deluxe Start Today box.
To commemorate the 25th year anniversary of Start Today, Rev have released some limited edition vinyl along with a cassette and a shirt.
Here at DxR HQ I thought it would be fitting to dig once again into the Start Today Zine archives and pull out this brilliant interview with CIV, as a nod to GB and one of the best Hardcore records ever made, along with another great piece of Jeff Lasich’s work.
With some extra media thanks to the internet.
Interview and Photography by – Jeff Lasich
Flyers Courtesy of Hardcoreshowflyers.com
My love for the Gorilla Biscuits is no secret. When I heard about the show they were going to play as part of the “save CBGB” summer of shows in 2005, I could not wait for the show. By the time GB took the stage on that hot August night, CB’s was packed to the walls and you could feel the excitement and anticipation in the air. After a wait that seemed would never end, the original line-up was back on the stage. The familiar trumpets started what was one of the best live sets I have ever seen. No one walked away disappointed or with a bad word to say. I wanted to talk to Civ about maybe doing an interview but things were still crazy after the set, so I figured if I was really going to do it, I’d figure out a way. As luck would have it, he stopped in Red Bamboo later that night and I talked to him about my idea. We finally got our schedules together, and I called him the day after the 2006 summer tour was announced. I had planned on having this issue done for the tour but like most things in hardcore, it just didn’t happen on time. Most of you saw them in the US and they are about to embark on a European tour as I am typing this intro. I was beyond psyched to do this interview and I truly hope you enjoy it!
Every few months for years there were rumors that GB were going to play a show. Finally last summer, the rumors proved to be true with that benefit for CBGB. What finally made it happen and were there any other times where it almost did happen?
There were a couple of times we were approached about it. The reason we did it was because of what it was for CBs, you know. If it were any other club, I doubt we would have done it. I was just talking about this with a friend. It was more of a selfish thing to; trying to support CBs and hopefully keeping the doors open for another 30-40 years so people could go there are “get it.” It was also to play CBs one more time, just in case they did close it. That is basically the only reason I wanted to play. That is a kind of club you never get sick of playing, you never get you fill of, you just want to keep playing there. It’s the whole vibe. When you walk in, the way it smells, the way it’s lit, the way it sounds, the memories you have in it. We wanted to get back on the stage one more time just in case.
I heard that Walter said you guys were going to practice your asses off and be tighter than ever before because it would never happen again.
Everybody says certain things, but we wanted to practice because we never practiced prior. We used to go on tour, road trips and stuff, but we weren’t the most polished band. Kids used to say stuff like “I wish I could have seen you guys live.” We’re like “we weren’t very good live.” We had fun. If you watched us you had fun, but it didn’t really sound as good. We’ve also become better performers and musicians over the years too. When we were playing, we weren’t very seasoned. After years and years of playing in bands and doing stuff, you get a little more comfortable on stage, you become a better musician, a little more disciplined to try and do better and no just fucking do it because you have to play a show. The never doing it again thing, that is pretty much what we assumed because we hadn’t done it before and we were just doing it for CBs. We hadn’t seen or hung out with each other in years and years. Alex is in Iowa, Luke is in Texas, and Walter is super busy doing his own projects. We thought that would be it. We had a really good time hanging out for a couple of weeks, it just felt nice. We practiced, we played. It was cool hanging out with each other again. That kind of opened the door for us to play in the future again. It opened up the dialogue that wasn’t there before.
Did you think it would be as crazy as it was?
I kinda did. I don’t really pay too much attention or go online; I don’t really give a shit what people are saying. Everybody I know was kike “it’s going to be this” or “it’s going to be that.” Maybe idea was it’s going to be what it is going to be. If people want to come see it, it’s going to be cool. I never listen to rumors or hearsay. We used to play shows at CBs and they were always good. We thought it would be a cool show to play.
When I got home from the show, the CBs webcam video was online and I downloaded it. The crowd was so loud, completely drowning you out at times. And the webcam does not even come close to capturing what it was like being there.
