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sydmarch · 2 years ago

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it's about time i write at least some semblance of a review for gadzooks volume 2 rather than continuing to throw out vaguely incomprehensible text posts about it so. here goes

SO it feels weird to say that ANYTHING is better than volume 1 bcus I have such a deep deep love for that album it almost feels like a betrayal. but objectively 2 IS better it takes everything from 1 and builds on it. every single thing caleb releases manages to be better than the last even when the last one has had you for months like "this is the best album in the world". like it absolutely has the same vibes as 1 and feels like how a volume 2 of something should feel yknow but it also feels like. tighter & slightly more cohesive without losing that experimental wandering feeling that 1 had. & I feel like 1 was such a departure from the mother stone and then 2 kind of brings some elements from tms back around like it had those moments that feel dark and sweeping in the way that only tms does.

yknow how people do those web weaving posts collecting artwork or quotes I am mentally doing that w music all the time & it's like this album takes the best of both the previous albums like. touchdown yolk is in between a venn diagram of you're so wonderful and this won't come back. obviously not like its just a mix of them both but like i fewl elements of each in it & like. those are mt absolute big favorites on both albums so of course thay ends up my favorite on this ine. near the end of the album it's like you get the vibes from little planet pig but also for a short time. love how opening with croc killers 2 followed by little lion kind of mirrors the never wet + yesterday will come combo as opening up volume 1. & I've always felt like one of the strongest & most interesting things in his songwriting is the way a song will like go in and out of different parts then bring another part back & loop around and you'll almost forget how the beginning started but then the same elements come back around & thinking about that interview where he says it comes from writing songs mentally while on set so he's not recording or writing them down really just keeping them in his brain for months where they grow and warp & blend and how obstacles and challenges are where creativity really shines through. & I feel like the shanty shine achieves this more strongly than anything since you're so wonderful. (WAIT california also does this extremely well to a smaller extent) but THEN just a few songs later slink on fido does it just as well.

i also love the way vocals are used so many songs out there feel like it's just about the vocals & the music is just there to support it but with a lot of Caleb's stuff it feels more like the voice is just another instrument that weaves in and out, sometimes it gets more focus but sometimes not there will be times where it feels more like strings or drums are the star of the show and I love love love that. makes all of his songs feel so thought out and cohesive and more like the vocals are PART of a song & other things aren't sacrificed for the sake of vocals. so much stuff I'll listen to an instrumental version & be like wait you can't even hear that sound, you never even notice that in the version with vocals, wtf, & wish there was more balance between the two. I feel like his stuff does that balancing act extremely well.

& ik I had previously said idk if croc killers 1 is as strong of a closer as this won't come back but at that time I hadn't realized that the entire last 8 mins of the album was all that song so I'm going to amend that statement. when comparing just the VERY end like final minute of each song's ending twcb will always win out over anything that final minute is like The Finale To End All Finales. to me. I've already talked to death about that so I won't go on but otherwise. yeah croc killers 1 is just as strong an ending if im being objective & putting aside twcb being so special to me personally. OH & I didn't even touch on the more abstract synesthesia stuff like I meant to but yeah it goes back to 2 feeling a bit tighter & more cohesive just looking at what colors tend to pop up like 1 goes through such a journey from skies and grass & light colors to reds & pinks & blacks then to a mix of both & back & forth while 2 feels much more consistently jewel toned. crimsons at the start & orange and green & mostly darker throughout the later songs. while I feel like it absolutely sounds much more like 1 with some of the elements of tms brought back in my minds eye it's colors are much closer to tms than vol 1 which is inch resting. anyway. I didn't even get into lyrics bcus I still feel like I haven't spent enough time with the album in isolation to dive into looking them all up & figuring them out for sure yet.

#ive gotten so many new followers since the last time i deep dived into one of these albums lmao #hi hello here's 900 words of deranged calebposting. it will happen again.#texticles #caleb landry jones #truly no musician is doing it like him i will never get enough of his music

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troutfishinginmusic · 4 years ago

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The story of Grass Records: From Brainiac to Wind-Up and Creed

Images via Grass of ’96 compilation

Everything isn’t available in the streaming era. There are notable gaps in the seemingly bottomless amount of music currently available. Some of the most noticeable exclusions are albums released on Grass Records.

