New Releases! May 31 2023
New releases ready for pre-order!
DION LUNADON - SYSTEMS EDGE LP PRE-ORDER
In 2022 Henry Rollins heard an early version of Dion Lunadons sophomore album ‘Beyond Everything’.He liked it so much that he suggested that In The Red Records should release it and we did!
Just over a year later and we are set to release Dion's 3rd album, ‘Systems Edge’. Recorded, performed (sans drums) and mixed by Dion and mastered by Mikey Young, Systems Edge captures Dions unique style of Rock n Roll at its most dynamic. Real, raw and off the chain!
Born in Auckland, New Zealand and now residing in New York City, Dion has played in various bands, most notably The D4, who released two albums on legendary New Zealand label Flying Nun Records and A Place To Bury Strangers. He also played in the formidable Flowers Of Evil beside members of Crocodiles.
Music video for the first single Secrets is out now! Full album to be released November 14th, 2023.
A note from Dion:
"Systems Edge is a collection of songs I wrote between 2015 and 2022. Most of them in 2021/22.
I’ve used this before, but it’s taken directly from Systems Edge’s first single “Secrets” and I think it perfectly sums the song up.
Beyond your skin, beyond your screen, beyond what you think you know. What lies in this area? An area with no opinions, motives, sides or divisions. An area where governments and capitalists have no currency and the absolute truth reigns supreme."
KIM SALMON & THE SURREALISTS - RANTINGS FROM THE BOOK OF SWAMP
In the Red Records is proud to present the U.S. edition of Rantings from the Book of Swamp, the freewheeling eighth studio release by Australia’s magnificent and unpredictable Kim Salmon and the Surrealists, as a two-LP set.The Surrealists were formed by the Scientists’ singer-songwriter-guitarist Kim Salmon in 1987, betwixt the last two tours by the original incarnation of that pathfinding Perth-bred band. The Surrealists had been dormant in recent years, as the bandleader focused his energy on recording and touring with a reunited lineup of the Scientists.In 2020, as the COVID-19 pandemic lockdown settled around the globeSalmon reconvened with bassist/baritone guitarist Stu Thomas and drummer Phil Collings, who had appeared on the Surrealists’ 2010 release Grand Unifying Theory, the group’s most recent record. As with that work, the new material was created live on the studio floor, and emphasized improvisation in both its structure and content.“The premise for this recording,” Salmon explains, “was that at its commencement the band members would come prepared with no other material than whatever ideas they might be able to individually bring. The lyrical content was all derived from my notebooks (Book of Swamp) from sketches I’d been jotting down over the last couple of years. There was to be no consultation about musical forms until the event began. Once the event began, the band had carte blanche to do whatever necessary to salvage compelling performances over the two live events @ 7PM AEST 6/13/20 + 6/14/20 respectively…….i.e., we had to make it up from scratch!”Captured at Rolling Stock Recording Rooms in Collingwood, Victoria, Australia, by Myles Mumford, the music heard on Rantings from the Book of Swamp was originally presented as a pair of live streams directed by Andrew Watson at Semiconductor Media. The resultant album comprises 13 brain-bending tracks characterized by Salmon’s percolating lyrical imagination and the raw, unfettered interplay of the three seasoned musical collaborators.Offbeat, off the street, off the map, and off the wall, Rantings from the Books of Swamp serves as a potent reminder that Kim Salmon and the Surrealists remain a puissant force in boundary-pushing rock music. Limited edition fluorescent green vinyl.
NUDGE SQUIDFISH- EARLY SQUID LP
Another winner from our pals at Spacecase Records! Early Squid is a collection of songs Nudge Squidfish cut between 1975 and 1980. Nudge is one of the major figures of the Columbus, Ohio, DIY-underground scene that spawned other major talents like the late Tommy Jay (who’s makes a couple of appearances on Early Squid) and Jim Shepard, Mike Rep, Don Howland, Ron House, etc.
After years of home recording, Nudge joined the True Believers with Mike Rep and Tommy Jay who released a single on the Columbus-based New Age imprint in 1980. Throughout the ‘80s, Nudge put out several LPs and tapes on his NS label, as well as with New Age. Notably, he was a member of V-3 with Jim Shepard who he recorded with throughout the 1990s. During the 2010s, the superb Columbus Discount Records and Feeding Tube released several archival Squid LPs.