I saw you before the show taking names of people that travelled really far to get to the show, to be sure that they would get it. Kids flew in from all over the world without tickets, hoping to get in. The stood in line for 12 hours, it was really hot out, there was occasional rain. I thought that was a very classy move.
I only did that because the people at CBs said there was beef between them and the people that people who own the building. The powers that be were saying they were going to shut down the show if they went beyond their capacity. They were being super cautious. They only had the club about half full. I think their legal cap is around 600 or something. They couldn’t fit much more than that in there. Black Train Jack and the other opening bands were saying the place was half full. I was getting pissed off. We haven’t played in 13 years to come back and play to a half full club. Kids waited outside for 24 hours in the rain and 95 degree heat. Kids were getting their cars broken into. We didn’t come here to have a shitty show because you are afraid it is going to get shut down. If it is going to get shut down then it’s going to get shut down so let everybody in. It wasn’t that bad. I’m friends with the people who were doing it, and they were just protecting their ass. I went outside because they gave us a hundred person guest list for the show and we had only about 50 people on it, so we knew we could get some kids in. It wasn’t just kids from the US, there were kids from South America, Japan, Europe. I just wanted to make sure kids didn’t get shut out. I just waited outside until everyone was in. They kept calling my cell phone, asking what I was doing. I said once everyone was in the club, I’ll come in and play. They said “where are you?” I said “don’t worry about it.” I don’t know about classy, just fair. In the end, everybody got in. I felt bad for Black Train Jack, I wish everyone was in for them.
When it was all said and done, were you happy with how you played? You sounded super tight.
Those guys all said they sounded tight and they played well. You can’t get that kind of vibe when you are the singer, because you are getting manhandled. I told myself not to get psyched, just play really well, but I can’t help myself. We were going to try and release some live tracks from it, but I definitely dropped the ball because I put the microphone out too much. It sounds like a tight band with a bunch of monkeys screaming or something. We don’t have good audio from it. But I had fun, and everyone seemed to have a good time.
Some Records was originally going to release the 1st 7” but obviously that never happened. Why did that fall through?
The 7” was on Rev because Rev had everything together. I think Some came after that. Some Records used to put out demo tapes and sold demo tapes for us.
I thought I read that in the news section of Boiling Point or something that Some was going to do a 7”.
You know what, it might have been but I don’t remember. It’s not something that stuck in my memory. Dwayne and Some Records are responsible for a huge portion of people getting their music out. He would get in trouble from the IRS because he wouldn’t charge tax. He wouldn’t charge us to sell our demo tapes. You’d go in there once a week and Dwayne would hand you $20 and say “yo, I sold X amount of demo tapes.” He was all about that lifestyle. He promoted everything: record sales, demos, t-shirts. He’s one of those unsung heroes. Most people don’t know who the fuck Dwayne is, or what he did.
What impact did the “shutdown” show have on the band?
It had an affect for a while, but there were always other clubs to play. CB’s was just THE place you wanted to play, and the place for Sunday matinees. If you have water running down a hill and you stop it with one rock, it’s gonna go around and go another direction. And that’s what the hardcore scene did. We went to the Pyramid Club, or ABC No Rio., other venues. We weren’t going to stop playing and sit home and cry because a club got shut down. I think it was more of a fantasy protest. That place is what it is, you don’t own it. If they want to stop hardcore shows, they can stop hardcore shows. They survived it.
Start Today was one of those crossover records that it seemed everyone had, whether they were straight edge or not, a hardcore kid or a punk kid. Did you ever think it would become such a big record?
I don’t know, people have told me for our generation; it would be like how we felt about Out Of Step. When you do it, you’re not thinking about it, you are just doing it. It takes years to come out right. I’m flattered and psyched that people liked it and it meant something. That’s what is important to us. We didn’t walk around thinking “we’re so great because we did this record.” When we were doing the record, we were just doing the record. I think in music, people and writers after their first record, they get distracted and try to redo something. I think that’s why things suck after the first or second record, because you’re trying to do something purposeful. When you’re writing to just put out music; that is when it’s cool and original. You can’t guess what people are going to like, you have to write for yourself.