If you’re a fan of ’90s indie music, this short-lived New York label mattered. Though sometimes dismissed as a sibling label to Homestead Records, Grass released over 60 full-length albums ranging from pop to punk to noise to experimental music. It raised the profile of influential bands like Brainiac, Toadies and the Wrens.

The amazing thing about the label is how consistent it is. Every time I thought I was done with this article, I would listen to a band like Baboon and be completely blown away. These are all fascinating, idiosyncratic bands. This is more incredible considering the label was only around for about four years.

Much of this music is hard to find. The odd song might be lingering on YouTube, but you’re almost better off looking at your local record store or ordering from Discogs.

Why are the albums in this weird limbo? Mostly because the monied interest who bought the label in 1996 thought it wasn’t yielding a big enough return on the investment. Grass was gutted and rebranded into post-grunge/nu metal giant Wind-Up. Money poured in and these wonderfully weird records were swept to the side.

The following interviews were conducted via email, Facebook messenger and phone over the last few months. Quotes from the interviews have been edited for style/clarity. I’m eternally grateful to everyone who got back to me. I am also willing to expand this story if more former Grass artists want to reach out. If you’re one of these artists, my email is at the bottom of this story.

Seedlings

“I started in the music business purely by chance,�� said Camille Sciara, who founded Grass Records.

Sciara got her start working at Record World in New York as a second job and became friendly with the store’s buyer. After attending a manager training program, she moved on to become a manager of the store. Her second job became her first.

“Then, after two years there, I became bored managing a record store and my friend Mike, the buyer, told me about Dutch East India,” Sciara said. “I started there as a salesperson and, after a year of sales, became the buyer when that position opened up. I never envisioned starting a label.”

While working as a buyer at Dutch East India Trading a friend sent her a Toadies cassette. She “loved it” and started Grass in 1993 to release it.

Grass released the Toadies EP Pleather soon after, which contained an early version of the band’s inescapable alternative hit “Possum Kingdom.” After Pleather, the band scored a major label deal with Interscope. The platinum-selling Rubberneck arrived in 1994.

“They did really well on their first major release,” Sciara said in an email interview. “But then it appeared that Interscope just dropped the ball or lost interest. They were such a great band live, I never understood how they weren't huge stars. And super cool people.”

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Tall grass

Sciara would go on to sign unique and influential bands like Brainiac and The Wrens.

“Since I had never run a label before, I was going purely on how much I liked what they submitted,” Sciara said. “Obviously not the best business model for running a label, but for the money we offered it worked to some respect. The longer I ran the label, the more I understood what was needed from them [the bands] regarding can they tour etc.”

There were few bands of the 90s that radiated weirdo energy as brightly and brilliantly as Brainiac. The documentary Transmissions from Zero chronicles the significant impact the band had on the music scene at the time. It also shows a band on the brink of mainstream success. Brainiac released two albums on Grass, Smack Bunny Baby and Bonsai Superstar, before departing for Touch & Go. The band’s forward motion was sadly cut short by Tim Taylor’s death in 1997. Prior to this, Interscope was expressing interest in the band.

“If Tim hadn't passed I'm pretty sure they'd have been the biggest [band on the label],” Sciara said.

Original Brainiac guitarist Michelle Bodine said Grass’ association with Dutch East India made the label initially attractive.

“[Camille] was super excited about us and we had total creative freedom,” Bodine said. “We also liked the 2-record deal with the option of 3 contract.”

After leaving Brainiac, Bodine would go on to play guitar and sing in O-Matic. The band released its lone album Dog Years in 1996. The album is one of the overlooked gems of the ’90s.

The Wrens’ influence reverberated in more subtle ways. The band’s first two albums, Silver (1994) and Secaucus (1996), provided a blueprint for much of the post-Pixies landscape of ’90s indie rock. They could’ve been much bigger, but still made a significant impression.

“The depth of realization in this record is unparalleled: every angle is perfected,” Pitchfork founder Ryan Schreiber said about Secaucus. The band’s third long awaited album, Meadowlands, dropped in 2001 and received a “Best New Music” tag from the same publication.

Rumblings of a follow-up to Meadowlands have been thrown around for the last 10 years, but a record has yet to materialize.