DIVINE HORSEMEN - BITTER END OF A SWEET NIGHT DOUBLE LP
New 16-Song Collection Succeeds Legendary L.A. Band’s Widely Acclaimed 2021 In the Red Release Hot Rise of an Ice Cream Phoenix
Single and Video for “Bitter End” Out Today!FOR IMMEDIATE RELEASELOS ANGELES (TUESDAY AUGUST 15) - The renaissance of Divine Horsemen — which began in 2021 with the release of Hot Rise of an Ice Cream Phoenix, the legendary Los Angeles band’s first release in 33 years — continues with a thrilling new album for In the Red Records, Bitter End of a Sweet Night, to be released as a two-LP set and a single CD on October 27, just in time for Halloween. The first track off the new album, “Bitter End” was released today.The new 16-track collection again features the band’s co-founding members, singers-songwriters Chris Desjardins (better known as Chris D.) and Julie Christensen, and the core members of the ferocious Hot Rise band — guitarist/co-writer Peter Andrus (a member of the group’s late-‘80s lineup), bassist Bobby Permanent and X’s nonpareil drummer DJ Bonebrake (who won’t be doing ‘live’ dates). The sound is filled out by Green On Red and Dream Syndicate keyboardist Chris Cacavas (who appeared on the 1984 Chris D./Divine Horsemen album Time Stands Still) and classically trained violinist Elizabeth Wilson. Desjardins produced the album.Divine Horsemen’s dramatic In the Red bow, and a late 2020 archival set of club performances from 1985 and 1987 issued by Feeding Tube Records, reacquainted listeners with their powerful roots-punk musicianship, which diversified the searing approach taken by Desjardins’ L.A. punk unit The Flesh Eaters. (Christensen had previously regrouped with her ex-husband/musical partner Desjardins on I Used to Be Pretty, the 2019 album that reunited the 1981 “all-star” Flesh Eaters lineup.)Reaction to the group’s rebirth was rapturous. Jaime Pina of Punk Globe called Hot Rise of an Ice Cream Phoenix “brilliant,” adding, “The music is lush with both acoustic and electric guitars and the songs pull influences from…country, rock, traditional ethnic folk music and blues.” Michael Toland wrote in The Big Takeover, “Reclaiming its classic sound of sweat-and grime-stained Americana, Divine Horsemen is reborn like the mythical creature in the title.” John Apice of Americana Highways raved, “Like the Rolling Stones, [Divine Horsemen] continue to thrill. They have grit, muscle and potency….Divine indeed.”Bitter End of a Sweet Night sports seven new original songs by Desjardins and Andrus, two Desjardins-Christensen collaborations, and two solo Christensen collaborations. Another fresh original, “Garden of Night,” was contributed by Erika Wear (her lyrics), who appeared on the Flesh Eaters’ 1999 album Ashes of Time.The set is rounded out by a new version of Desjardins’ “Murder of Courage,” first heard on his 1995 solo album Love Cannot Die, and three diverse covers: “The Next Man That I See” by the late Anita Lane of The Birthday Party and Nick Cave & the Bad Seeds, “Coffee Shop Blues” by English duo Smoke Fairies, and “It’s Still Nowhere” by Ed Kuepper’s post-Saints combo The Aints.Considering that Divine Horsemen’s last album was released after a three-decade hiatus, the rapid materialization of a new collection may surprise some. But Desjardins says the enforced confinement of the COVID-19 pandemic led to a major creative burst.“I started writing for this mid-2020,” he says. “I couldn’t work with Peter until the pandemic had calmed, so I wrote reams of stream-of-consciousness, and then to pull out some songs, I ruthlessly carved it up.” He adds, “I was inventing riffs on guitar, making video versions of me playing to show Peter the parts.”A couple songs drew on Desjardins’ knowledge of world cinema. Two bear titular references of films: “Vanina Vanini,” Italian master Roberto Rossellini’s 1961 costume drama, adapted from Stendahl’s 1829 novella, and “Dirty Like an Angel,” a noirish 1991 drama by Catherine Breillat.Though Desjardins’ marriage to Christensen ended in the late ’80s, their creative partnership remains as strong as ever, as evidenced in new song collaborations “Bitter End” and “Notorious,” which were penned in a long-distance back-and-forth.Christensen knows good songwriters; after all, she sang with Chris, and then with Leonard Cohen from 1988-1993. Her other contributions to Bitter End of a Sweet Night were both the result of partnering with outside veterans. “No Mercy,” written with John Hadley and the late David Olney, (the latter penned Emmylou Harris’ “Deeper Well,”) first appeared on the 2016 set The Cardinal by her Nashville-based rock band Stone Cupid. She says, “Written in the vein of Divine Horsemen. I was proud of it because I had not tried to conjure that stuff in a long time.”“These Evils,” which also fits into Divine Horsemen’s darker side of Hollywood, was written in 1990 for an unfinished Christensen solo album with the L.A. team of Dan Navarro and the late Eric Lowen, the writers of Pat Benatar’s hit “We Belong.” It had not been recorded until now. “We had done a demo then, and when I was finally digitizing the cassette, it broke, so I had to rewrite the second verse — I never had the lyrics written.”Work on Bitter End of a Sweet Night moved fitfully during 2021, as the pandemic surges imperiled in-person work. When recording began in January 2022, the musicians employed some remote recording techniques for safety’s sake as well as long distance issues.Desjardins says, “I knew that Chris Cacavas – who lives in Germany now – had done remote recording. When we sent rough mixes of the songs to him, he came back in a couple of days with finished versions. All of DJ’s drum stuff was done remote. He had returned from a tour with X where everyone had gotten COVID – except him! He said, ‘I’ve got an agreement with my wife. I can’t leave the house for a few months, but I think I can do this in my backyard studio.’ And he did, flawlessly.”The wild card for the sessions was classical violinist Wilson, who adds magic to four of the songs. “Elizabeth Wilson is one of Bobby Permanent’s friends,” Desjardins says. “She had wanted to do some rock stuff and was a quick study — we only had one rehearsal with her. Even on her first passes in the studio, she had a feel for it.” Christensen enthuses, “Oh, my God! Isn’t she badass!”Peter Andrus and Bobby Permanent have plenty more in their resumes: Peter supplied additional guitar on the recent album release of Detroit-based The Volebeats. “Lonesome Galaxy" was released on Ben Harper's Mad Bunny label. One of Bobby’s most memorable efforts was supplying several songs for John Cassavetes’ final feature film in 1984, Love Streams.On March 29, 2022, Divine Horsemen rode again with their first live show since 1987, at the Los Angeles club Zebulon. There will be more live dates in the late fall/early winter of 2023 following Bitter End of a Sweet Night’s debut.Additional videos for the songs “Dirty Like an Angel” and “Memory Fails” will see staggered release through the summer and early fall of 2023, preceding the October issue of the new album.