Do you prefer the 7” or the lp?
I’m always a fan of when things are on the next level; I think the lp is my favourite. The other stuff is fun, and a much more juvenile record. I can picture being young and where I was at that time. I can listen to Start Today and feel psyched about it.
I don’t know if a band can use a line like “don’t be retarded” again without there being a ton of backlash.
There wasn’t a lot of thought about that stuff, it just came out.
It seemed that near the end of the band, some people didn’t have their full heart into the band anymore but there were still playing GB shows. Do you think that may have tainted the GB legacy?
I don’t think so. I think we were one of the bands that broke up pretty early on, when other people were trying to beat dead horses, you know? I still wanted to play and wanted to do another record. But Walter, he knew how he felt and he kinda saw the writing on the wall as far as where he wanted to take his career and what kind of song writing he wanted to do. It involved new people and a new style. Out of respect for him, I didn’t play any more. We sat down and talked about it and I didn’t want to do the Gorilla Biscuits without him. He didn’t want me to do it without him either. We just decided to drop it. It’s hard when you are enjoying the band you’re in, and you enjoy the music you play to stop. I don’t think anything was tarnished because I don’t think we hung on that long.
I’ve seen criticism over the years about later day Gorilla Biscuits, or pictures. You know, the way things were starting to change in the early 90’s anyway. Sometime it seems easier to single you guys out.
As people who changed during the band?
Yeah. Instead of people quitting then changing and just fading away.
I think things happened a little bit faster then. Our first US tour was in ’89 and we broke up in ’92. That’s not that long of a run for a band. If you think about saying “oh you guys have changed” or something like that, in the whole history of the band it’s a pretty short time to do you first tour and then actually break up. There are bands that have been playing for twenty years. I think change is good. You can come back to stuff, but if you don’t try something you want to do, then you’re selling yourself short. We had line-up changes due to people leaving or wanting to do other things. We had an incarnation with Porcell when we played Europe. We had tours booked and we had to play them. A lot of times you can rely on your friends to fill in, and not get some new guy in the band.
Was there an “official” last show?
We played the Marquee in ’92, that was our last show. We were playing and knew we were going to break up after that so we just played. If you’re not going to come to the show, then I don’t want you to come because you think it’s going to be the last time. If you’re gonna fucking pose and not show up, well then you missed it.
What did you do in the months after GB broke up?
I always worked at health food stores and stuff so I worked and chilled. I had already started to learn to tattoo, so that was it; working and tattooing.
How did you start tattooing? Did you always have an interest in art?
I always drew a little bit. Never had anything formal, I just liked to draw when I was a kid. Working in health food stores ran its course, and tattooing presented itself. I just ran with it.
1995 CIV started.
Walter and I did that 7” with those 2 songs on it. We pretty much got signed to Atlantic just off that, we had never even played a show. We had to throw a record together kinda quick. There wasn’t much time.
Why did you even bother with doing another band? Was it still something you really wanted to do?
I really had no intentions of…Shit, I never had intentions of playing in Gorilla Biscuits. I had no intentions of being a singer at all. Anything that happens in my life is completely accidental. Charlie from Outface and Walter approached me saying “we got these songs; we want you to sing and do a 7”.” I was like “no fucking way.” They said “come on, it’ll be cool.” Walter can pretty much talk me into anything. I said I’d do the 2 songs, we could record them. We felt like hardcore was moving too much into hip-hop and metal, no one was really playing hardcore anymore. That’s how we saw it. We figured we’d put out a 7” that was what we thought hardcore was. We could get stuff done quickly because we have been doing it for a long time, and we know Jordan. That is basically how it was. We called him up and said “hey we want to do a 7”.” He said ok. He didn’t say “well I don’t know” or “I want to hear it.” He just said “ok, what do you need?” It was like asking your friend for a ride somewhere.
CIV ended up being a little bit. You were on Atlantic, had some airplay, Can’t Wait ended up getting played at sporting events. Kids were quick to call you a sell out because of the “commercial” success of CIV, and it’s funny because most of those kids are gone now.