The level of talent the label had was staggering. A few groups Sciara thought would be bigger ranged from the Irish dream-pop band Chimera to Georgia punk band Sunbrain. “There's more, it would be long list,” Sciara said.

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New shoots

Baltimore

Baltimore punk band Liquor Bike had released one album before signing a two-record deal with Grass. The band’s first release on the label was Neon Hoop Ride in 1993. Liquor Bike was excited to be on the label because of the Homestead Records connection.

“We loved being on Grass, we toured like crazy,” singer/guitarist David Koslowski said. “We had great booking with Creature Booking.”

Between the booking agency, which had done work with Nirvana, Helmet, the Lunachicks and Jesus Lizard; and the new label things were looking up for the band. The band would have posters up in whatever towns they were playing in and mentions in the local paper. The label would keep them up to date if they had to do things like impromptu radio interviews. When they got off the road, they entered the studio to record The Beauty of Falling Apart. During this time Alan Meltzer, who bought the label from Sciara in 1996, entered the picture.

“At the onset we were pretty psyched because this guy’s got major label distribution,” Koslowski said.

It also helped that Sciara stayed on after the transition.

“We could still work with Camille, who we love,” Koslowski said. “We slept at Camille’s house when we would play up in New York. She’s an amazingly nice, sweet person and very giving.”

Koslowski said the band was given significantly more to record the follow-up based on buzz the band was getting at the time. J Robbins, of Jawbox and Burning Airlines fame, did the cover art and Drew Mazurek produced the album. The band even hired John Lay, who had previously worked with Squeeze, to manage the band.

“By that point we were having decent guarantees,” Koslowski said. “Those two years when I was on Grass I barely worked a real job. I wasn’t making a rockstar living or anything, but I was certainly able to pay my rent and utilities.”

Liquor Bike went on tour with Gas Huffer to promote the forthcoming record. On the tour Koslowski noticed there weren’t posters out and the band didn’t receive write-ups in the local press. To make matters worse, they never received CDs of The Beauty of Falling Apart to sell at shows. Koslowski said Grass had promised this.

“We were pretty confused," Koslowski said. “I mean our record had been mastered already, everything had been sent to the factory.”

Lay soon informed the band Sciara had been fired and the band had been dropped. Koslowski said the band decided to stay on the tour even after being kicked off the label. The band had old records and T-shirts to sell. They had put a lot of work into the tour and didn’t want to waste it.

Liquor Bike eventually released its third album on Merkin after failed meetings with Amphetamine Reptile, Columbia and Interscope. It was the band’s last before the members went their separate ways.

Seade was another band on on Grass that was unfortunately overlooked. Their lone album (Perf) is an underrated ’90s classic.

Prior to Meltzer, Koslowski said that he didn’t think there was any favoritism toward any one band despite the label being so prolific.

“I just think the woman loved music and wanted to spread that out to people,” Koslowski said of Sciara. “I think she legitimately wanted to help people, you know, help these bands out. She was nothing but giving.”

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Omaha

Mousetrap, an Omaha-based punk band, hoped to initially get a deal with Homestead when it sent in two 7” singles.

“Camille really liked our singles and got in touch with us.” Patrick Buchanan, Mousetrap’s singer/guitarist said in an email interview. “We developed a great relationship with her, and eventually she offered to sign us — we were given the opportunity to sign either with Homestead OR with Grass, which was a brand-new label at the time.”

Buchanan said the band thought it would possibly get overlooked in Homestead’s large stable of well-established bands and decided to sign with Grass. He also said Sciara made a large difference.

“Camille was one of the coolest people we had ever met in ‘the business’ – she just seemed really genuine, straightforward and honest,” he said. “Those are the types of people we wanted to work with. So our relationship with Camille was probably the main thing that made us sign with Grass.”

Mousetrap would go on to release three albums on the label, starting with Cerebral Revolver in 1993. The band was a big influence on Commander Venus, an Omaha band featuring a young Connor Oberst.

“They were definitely a big deal in Omaha and everybody loved them,” Oberst said of Mousetrap in an episode of the Turned Out a Punk podcast earlier this year.