THE DOUBLE - RELAXIN' IN THE JUNGLE 7"
THE SIDE EYES- "WHAT'S YOUR PROBLEM?" LP PRE-ORDER
OSEES - "INTERCEPTED MESSAGE" LP + CD PRE-ORDER
Osees announce new record ‘Intercepted Message’ out August 18 via In the Red. Four limited edition color vinyl. 500 Copies of each color available.
A message from John Dwyer:
”A pop record for tired times.
Sugared with bits of shatterproof glass to put more crack in your strap.
At long last, Verse / chorus
A weathered thesaurus
This is Osees bookend sound
Early grade garage pop meets proto-synth punk suicide-repellant
Have a whack at the grass or listen while flat on your ass
Heaps of electronic whirling accelerants to gum up your cheapskate broadband
Social media toilet scrapers unite!
Allow your 24 hour news cycle eyes to squint at this smiling abattoir doorman
You can find your place here at long last
All are welcome
From the get go to the finale …. A distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves
Suffering from Politic amnesia?
Bored of AI-generated pop slop?
Then this one is for you, our friends
Wasteland wanderer, stick around.
For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)”
- John Dwyer
THE URINALS - THE HAPPY SQUID SAMPLER 7"
“The Happy Squid Sampler” was originally released in 1980 on the Urinals’ Happy Squid Records. The 7” sampler features the Urinals as well as the band’s alter ego, Arrow Book Club. Danny and the Doorknobs (an early moniker for Trotsky Icepick), The Vidiots, featuring the late Rik L. Rik with their memorable “Laurie’s Lament,” and experimental synth artist Phil Bedel round out the A side. Neef, who has more in common with Pierre Schaeffer and Robert Rental than any group on Dangerhouse or Slash, takes up the entirety of the B side.
“The Happy Squid Sampler” is an incredible EP capturing how eclectic Los Angeles’ music scene was in 1980. The Urinals bridged several scenes, from LA punk to LAFMS, and that’s what they captured here. “The Happy Squid Sampler” was originally released in a small run of 500 and has been out of print for decades. Spacecase Records is proud to reissue this outstanding collection. Limited to 300 copies.
OPTIC SINK - A FACE IN THE CROWD 7"
“A Face in the Crowd” is the new 7” from Memphis’ Optic Sink. The group features Natalie Hoffmann (Nots), Ben Bauermeister (Magic Kids) and Keith Cooper (The Sheiks). Optic Sink released their well-received debut LP with Goner in 2020. For fans of synth-punk/minimalist-synth acts like Oppenheimer Analysis, The Petticoats, and Robert Rental and Thomas Leer. Limited to 300 copies.
WOLFMANHATTAN PROJECT - SUMMER FOREVER AND EVER
The Wolfmanhattan Project are back with their follow up to their debut from 2019. What began as a one-off studio project for this super group (Bob Bert, Kid Congo Powers, Mick Collins) wound up becoming an actual band that played gigs and it shows on this sophomore album. More rocking and cohesive than Blue Gene Stew (and it was no slouch), this sounds like a group that’s been together for years (and they have by now!). References and sometimes even direct quotes from sources as diverse as the Andrea True Connection, Captain Beefheart, the Count Five, and Eurythmics leap out of the speakers.
PAUL B. CUTLER - LES FLEURS
SKULL PRACTITIONERS - NEGATIVE STARS December 12 2022
Proving once again that “power trio” isn’t just a descriptive handle from the distant past, but a louder-than-God 21st Century reality, New York's Skull Practitioners release their first full-length album, Negative Stars, for In the Red Records on January 20th. The album is the second release for Los Angeles-based In the Red by the trio — guitarist Jason Victor, bassist Kenneth Levine, and drummer Alex Baker, following the band’s acclaimed EP, Death Buy, issued in 2019.
The C.I.A. - Surgery Channel October 20 2022
Step into a sick rhythm. And I mean sickly. Surgery Channel is a constructed world where everything is piercing and pinpointed. Every single word brings confrontation. With an intro as intimate and uncomfortable as this, The C.I.A. make you question what could be happening here…or what they’re after. Denée Segall (vocals, lyrics) is both haunting and seducing us at once with her voice. Something unhinged might be about to happen and they’re calmly dangling it over your head. Is it the possibility of dismemberment? Revenge?
There is something about Surgery Channel that is sterile and covered in dirt at the same time. Maybe it’s the feeling of simultaneous anger and defeat. Maybe it’s what comes after. Or maybe it’s about the ever-so-brief silent spaces between notes and words. Rhythm would be nothing without empty space. Words are rhythm at The C.I.A.
“Vicious visage / Internal monologue / Blink and stare / The metal and the glare / Intentions negating / The ego ascertaining / A pause / A cue / A push to make a move” from “Better”.