Yeah, that’s always the case. If you let that shit bother you, you’re stupid. They’re at the show. They paid their money to get into the show and they are waving “fuck MTV” things. Now what are they doing? I respect my peers and people who have done something for music and for hardcore; the people who have given their lives to it; guys who are still playing in bands after 20 years. I could give a fuck about a fucking kid who’s never even played in a band. If makes him feel good to call you a sell out. My answer to that was always “I’m playing music in a fucking band for a living, what the fuck did I sell out?” When you’re straight edge or hardcore or punk until you get to college and then you fucking act like a douche and get corporate and wasted because now it’s time to grow up, that’s fucking selling out.
What about that Nissan commercial with Can’t Wait in it? I was watching football and during commercials, I hear a CIV song. My wife and I looked at each other like “what?!?” but not in a bad way, more of an ironic way like “can you believe that” or “how crazy is that?”
That’s what I mean. When people think of that in a bad way, it cracks me up. We didn’t steal your song; that is our song. We wrote it and if we want to sell it to anybody in the world, it’s up to us. Especially now when every fucking band that stems from punk, hardcore, or metal goes on MTV and are selling millions of records. I think the idea is so jaded and cliché that somebody sell out hardcore. I have friends in bands that are still playing in weekends. They’ve been playing for years and hold down jobs. What about their family? You gotta take care of yourself at some point.
That is a problem in hardcore. A majority of the scene consists of younger kids, but you reach that point where you have to factor in the real world.
The things kids are yelling about, if they do math and realize we don’t live with our fucking parents, and our moms don’t take us to the mall to buy Vans and a punk belt. We’re grown ass men. I’ve lived on my own, paying my bills since I was 18. I paid for my college at 18, working. That’s just reality. No one is taking care of us, no one ever has. That is why we do what we do. If kids don’t respect the work ethic and longevity that someone who has 20 years in have, then on behalf of everyone who is 20 years in, go fuck yourself. That’s just me. If someone is going to pay you for what you do, like you’re gonna say no? That’s so full of shit. I won’t even get into that argument, it’s so childish.
OK, back to current events. It’s no longer a secret since Walter posted it yesterday, but GB will be touring this summer. How was that decision made?
All original members. There is no real over thinking. Why wouldn’t we ask the original guys to do it if they’re down? Those guys said they were down. If they didn’t want to do it, we’d go another route. Everyone wants to do it, so we’re going to make it cool and make it fun.
You’re going to do 5 weeks in the US and then Europe?
The only thing we are committed to right now is 5 weeks in the US and a few shows in Canada.
You know kids are going starting quoting the lyrics to New Direction, about the money being green and all that.
If they don’t want us to play, they don’t have to come see us play. And money issues, Gorilla Biscuits have never played the United States with the record out. We played the Start Today tour, but the record wasn’t out until the last 3 shows. We played on the 7” in ’89 because we couldn’t get the record out on time. Really we’re just playing to kids who have never seen us play with the record out. Most kids never saw us with the full record out. Europeans did, but not Americans.
As far as making money, I’m sure you’ll make a little cash but I’d bet you would make a ton more sitting at Lotus for 5 weeks.
I make a good living. For me, this is not about making a fucking boat load of money. But I’m not doing this for free; I’ve got mouths to feed. Kids love to talk shit, who cares? Not me.
Not that it matters in the big picture, but when you hit the stage at CB’s X’d up, I have to admit it put a pretty big smile on my face. You know there have been rumors about your edge and all that.
Like I just said, kids talk shit; they love to talk about things they don’t know about. When you are in a band, you get people fucking talking about you who have never met you in your life. So what the fuck are you going to talk about? All these kids that are saying this or that, or quoting our lyrics (which is really ridiculous, like “oh man you got us with that one!”) but you don’t know me so what the fuck are you going to talk about. I can’t talk shit about someone I don’t know. Are you going to turn hardcore into a fucking Hollywood tabloid, like Lindsay Lohan or something? What the fuck, I don’t know her. I’m not gonna talk shit, I think she’s hot. I don’t care what she does, I don’t know her. In reality, you don’t know us and until I personally disappoint you when we meet, keep your mouth shut. If you have a knee jerk reaction to someone playing music and it’s a negative thing, then you’re just a jerk. Not a knee jerk, a jerk reaction. “Those fuckers are gonna play music? We should stone them! It’s my scene, I’m old school. I’ve been down since 2002.