Commander Venus came in contact with Grass through Mousetrap. The band signed to the label when Oberst was only 14. The band also featured Rob Nansel, who would go on to co-found Saddle Creek Records. Oberst said the band recorded its first album, Do You Feel At Home, in 1995.

“That was a good experience and a learning experience,” Oberst said. “I also think it kind of made it more apparent that even if you do get an opportunity like that, you know, you’re a little fish in a big pond. And maybe people aren’t going to work as hard or care about it.”

He said that this was mitigated by having the support system of a local scene in Omaha. The band ended up releasing its 1995 debut on Lumberjack, which later became Saddle Creek. The band released one more album, The Uneventful Vacation, before Oberst formed Bright Eyes.

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Promoting growth

Alan Meltzer came into the picture with a retail background. He had previously owned Titus Oaks Records in Long Island. He went on to found CD One Stop in 1985, which was purchased by Alliance in 1993. Meltzer became Alliance’s president during this time but left the company in 1995. Meltzer acquired Grass in 1995 from Dutch East India Trading (the label’s owner/distributor), finalizing major label distribution through BMG in 1996.

“When I heard the Grass repertoire, I almost fell down,” Meltzer said in a 1996 Billboard Magazine article. “I heard so much good material.”

“Alan was shopping around looking to purchase an established label with an extensive catalog that he could pour endless money into,” Sciara said. “He originally wanted Homestead Records. A great label owned by Dutch East as well. But once he saw the contracts and issues with some of the ‘grey’ areas in them, he then moved on to Grass.”

Meltzer did have some legitimate interest in the label as an artistic venture.

“He absolutely was obsessed with the Wrens once he heard them and Commander Venus,” Sciara said. “He was sure with all his resources, money and big ass staff he could make them huge stars. He failed. Not the bands’ fault.”

Grass would have the name (and credibility) of an indie, but the corporate reach of a major. Meltzer looked at the new situation as the best of both worlds.

“We’re not a major label, but we’re not an undercapitalized, disorganized independent that’s out there on a wing and prayer,” Meltzer said. “We’re somewhere in the middle. We’re staffed, we have the organization, and we’ve got the know-how. I opted for major distribution because the majors are better at it.”

Grass kept Sciara on as a VP of A&R (artists and repertoire) and expanded Grass’ workforce to 20 in-house employees, according to the Billboard article. The label’s future looked bright. Bodine left Brainiac and formed O-Matic (also signed to Grass) when the change happened.

“…It seemed better – they had a nice office in Manhattan with an open stairwell area and glass walls,” Bodine said. “It was very modern and cool. The budget was much bigger. They hired more people and we felt like we had a good support system.”

“When we went there it felt like money,” Koslowski said.

Koslowski only met Meltzer once at a Grass Christmas party.

“He was a typical New York money guy when I met him,” Koslowski said. “I didn’t get a good vibe. He didn’t have that indie spirit that Camille had unfortunately.”

The meeting didn’t go well.

“I remember drinking a bit and messing with him,” Koslowski said. “I said ‘hey Alan I wanted to see if I could run this by you. You know that new Liquor Bike record we’re working on? We got the artwork but we just wanted to run the title by you and make sure it’s cool. We want to call it Eat My Fuck Asshole.’”

Meltzer and his wife were horrified, according to Koslowski.

Yellowing, patchy

In an oral history with Stereogum, Wrens bassist and singer Kevin Whelan said the band was picking up steam.

“So Secaucus came out and it started to do somewhat well and “Surprise Honeycomb” was starting to get recognized and played on different shows, and we thought that international fame was around the corner,” Whelan said.

And then the call came in.

“He [Meltzer] said, ‘Well, boys, I’m not going to give you any more money. If you don’t sign with me today, it’s over.’ So, I remember, we sat in the van, we looked at the empty gas tank and we were like, ‘Well, I guess we’re not signing, let’s get the credit cards out and see how we can get home.’”

According to the Wrens’ website bio, Meltzer wasn’t pleased.

“[Meltzer], infuriated, commences layoffs of involved record company personnel and vows that ‘the next band to walk through that door will be made famous – at any cost,’” the bio states. “The next band through the door is Creed. Grass Records becomes Wind-Up Records. Creed becomes famous at any cost.”