There’s nothing wishy washy about The C.I.A. or the way they sound. It’s all about precision and aim But really, it’s a warning... amplified by the suspense of tick-tocking drum machine beats that resemble a hospital room. Ty Segall (bass, percussion, back up vocals) and Emmett Kelly (bass, synth, back up vocals) have painted a jarring and dissonant landscape behind Denée’s story. Their basses could easily be swapped for bone drills and you might not be able to tell the difference. Emmett’s modular synth envisions an environment reminiscent of the instrument itself, a mess of wires and pulsing red lights. Ty’s subtle use of electronic and analog percussion fluctuates between the sound of a metal tray hitting the floor (“The Wait”), and the swish of an ultrasound scan (“Bubble”). At times, it projects the feeling of being probed and investigated. You could assume this reality has been lived by those at The C.I.A, though most listeners could only fear it. So... just how little of this portrayal is solely a work of imagination?
“I’ve been under / I’ve been down / Stripped and bound / Coming out” from “Under”.
“It’s a slight incision / Never really knowing / If we’re dead or living” from “Over”.
Dissection is but just one of the issues here. “Bubble” is a different story... of anxious desire. We will be consumed by what we must consume. Restraint backfires and drives a person to madness. Or maybe that’s just what they want you to think. It’s one of those tracks that feels as though Denée is whispering directly in your ear.
“She needed something to eat / She wanted to dine / But it was never enough / She was feeding all the time / She needed someone to see / To look at her and to vie / She puts her fist in her mouth / Tells you she’s losing her mind” from “Bubble”.
Both Surgery Channel and The C.I.A’s first Self-Titled record are ripe with straightforward conviction. However this most recent installment reveals a new side of their personality. Now The C.I.A. is communicating from an electrified, pulsating, metallic playpen that wants you to strut. “Impersonator” beckons a new groove, with call and response bass hooks that resemble a sequenced dance track and background vocals that invite a very steamy dynamic. High energy “You Can Be Here” is for those who can move fast, while “Bubble” is for those who want to sway in sultry slow motion. Surgery Channel shows punks a new way to move while remaining loyal to the traditions of catharsis and social commentary.
This record is an astute observation and blunt critique. Both inward and outward. It is an exploration into how harshly intimate that process can be. It was written in 2021 by Denée Segall, Ty Segall, and Emmett Kelly. It was recorded at Harmonizer Studios and mixed at Golden Beat by Mike Kriebel.
Words by Sofia Arreguin
SÉANCE! the new album by ZABRECKY September 23 2022“Zabrecky is one of LA’s most interesting natives.”-LA Weekly
The title of this glow-in-the-dark vinyl record is not merely a title: it is the first step on a journey to exploring the spirit realm with Zabrecky as your tour guide.
For well over a decade, within the mysterious Houdini Séance Room at the world-famous Magic Castle, Zabrecky has conducted literally hundreds of seances. One day in the not so distant past, Zabrecky had a revelation... or was it advice whispered from the great beyond? “It occurred to me that with gentle and simple guidance, people could conduct their own séances in the comfort of their living spaces... or in nearly any space, to connect with a spirit of their design,” Zabrecky said.
Harking back to his time in the post punk milieu (Zabrecky fronted the popular LA Silverlake band Possum Dixon from 1989 to 1999), in which the DIY ethic came to a head, he continues, “Ghost seekers don’t need me, but they do need this record. Who wouldn’t want their own do-it-yourself séance record?”
Produced by the illustrious Emmett Kelly (The Double, The Cairo Gang, Ty Segall, Bonnie “Prince” Billy), Séance employs curious layers of 1970s analog synths while weaving in harp and other instruments that wouldn’t typically be associated with séance music. The addition of Zabrecky’s hypnotic spoken vocals lead the listener to contact a spirit of their choice. The result is a record that could be considered a spooky-cool novelty...or lead the listener directly to a connection with the afterlife.
Ultimately, the listener will decide on the direction this record leads them; perhaps with a bit of help from a long lost loved one, a beloved pet, or an unknown disincarnate entity from the shadows. Either way, as Zabrecky opines, the main rule of the Séance is:
“If you believe, you will receive.”
Glow in the dark vinyl! Gatefold sleeve! You can perform an actual seance in your own home!
Beyond your skin, beyond your screen, beyond what you think you know. What lies in this area? An area with no opinions, motives, sides or divisions. An area where governments and capitalists have no currency and the absolute truth reigns supreme.
After releasing his self titled debut album in 2017, Dion Lunadon (The D4, ex A Place To Bury Strangers) is set to release his sophomore album - Beyond Everything June 10th via In The Red Records.
Beyond Everything will be his first release on In The Red Records (an ideal match for his music) as well as his first full length since departing A Place To Bury Strangers. Written, performed and recorded by Dion, the songs tap into a raw, palpable energy that blur the line between the music and the person. Drums on the record were played by Blaze Bateh (Bambara) and Nick Ferrante (The Black Hollies).
Dion says “The record was written and recorded sporadically between 2017 and 2019. I probably wrote about 100 songs during this period. The first album was pretty relentless which I liked but I wanted to make something more dynamic for the 2nd record. Something that could be more conducive to repeated listens. I’d get in my studio, come up with a song title, and start working on any ideas that I had. For example, with Elastic Diagnostic, the idea was to create a hum that evokes the sound of life coursing though your body. Everything else kind of formed around that idea.”