Eventually this zine is going to run its course. Right now it is real hard for me to finish. I’ve called you 3 or 4 times just trying to get things together because I’m busy and you’re busy.
I think it’s amazing that people still do zines, when everything is so computer friendly. To put a piece of paper together seems like a crazy idea these days. Some friends of mine just put on the Superbowl of Hardcore in New York. They are doing it while working, doing 100% of it by themselves and taking months and months to do it because they love hardcore. They’re paying for bands, security, rental fees on giant clubs. They’re not making shit. They’re doing it because they love hardcore. They are trying to promote hardcore. Same thing with kids who do fanzines. That’s the thing that makes hardcore different than anything else. You’re doing it yourself. And that is why it’s still cool. And that is why I’ll do a phone interview with you; because you are putting out a fucking fanzine. I think that is still important.
It’s so much easier to talk about shit on the internet.
It’s so stupid too. Just call the person so you can have a dialogue. I hate email because it’s all one sided. That is why kids get away with everything. Now they’re talking shit online because there is no retribution to what they say. There is no one on one argument. It’s real easy to get tough and be opinionated because you are anonymous. You’re just being a fucking pussy. If you have something to say, let people know who you are. Say it and defend it if you feel so strongly about it.
Any final thoughts?
We’ll try to get some dates out when we have them confirmed. Hopefully the tour will be cool and the kids will check it out and have a good time.
In this next segment from the Start Today Fanzine vault I thought id stick to the current record collecting theme and post up this interview with Jordan Cooper from Revelation Records.
Interview by Jeff Lasich.
Live pictures By Jeff the rest are property of Revelation Records.
On the Chung King “where are they” page, it says that about 20 are still in the vault. Why did you keep that many, and are you planning on doing something with them (besides having a raffle at Hellfest)
We don’t have 20 anymore, but we do have a few. They’ve been given to people who work/worked here, sold on the charity auction etc. No different plans for the rest really. The band and Rev split up the ones that weren’t sent to people who preordered Bringin It Down.
The discography page also says there are around 200 Chain silver sleeves in the vault as well.
Yeah, we still have most of those, but again, they trickle out here and there.
The vault is rumored to contain mint Project X 7”s with the zine, YOT 7”s on gold, Chung King’s, Warzone records, the Arc of the Covenant, Jimmy Hoffa, and Atlantis. Once and for all, what is in one of the greatest pieces of hardcore ‘lore?
There’s a list somewhere that we made a few years ago. Basically at this point we’re just saving one of every test pressing and one of every color vinyl record. The old stuff is just a few of the first pressings of most of the early stuff, a box of later pressings here and there (eg Warzone clear, Chain clear, the last pressings of SBS and NFAA 7″s from the 80’s). We do have one or two of the schism w/PX and some of the original Rev7 lyric books. A few YOT orange, a couple of Judge and Wide Awake 7’s from Skiz.
There has been the rumor of a 7” box set for years now. Will this ever see the light of day? What will be in it? (If it won’t come out, what was going to be in it?)
Ok, I like these questions. This is the type of minutia that I think about and remember so I can answer this. We’ve talked about doing something useful with the records in the closet (aka the vault) for a while and I have wanted to do a limited box set for them for years. The problem that we’ve always had is that there are different numbers of each record and one of the records (Sick Of It All I think) we have less of than any of the others so that would limit how many “complete” ones we could make. Then we have the issue of “completeness” itself, which means different things depending on how anal a collector one is. To me, having one of each record regardless of pressing, color etc is fine. To some other people it’s having all first press or all color or whatever. Then there are the people who want one of every pressing. Since there was no way to satisfy any of those with what we have I always thought this would be the best plan: Make 100 boxes with one each of Rev’s 1, 2, 3, 4, 5, 6 and 10 (mixed pressings). We’d also sell the boxes with random single copies of those records for people who just want the box to either put the records they have in or for whatever else. We also want to put a decent booklet in there, which at this point I’d say is the thing that is holding the project up. It seems like a crazy thing to even worry about maybe, but that’s one thing I really want to do for some reason.