By the time of the Wind-Up transition, Moustrap had already fulfilled its contract when it released its third album The Dead Air Sound System.

“At that time, Mousetrap was not very active,” Buchanan said. “I think we had become rather disheartened by how much time and love we put into the band, while getting very little recognition on any type of national level. At that point we were physically and mentally exhausted by constant touring and recording, with very little in the way of tangible success to show for it. So we didn’t really have any relationship with the label by the time it became Wind-Up.”

When the label wasn’t as successful as Meltzer thought, he brought in Steve Lerner. This was effectively the end of Grass Records.

“I was let go along with 8 to 10 others when Meltzer brought in Steve Lerner to run the company,” Sciara said. “The new staff felt Grass was too much related to me so hence a name change.”

“With Lerner serving as his right-hand man, the duo transformed Wind-up into a $100 million-plus sales operation with multi-platinum acts like Evanescence and Creed,” a 2007 Billboard article said.

Death, new high-yield crops

Grass was rebranded as Wind-Up, a key player in the nu metal and post-grunge universe, in 1997. Many of the Grass bands were dropped to make room for the likes of Finger Eleven, Creed and Evanescence. Meltzer, who ran the label with his wife at the time Diana, finally found his cash machine.

“I was extremely happy because, although Creed was a mega-seller and saved his label, I wanted nothing to do with that and the direction the label was taking,” Sciara said. “Not knocking it. You need artists like that to sustain a label that had an enormous payroll and nice offices. I totally get it, it’s a business. But I was happy running a small label with smaller contacts and cooler bands that didn't have to compromise their sound to write a ‘hit.’ That’s what he was always looking for.”

The transition to Wind-Up in 1997 did have some overlap with former Grass artists. The second Commander Venus album was released by Wind-Up and Thick (with a later release on Saddle Creek). Pollen, a rough-edged pop-punk act that had released two albums on Grass, dropped Peach Tree on Wind-Up. Baboon’s sophomore album Secret Robot Control was also released in 1997 on the new label.

Slowpoke’s Virgin Stripes, the final vestige of Grass Records, was a co-release with DGC in 1998. The album didn’t break the band, but it’s not a stretch to imagine it could have (especially since it boasted a song as infectious as “Belladonna”). The album retains some of band’s outsider noisy energy, but delivers it in a package palatable enough for the post-grunge crowd. Past this point, Wind-Up focused mostly on its new sound.

Koslowski didn’t initially know Wind-Up was the successor to Grass. One day someone mentioned to him that he was labelmates with Creed.

“I was like ‘wow, OK I guess he got his hit,’” Koslowski said.

Meltzer died in 2011 at 67. He made headlines by leaving $1 to his chauffeur and $500,000 to his doorman. Bodine saw this as frustrating because of how he left things with other Grass bands.

“He owed lots of bands money so it’s just really fucked up that he didn’t pay them/us. Liquor Bike did get theirs before he died only because they were persistent,” said Bodine.

In 2013 Wind-Up was purchased by Bicycle Music Company with distribution by Concord Music Group. In 2015 the two companies merged to form Concord Bicycle Music. Craft Recordings manages the label’s reissues.

https://www.youtube.com/embed/wZBpr1tDktI

Rare strain

Aside from Brainiac and The Wrens, many of the bands on the label aren’t on streaming platforms. The physical releases on Grass are mostly out of print. A sea of fantastic experimental indie music remains in this gray area. This doesn’t seem to be changing.

“Unfortunately, I haven’t a clue about if there are plans of Wind-Up re-releasing any back catalog,” Sciara said. “It’s sad really. Holding peoples’ artistic work hostage or just ignoring it seems cruel. Hopefully Wind-Up did the right thing and gave them back their masters, rights etc. Or at least license it to someone else to release.”

The three Mousetrap albums are stuck in this place.

“I wish more people had the chance to hear our music, so yeah I wish it was easily available,” said Buchanan. “Sure, we wanted to be popular — but the most important thing for us was that we made the music we wanted to make. We always did things our way — for ourselves, with no regrets. So even if the albums are harder to get, we’ll always have the memories — and those who were there to witness it will, too.”

Liquor Bike’s lawyer was able to secure the master tapes and artwork for The Beauty of Falling Apart with no questions asked. The band also has the master tapes for Neon Hoop Ride.