Dion will also be touring with a full band in North America and in Europe/UK throughout 2022.
US dates begin on the western side of the US in June starting in Denver (some of these dates are supporting The Black Angels) and the European and UK dates are in November.
Born in Auckland, New Zealand and now residing in New York, Dion most notably played in The D4, who released two albums on legendary NZ label Flying Nun Records and in New York noiseniks A Place To Bury Strangers.
While taking a break from touring with A Place To Bury Strangers, Dion recorded the self-titled debut solo album encompassing all that he loves about rock ’n’ roll. Previewed by the single Com/Broke, Dions LP arrived in 2017.
Just as the pandemic hit, Dion decided to leave A Place To Bury Strangers and focus on his own music. In June 2020, he released the song When Will I Hold You Again and in September 2020 the Schreien EP which featured a Deutsch version of his song Howl as well as the scorching rocker, Speed.
In 2021 he put a band together to give his songs life.
PRE-ORDER: THE LINDA LINDAS EP! December 16 2021
In The Red is proud to announce the 12” vinyl release of six songs from the Linda Lindas’ early recording sessions on beautiful color vinyl variants that were specifically picked by each member of the band. The group released the tracks digitally a year ago and have since become instant sensations when their song Racist, Sexist Boy went viral - now everyone knows how awesome they are. We were already huge fans of the band and are thrilled to be giving these songs the vinyl treatment. This release will be priming the pump for their debut album which will be out later in 2022 on Epitaph.
Alice Bag says…
Piano Tunnels: Songs by Bill Gage & Cheater Slicks September 30 2021
Bill Gage is a quasi-famous singer with a raw, rock 'n' roll voice. Cheater Slicks are an infamous, raw, rock 'n' roll band. Put the two together and the resulting album is a stream-of-conscious stew of wild, fuzz-drenched rock 'n' roll!
Some history: Both Cheater Slicks and Bill Gage's band BILL began in Boston in 1987, and it was sometime around then that Bill first sang with Tom and David Shannon playing guitars, in Bill's bedroom in Laconia, New Hampshire. The first BILL shows were organized by Bill's brother John after hearing positive and excited feedback from various musicians regarding Bill’s singing voice, which has been compared to the likes of Captain Beefheart, David Thomas, Damo Suzuky, and Yoko Ono. It was an intense and primal sound that was not forgotten by those involved.
In spring 2018, when Cheater Slicks were presented with the idea of a collaborative record they wasted no time, and began writing and arranging new songs for the project, sending rehearsal demos for Bill to hear and sing with at home in New Hampshire. Bill and John traveled to Columbus to record at the legendary Musicol studios in November of 2018.
After 30 years of performing, is the world finally ready for Bill Gage— accompanied by the seismic Cheater Slicks? We think so! All profits from this record will benefit the Arts Resources programs of the National Association for Down Syndrome. Comes in limited edition on beer colored vinyl.
In The Red + 2.13.61: Limited Edition Archival 7” Records August 27 2021
We are proud to announce our latest co-release - a reissue of the Four Plugs - Wrong Treatment / Biking Girl 7” !
Also, to celebrate this new release we have done limited (200 of each) re-presses of our four previous co-releases on new color variants. Once these are gone there will be no more pressings of these titles. We have…
Gun Club - Eternally Is Here / Psycho
Ruts DC - War On Crime / War On Crime (version)
Pure Hell - Wild One / Courageous Cat
Also, we have very limited quantities on these:
Warm Drag - Your Thunder And Your Lightening / Butch Things (Six Tonnes De Chair Records, France)
Christopher Alan Durham - Peacetime Consumer 7” - Gratiot Crawl / 50’s House Blues
Within the fertile West Coast rock scene of the 2010s, Meatbodies’ Chad Ubovich was a perennial candidate for MVP. Over the course of the decade, the Los Angeles native could be seen peeling off guitar solos in Mikal Cronin’s backing band, supplying the Sabbath-sized low end for Ty Segall and Charlie Moothart as the bassist for Fuzz, and, of course, fronting his own Meatbodies. That recently dormant noise-damaged freak-rock outfit now returns with 333, a corrosive stew of guitar scuzz, raw acoustic rave-ups, and primitive electronics. That acidic mix didn’t come from nowhere. Because the downside to maintaining such a prolific work rate is that the threat of burnout becomes a looming occupational hazard, and after touring behind Meatbodies’ second album, 2017’s Alice, Ubovich finally hit his breaking point.
“I’d been touring for eight years straight with all these bands, and just couldn't do it anymore,” he says. “There was also a feeling in the air that everything was changing, politically. Things just didn't feel right, and I went down a dark path.”
Fortunately, Ubovich was able to pull himself back from the brink and, upon getting sober, began writing and recording at a furious pace. By mid to late 2019, Meatbodies—Ubovich and drummer Dylan Fujioka—had a new album in the can, ready to be mixed. But when COVID hit, the band, like so many other artists, put their release on hold as they rode out the pandemic’s first wave. During that idle time, Ubovich discovered a cache of demos that he and Fujioka had recorded in a bedroom back in the summer of 2018, and he really liked what he heard. In contrast to Meatbodies’ typical full-band attack, it was deliriously disordered. “It sounded gross, like a scary Magical Mystery Tour,” he recalls proudly. After subjecting them to some mixing-board freakery, Ubovich fast-tracked the songs into becoming Meatbodies’ third release, 333.