Rev has started a run of “final presses” on a lot of vinyl. Is that really going to be the last time people will be able to get those records on vinyl?
That’s what we’re saying. Hopefully we wouldn’t go back on that, but I also wouldn’t be terribly sad if vinyl sales came back enough for us to consider it.
Have you ever given thought to doing a “final press” of the Chain 7”?
Not really since it’s on the LP now. Re-pressing the out of print stuff is something I don’t really want to get into. If the music is available, then that’s what I care about. The only tracks that I’m aware of that you can’t get anymore are the entire Warzone 7″, the Side By Side song on Rev2 (but that’s getting added to the SBS discography when we fix that up), the version of Bold’s “Talk Is Cheap” on Rev2, but that’s going on the Bold discography and the versions of Together by Youth of Today and Searching for the Light by Supertouch were different on the Way It Is comp from the versions on Rev2. The Rev2 version of “Together” will hopefully come out on a Youth Of Today discography at some point. Raybeez didn’t want their 7″ in print so that’s why they re-recorded those tracks for “Lower East Side” that Victory put out. That about covers everything.
Another rumor was that Rev was going to do a re-press of the Reason to Believe lp. I think Jason Upright told me that in 96 or 97. Obviously, that hasn’t happened yet. Should I keep my hopes up?
We thought about doing that and talked to them, but they were never all that worried about it and we didn’t push hard to get it done so it just never happened. Several other people have asked me for their number to try to get it done so hopefully someone will actually put it out soon. The funny thing is that you can still find copies of the cd pretty easily so I think more people want to put it out because they love the band than because it’s something that a ton of people can’t find.
Do you feel weird knowing that people (myself included) obsess over getting every version of Revelation records?
Sometimes I feel bad about it. Obsessive record collecting is hard to understand, but a lot of people I respect and consider friends do it so I try not to look down on it. Sometimes people who do it sound like they hate the fact that they need every pressing. For a lot of labels and records completeness is a moving target depending on how you define it and what happens re-press wise. I feel a lot less guilt now knowing that we don’t press that many records anymore and that we don’t make much on each one.
If the Chung King record was pressed pretty much for people who had pre-ordered, and wasn’t going to be for sale, as the band re-recorded and left off 2 tracks, why did MRR get a copy? It’s funny; in the review they mention how it was going to drive collectors crazy.
Who knows? I looked up to Tim and considered him a friend though I only saw him once in a while. Maybe I just wanted to show people that SOMETHING was happening about the Judge LP. A lot of people prefer the Chung King recording to the Bringing It Down one, me included. On the Judge discography that will be coming out later this year both records will be there so people will get to have it even if their obsessive collecting side isn’t sated.
Do you have a test press for every Rev record?
It is possible that I’m missing one, but I doubt it. We have two complete sets as far as I know, plus Kevin Finn, the Rev archiver, has everything as well.
Tell me about the beginnings of Revelation.
We should put out a Warzone record”
“That would be rad”
“Ok, let’s do it”
Ray talked to them and basically made it happen. Oh wait, that wasn’t a
question…. Ok I’ll answer those below now.
So you and Cappo decided to start a label and put out the Warzone demo as a 7”. In 1987, was it common for someone to take a chance and put out a record? I’m sure it was a lot harder then, as resources weren’t as abundant as they are today.
Yeah, that’s basically the story. It was pretty common for bands to put out their own records and people to start labels. It seemed less common then, but there were tons of records and thousands of labels around. Ray’s band Violent Children put out their record so Ray wasn’t held back at all. Kinkos and later Macs made doing layouts and printing a lot easier.