“Crazily enough, Grass did not make us buy Beauty of Falling Apart from them,” Koslowski said. “I have heard from some of my fellow Grass artists that they wanted to charge an incredible amount of money.”

Neon Hoop Ride was remastered and briefly available on streaming services. The album was only available digitally and did not get a physical rerelease.

Greener pastures

Following her departure from Grass, Sciara started Ten23 (Oct. 23, 1996 was the day she was fired from Grass). The label released The Wren’s EP 1135 before folding.

“It seemed like a great idea,” she said. “Didn't put out anything else after that release. It was an expensive endeavor starting a label from scratch, so to speak, and at the time I was unemployed.”

From there she went on to work at the Knitting Factory label group and eventually Narnack Records. She uprooted from N.Y. to move to L.A. to work at the latter. She eventually ended up back in N.Y. where she was a manager at Petland Discounts for 12 years until it closed in 2019.

Buchanan has gone on to release music as Vicious Lovers. Mousetrap has plans to release new music for the first time in 20 years according to Buchanan. Some of Mousetrap’s music can be streamed here:

Michelle Bodine went on to play guitar in Shesus, which was signed to Narnack. The band released an album and an EP before splitting up. Bodine has since been participating in Brainiac reunion shows and was featured in the Brainiac documentary Transmissions from Zero.

David Koslowski went on to play in the post-rock band Vivid Low Sky and the power-pop band Gerty. He currently owns a coffee shop/record store in Baltimore called Baby’s on Fire.

“I loved every aspect of being on Grass, except for the very end,” Koslowski said. “I also loved how diverse Camille had the label. A lot of friends from that time from those bands, I’m still friends with them. It was like a really cool little group of people that all got to share in something for as brief of a time period as it was.”

If you have questions, information or concerns I can be reached at [email protected].

CORRECTION: A previous version of this article spelled David’s last name as Kozlowski. It’s actually Koslowski. Also, J. Robbins just did the cover art for the band’s third album. Drew Mazurek actually produced it. Godplow is a great band but they’re from Minneapolis, not Baltimore.

#grassrecords #indie #90s #brainiac #thewrens #mousetrap #liquorbike #baboon #toadies #omatic

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youspoketome · 7 years ago

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ME FIRST AND THE GIMME GIMMES - HAVE A BALL (1997)

I met my best friend Kevin at summer camp in like 5th or 6th grade. I liked him because he was the only kid who brought a Star Wars dictionary to camp and he did this thing where he'd pretend to run into trees at full speed to impress girls. I'm pretty sure he liked me because I was the only kid who appreciated that he brought a Star Wars dictionary to camp and I was very impressed by his running into trees skills. The next summer I did some detective work to find his phone number so we could go to camp the same week again. Then we completely lost touch.

My introduction to Tooth & Nail Records through MxPx directed my musical discoveries for the next few years. Although I would occasionally venture out to other labels, they would still be Christian labels like Rescue Records, Bulletproof Music or Five Minute Walk*. I think the farthest I ventured out was when I rode the third wave of ska as far as The Mighty Mighty Bosstones' "The Impression That I Get." And even that was just for a single song.

*SIDEBAR: I'm realizing that I reference record labels a lot. More than the average person, I think. I realized very early on that many of the bands I listened to were on the same record label, Forefront. So from an early age I learned to use that to discover new bands. Most people have probably never heard of Rescue or Bulletproof, or if they have, they probably have completely forgotten their existence, but I always knew which record companies had the kind of bands I was going to like. This would continue for years, from T&N to Victory and Drive-Thru and Vagrant Records. It was an important thing to me for a very long time and has really only stopped kind of recently. The decline and death of the label system is kind of sad in a new way I've never thought of before.*

Even though I had that dubbed tape of DOOKIE, I never really got that into it. I don't know if it was a guilt thing or a format thing, but by the time I got to high school I had taken a hard stance against Green Day. I had a friend called John whose favorite band was Green Day and we made so much fun of him for it. John sat at the same desk as me during different periods of one of our classes and at one point he doodled the Green Day logo on it, so naturally I drew MxPx's Pokinatcha Punk stomping on it. There was another kid who sat at our table in the morning who had a THE COLOUR AND THE SHAPE Foo Fighters t-shirt that I would absolutely love now, but at the time I gave him a lot of crap for it.