But while the new record diverts sharply from the evolution established by the punk rippers of Meatbodies’ 2014’s self-titled debut and the fuzz-metal fantasias of Alice, it’s born of the same econo spirit that birthed the band in the first place. Ubovich founded Meatbodies in 2011, when a new generation of outfits rose from the ashes of the previous decade’s geopolitical tumult. The period set a whole generation adrift—there were no jobs, no money, no opportunities. The stability of previous eras was out of reach. But for artists like Ubovich, there were still ways to move forward. “We had vans and guitars,” he says. “So we made our own thing.”
While 333 charts Ubovich’s journey from drug-induced darkness to clear-eyed sobriety, it also reflects how the world he re-entered was still pretty messed up—if not more so. That psychic tug-of-war plays out on the opening “Reach for the Sunn” whose distorted slow-motion creep leads to a chorus both celebratory and dispiriting: “Reach for the stars/reach for the sun/reach for the trigger/reach for the gun.” In writing these songs, Ubovich realized that he wasn’t so much singing about his own path, but something much greater than himself. “These lyrics are dark, but I think these are things that a lot of people are feeling and going through, especially Americans,” he says. “We’re watching the fall of U.S. capitalism, and 333 is a cartoonish representation of that decline.”
But as much as it speaks to the disillusionment of a lost generation, 333 also abounds with the innovation that limited resources can inspire. To set the Zeppelin III-styled pagan-campfire jam “Let Go (333)” in motion, Ubovich tapped out the beat with drumsticks on his pillow, while “Nighttime Hidden Faces” melds two completely different demos together, steering its Stereolab synth drones into a mind-bending boogie worthy of Royal Trux. The instrumental “Eye Eraser” might be 333’s greatest example of hermetic ingenuity—what may have turned into a shoegaze rager is instead rendered as a blissful union of brain-fogging fuzz and minimalist electro beats.
Ironically, by working within a tighter lo-fi schematic on 333, Meatbodies have greatly expanded their palette, opening new portals to explore. And yet for all its free-ranging experimentation, 333 arrives at a tidy, full-circle conclusion with the sundazed serenade, “The Hero,” a song that Ubovich sees as a logical bookend to the opener. As he explains: “One is the id, one is the super-ego, Although I don’t know which is which. They're both very sardonic and defeatist in a lot of ways, but ‘The Hero’ is supposed to be a little funnier, laughing at everything.” He’s earned the right to a chuckle: For an album that wasn’t supposed to exist, 333 is the ultimate testament to Meatbodies’ renewed vitality.
Available on Double LP & CD. Starts shipping mid August.
LOS ANGELES, Calif. — Divine Horsemen, the fiery, eclectic ’80s group that rode the unique vocal chemistry of Chris Desjardins (a.k.a. Chris D.) and Julie Christensen, return to the musical stage with Hot Rise of an Ice Cream Phoenix, a collection of all-new recordings, on In the Red Records on August 20.
Co-produced by Desjardins and Craig Parker Adams (who engineered I Used to Be Pretty, the 2019 release by Chris D.’s groundbreaking ’70s punk band the Flesh Eaters), the new 13-track album comprises the first new music by the Horsemen in 33 years.
Founded after the dissolution of the Flesh Eaters and launched with the 1984 Enigma Records album Time Stands Still, billed as Chris D./Divine Horseman, the band released three albums and an EP on SST Records, all of which featured the searing harmonies of Desjardins and Christensen, who were married at the time. The couple split professionally and personally just prior to the release of their January 1988 EP A Handful of Sand.
However, the two musicians remained in touch over the years, and Christensen contributed vocals to five tracks on I Used to Be Pretty, which reunited the 1980 “all-star” edition of the Flesh Eaters heard on the Ruby/Slash classic A Minute to Pray, A Second to Die. By then, the idea of reviving Divine Horsemen was already percolating.
“Julie had asked me about six or seven years ago about doing Divine Horsemen again,” Desjardins says. “I told her I wasn’t quite ready yet, though I did want to do it eventually. Then in 2015 the Flesh Eaters started doing reunion shows. In 2018 we did it some more, and we recorded the album, released it in early 2019, and we went out on tour and supported it. Since the beginning of 2018, Julie and I had been talking about Divine Horsemen again.”
Christensen — who had moved on to work with Leonard Cohen in the 1990s and release seven albums of her own work — adds, “We recorded I Used to Be Pretty in April of 2018. Previous to that we had started plans for a Divine Horsemen tour in the fall, playing older stuff. Chris had song ideas and cover ideas for a studio album — it was just kind of forming in his head. I started looking for covers, too. I did some of the Flesh Eaters ‘live’ gigs the first three months of 2019, and found out that we were getting along really well.”
The singers’ plans called for reuniting with such onetime Divine Horsemen as guitarist Peter Andrus, who had appeared on A Handful of Sand and the 1987 album Snake Handler, and bassist Robyn Jameson, who had worked with Desjardins on the majority of his recordings between 1982 and 2004. However, Jameson tragically died in 2018 following a street assault; Bobby Permanent, Andrus’ longtime musical collaborator, was recruited to take the late musician’s slot on the new recordings. Andrus is also a veteran of bands Crowbar Salvation and Detroit’s the Volebeats. Permanent (under the name Robert Pollard) has also contributed to various movie soundtracks, most notably John Cassavetes’ final film, Love Streams.