Porcell With BOLD Singing Nailed To The X.
What made you leave Connecticut for California?
I was ready for a change and I hated the heat and humidity of east coast summers and heard CA was better. Porcell took me and a few of his friends out for a visit to his west coast friends and I decided to move later that year.
Do you think it’s crazy that kids still go nuts for bands like GB, YOT, Judge, Chain, etc?
People get inspired by different things. I try to keep an open mind, but it’s easy to be jaded after all this time.
After the first pressing of the GB 7”, it needed to be remixed (?) What is the story behind that?
There was a lot of time that passed between the original pressing and when we had to do that. Basically the pressing plant that did that record went out of business so we lost the master, plates and whatever print was there. The record had to be remixed just so we could get it remastered, and press more. There was nothing wrong with the first pressing’s mix, but I think the guys who were in the band prefer the second one, though I’m not 100% positive on that memory.
Has there ever been a band you really wanted to work with, but it never happened?
Sense Field was almost that band. I was never more into a band than I was into them. I sent them a letter asking for their number but they never wrote back. I waited but no reply so I went to a few shows and finally talked to them and finally convinced them that they didn’t have to be hardcore to be on Rev. I can’t think of a lot of bands that I really loved that we missed out on though I’m sure there are plenty of great bands we missed. New Found Glory asked us to put out their record before they went to Drive Thru. I still have a Good Riddance demo somewhere that probably never got listened to until way after they were on Fat Wreck.
Really, who the hell was Slipknot? Where did they come from? I had never heard of them, and then all of a sudden, the best label in the world put out their 7”.
They were some kids from New Haven that I kind of knew. They were crazy. I used to play guitar with Mike (the drummer), but I think they only reason he did was so he and F (the guitar player) could use my amp for Slipknot (who went by Evil Dead at first). One time I came by and they had one amp’s out going into the input of another amp and I was like “what are you doing, this is going to mess something up”. They just said, “we like the way it sounds” so I figured they were just on a different level than I was operating on and after that, but not for that reason, I stopped hanging out with them. A few years later one of their other friends gave me a practice tape they made. It was amazing so I asked them to do a record. It wasn’t easy to get them to do that or anything really. They would say things like “we’re not a band”. Our friend Brian helped get them together and to the studio and they did that record and after it came out they did one show at CB’s. That was about it. Long before the record was recorded they had done some shows in CT. The singer was in Fatal Vision before Slipknot with John Nutcher who works at Revelation
now. That’s as much as I can tell you about Slipknot.
What about all the mail order problems back in the day?
Slow but get it there was our motto I guess. I’m about the slowest person anyone could know so the stuff just was always ahead of me. I always wanted to make shirts of that famous office cartoon that said “You want it when” and had all these people rolling on the floor laughing. No one thought that would be a good idea though. Now that other people handle the mail order, speed is no longer the issue it once was.
Have you ever thought about using some of the older Rev shirt designs? Really, it’s time for a new Chain shirt!
Yeah, we’ve been talking about that for years. I’ll see what I can do. Thanks for reminding me.
Where do you in the future for Rev?
I want to redo our antique website and put out records that matter to people in the band, everyone at Rev and hopefully other people.
In a previous email, you mentioned the colorful people who have worked there in the past. What are some of your favorite stories?
We got a rolling ladder like they have at the hardware stores so people jumped off of it into the packing material. Travis Guichard was looking for something up in the rafters and fell through the drop ceiling. Greg Brown (from Blackspot) worked here. It was like having Jim Carey, Jack Black and GG Allin here all at once. This woman interned here and now is a famous author. My friend Keith would get drunk and sleep here and we’d come in in the morning and he’d be asleep on a cart that wasn’t much bigger than a filing cabinet. Other days he’d put on a nightgown and cardboard crown and walk around with a cardboard sword. Tons of people in bands. Josh from 411 got drunk one time and rode a bike around the office and warehouse wearing a sombrero which really doesn’t sound that crazy, but it was funny. There are a lot of characters that have been through this place, but I’m not the best at describing it all.
Ok, that was fun, thanks