It was easy to say I was making fun of these bands because they were on the radio (this was around when "Good Riddance [Time Of Your Life]" was getting a lot of airplay) and so they were "sellouts." The truth was, I had no idea who the Foo Fighters were or what they even sounded like, but it made me look far more punk to make fun of sellouts than admit that I only listened to Christian music and had zero idea who any of these other bands were.

I was so incredibly passionate about music, but so completely ignorant about so much of it. Already I was pretty much only wearing band t-shirts. Mike Herrera had a Spam shirt in the liner notes of TEENAGE POLITICS, so I got one of those, and everything else was Ghoti Hook, Value Pac, The O.C. Supertones, Squad Five-O, and Joy Electric. But all of those bands were (or would end up being) Tooth & Nail bands. I was obsessed with what I was into, and had no interest in anything else.

ANYWAY, at some point I started volunteering as a dishwasher for a couple weeks every summer at camp. Much like the first day of school when you'd wear your best brand new outfit, I always tried to wear my coolest clothes the first day of the week (The fact that a girl I liked was often there may have played a role in this too). On one week, my coolest clothes consisted of a Squad Five-O t-shirt with a Stryper logo swipe, camo cargo shorts, and argyle socks pulled up to my knees.

That same week my old camp friend Kevin, who I hadn't spoken to in years, and his friend Gabe were volunteer counselors. Obviously I wasn't there for it, but I believe that as they noticed me across the room for the first time their conversation went something like this:

Gabe: Look at that loser over there with the socks!

Kevin: Hey, I think I know that loser!

I ended up spending every free minute I had that week with them, discovering that Kevin and I still liked both Star Wars and girls and independently of each other, had both grown into not just big music fans, but into the same kind of music. The difference being, he did not limit himself to just Christian music. Before we parted ways when the week came to an end, we exchanged AOL instant messenger names and he gave me a piece of paper labeled "prescription," a list of bands for me to check out.

I don't remember any of the bands that were on that list except for Me First & the Gimme Gimmes. Between the NEVER SAY DINOSAUR compilation and Ghoti Hook's SONGS WE DIDN'T WRITE (not to mention MxPx's ON THE COVER), I had already developed a huge affinity for covers. So shortly after I got home I made the trip to the Best Buy at Northtown Mall to check out their CDs. At this point the Gimme Gimmes already had HAVE A BALL and ARE A DRAG available, but my mom suggested I go for the first one because I'd be familiar with more singer/songwriter songs from the 60's and 70's than showtunes.

There was nothing sonically groundbreaking about that album. It was a punk rock cover album. I was already listening to punk rock and I already knew most of the songs they were playing. But with it, I had just taken my first step into a larger world.

I very quickly followed up HAVE A BALL with ARE A DRAG. It also introduced me to Fat Wreck Chords (which may have also been somehow mentioned on my prescription from Kevin). I would continue discovering most of my new bands through Tooth & Nail compilation CDs, but I started branching out a little bit by buying Fat Wreck complications too.

It's crazy how important compilation CDs used to be when they don't even exist anymore. The internet ruins everything, I swear. Compilation CDs were the best. For a fraction of the price of a full length from any given band you could get like twice the amount of songs! Sure, maybe they weren't all winners, but for every band I hated like Tilt, there were three or four bands I would discover and fall in love with. There were some bands I would be introduced to from friends or my brother, but most everything I discovered on my own on a compilation CD. The following is a list of some of the bands from this era that I first heard on a compilation that I would end up either buying the CD of or dubbing a cassette of: The Cootees, The W's, Zao, Blindside, Shorthanded, The Dingees, Pedro The Lion, Roadside Monument Joy Electric, Joe Christmas, Furthermore, Strung Out, NOFX, Screeching Weasel, WIZO, Rancid, Bracket... And that's before you count the 100 band SHORT MUSIC FOR SHORT PEOPLE compilation. Technically, the LIFE IN THE FAT LANE compilation would be the first time I would ever hear The Ataris, but that's probably a story for a later installment.

#you spoke to me #me first and the gimme gimmes #have a ball

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