The 2021 Divine Horsemen lineup is completed by drummer DJ Bonebrake of the incomparable L.A. band X; he also was a member of the 2018 recording and 2019 touring editions of the Flesh Eaters (which also included X’s John Doe, Dave Alvin and Bill Bateman of the Blasters, and Steve Berlin of Los Lobos). Keyboardist Doug Lacy, another veteran of the Snake Handler sessions, returns to the fold; he and Christensen both later sang backup for the duo of Gaby Moreno and Van Dyke Parks, and Lacy has appeared on several of Parks’ other projects.
The release of Hot Rise of an Ice Cream Phoenix was prefaced in late 2020 by Feeding Tube Records’ package of unreleased vintage recordings Divine Horsemen ‘Live’ 1985-1987 and two Bandcamp singles, “Mystery Writers,” a new composition by Desjardins and Andrus, and “Mind Fever Soul Fire,” a song that originally appeared on Love Cannot Die, a 1995 Chris D. solo album issued by Sympathy for the Record Industry. (A new rendition of that set’s title song is also heard as the concluding track on the new album; a high-intensity re-recording of “Handful of Sand,” the 1988 EP’s title number, is also featured.)
The new material on the album reflects a diversity of sources.
“I wanted to mash up some European folk material,” Desjardins says of “No Evil Star,” a madrigal-like composition. “There are a whole bunch of sites on the internet that have public domain folk songs from Europe, specifically England, Scotland, and Ireland. These are all from the 1700s and 1800s. The music for the verse is from one folk song I found on a Celtic folk site. The words are all original. But the chorus music is not Celtic, it’s more Latin — they also had a few Spanish folk songs on there. Peter joked when we were working up that tune that it was our Jethro Tull song.”
Like “Ghost Cave Lament” — the sprawling number that concluded I Used to Be Pretty — both “Barefoot in the Streets” and “Stony Path” reflect Desjardins’ ongoing fascination with Spanish flamenco.
“Those songs are linked lyrically,” Desjardins says. “‘Stony Path’ is a continuation of ‘Barefoot in the Streets.’ They’re both murder ballad-styled songs. The lyrics of ‘Barefoot in the Streets’ is flamenco-inspired, but the music is not really Spanish — Julie came up with the music.”
Christensen says the writing of the latter number came late in the recording of the album: “Chris called and said, ‘You know, I’ve just been remiss. I feel like we should write a song together, and I have this “barefoot in the streets” idea.’ He’d already written the lyrics. He had a little bit of a melody idea, too, but not much of one — there was just the scan of it.”
She adds that singing “Stony Path” presented some unique vocal challenges: “Flamenco singers break their voices in order to do what they do.” The song was left for the end of the album sessions, and she nailed her demanding part in a single take.
Christensen is represented as a co-writer on another song, “Falling Forward,” written with Lathan McKay. “He’s an actor and musician who lives in Austin,” Desjardins says. “He’s also the foremost authority on Evil Knievel!”
Beyond her writing, Christensen served an invaluable function by finding outside compositions for the album.
“I found a couple of covers from Tennessee writers,” the former Nashville resident says. “‘Any Day Now’ is by Tim Lee and Susan Bauer Lee. They used to have a band called Tim Lee 3, he was also in a band called the Windbreakers, and now Bark. They used to get hold of Divine Horseman LPs and hand them out to people – ‘Here, you’ve gotta hear this.’ We got to be fast friends, and their song ‘Any Day Now’ just floored me.
“‘Strangers’ is by another Tennessee writer named Johnny Duke — he wrote it with Will Kimbrough. I originally heard it acoustically, just him and a guitar. I spoke to him after I heard him play it, and I said, ‘I don’t know if you’d be into this, but I have this band, and I’d love to try doing it with them as a Neil Young and Crazy Horse kind of thing.’”
Hot Rise of an Ice Cream Phoenix is rounded out by a typically diverse selection of covers. “25th Floor” is a Patti Smith-Ivan Kral original, heard on the 1978 album Easter. “Ice Cream Phoenix” was a vehicle for the vocal harmonies of Grace Slick, Marty Balin, and Paul Kantner on Jefferson Airplane’s 1968 LP Crown of Creation. But the album’s greatest curiosity may be the raucous, profane “Can’t You See?,” an oddball tune that had obsessed Desjardins for years.
He says, “That’s a song written by Charlie Cuva and Robert Downey Sr., for Downey’s movie Pound. I’d heard that song at the Fox Venice Theatre in 1972, in the intermission of a double feature. Robert Downey Sr. had pressed up 100 or so copies of five songs from Pound to send out to independent theaters, as a promotion. It was never commercially released as a record. I had not heard it in years, and the guy who put out my book A Minute to Pray, A Second to Die sent me an MP3 of it. When the prospect came to do this album, I thought, we’ve got to do this. I played it for Julie and Peter, and they went through the roof over it.”
In all, Hot Rise of an Ice Cream Phoenix stands as a bracing new achievement by a distinctive musical partnership that has always marched to the beat of its own drum. Like the Flesh Eaters’ recent reunion, it’s a welcome return that plays to the group’s historic strengths.
“It was really good for both of us,” Desjardins says “and we really enjoyed it. There’s also — unintentionally — context in some of those songs about what happened between us as a couple.” Christensen adds, “One thing Chris has always been adept at is taking a song, and you hear the raw bones of it, and then he casts the band so well, and he runs a rehearsal like a tight ship. We would fashion these gems of songs out of rocks. He’s always been really good at directing a song toward what it’s supposed to do.”
It should be noted, in addition to producing (or co-producing) all of his Flesh Eaters and Divine Horsemen efforts, Desjardins has a modest but important legacy as an A&R man/in-house producer at Slash/Ruby Records from 1980-1984, co-producing with Tito Larriva seminal work by the Gun Club (their debut album, Fire of Love), producing the Dream Syndicate (Days of Wine and Roses) and Green on Red (Gravity Talks), and mixing with Glenn Danzig the Misfits (Walk Among Us). He also shepherded the Lazy Cowgirls on their eponymous debut (released through Enigma subsidiary Restless Records in 1985). Last but not least, Desjardins produced Soulsuckers on Parade, a wildly unhinged, never-available-before-to-the-public 1984 session by Jeffrey Lee Pierce (with a backing group of then-Blasters Dave Alvin, Bill Bateman, and Gene Taylor, and Green on Red’s Jack Waterson) that is only now being released in 2021 by Minky Records — 36 years later!
The Scientists - Negativity April 20 2021
“Swing From The Sean De Lear” is the new 4 song EP by Kid Congo & The Pink Monkey Birds on In The Red Records. It celebrates dreamlike bridge between life and memory. Recorded and mixed with Jim Waters, (Jon Spencer Blues Explosion, Sonic Youth etc.) at Waterworks Recording in Tucson AZ, “Sean DeLear”, is a tribute to the late, magical, and ubiquitous Los Angeles underground institution named Sean De Lear. The rocking song uses the metaphor of those passed on as swinging from a chandelier, a festive image we all hope is true!
Side Two of the EP is a 14 minute psych, Chicano groove titled “He Walked In.” The text is based on a visceral fever dream Kid had about his friend, and Gun Club bandmate, Jeffrey Lee Pierce, whom passed away in 1996. Leading us back to the theme of feelings sustained between life and memory, the song dreams on as the band spreads their monkey bird wings, Mark Cisneros on flute, and guest, tambourine queen Cesar Padilla lost in music but found in sound.
In such uncertain times, one thing is most certain; Kid Congo & The Pink Monkey Birds will always bring the party.. and the other world.
Limited edition on pink and black splatter vinyl.
Happy FUZZ III release week!!
Pre-Order DEMOLITION DOLL RODS & New book by ROSS JOHNSON September 28 2020
Those masters of Motor City mayhem have returned. Perhaps the only band to be asked by a promoter to keep their clothes on, the Demolition Doll Rods – who have not been in a studio together in fourteen years – are set to unleash Into the Brave in October 2020.
Our friends at Spacecase Records have done a real public service by releasing this fantastic new book by Ross Johnson! Ross Johnson (Panther Burns, Alex Chilton, Jeffrey Evans, etc.) puts it down over 153 pages in his long-awaited memoir. Everything’s here — from bagging groceries for the late Al Jackson, Jr., at the Big Star grocery store to his thoughts on the present-day Memphis scene. In between Ross discusses writing for CREEM in its halcyon days, playing on Like Flies on Sherbert, the brilliance of Lesa Aldridge and Jim Dickinson…and that’s just the beginning. A must have for fans of Make it Stop! and Memphis music. Limited to 200 copies.
Red Lights (Jeffrey Lee Pierce) / CCR Headcleaner / Lamps August 17 2020
The Return of FUZZ July 22 2020
Fuzz is back with their first new album in 5 years "III" Listen to the debut single "Returning" here
LP / CD available here
Shirts and pin available here
One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are FUZZ. FUZZ is three. And III has returned. Songs for all, and music for one.
III was recorded and mixed at United Recording under the sonic lordship of Steve Albini. Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave FUZZ the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for FUZZ -- three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long you can hold on before you’re thrown off.
Album opener “Returning” serves as a sort of mission statement for the album. It’s an auditory meditation on the power of one and the different perspectives of one, whether it is the singular person looking inward, or a group of people coming together as a single unit. Not only is it an echo of the return of FUZZ, but also a broader return to form - raw and empowered through vulnerability.
“Nothing People” and “Spit” served as a launching point into the new sphere that would become III. They were written around the same time, and felt like they opened two different doorways -- familiar in some ways and new in others. “Time Collapse,” a rogue cut from the days of FUZZ’s II, landed soundly on the scorched surface of side A to round things out.
“Mirror” opens up the B side and the collective consciousness. Mirroring the call to arms of “Returning,” the song asks the listener to link arms with the band, march to the same drum of love, and create a space of equality among the freaks. The pummeling rhythm demands the request to crush the mirror that feeds you lies. In the end, it’s a ballad for the unique, twisted, and natural self that should be exalted before any falsehood.
The stomping back half of III serves as a self aware call out to the lineage in which this record calls home -- both personal and general in the historical context of raw power trio records. “Blind to Vines” and “End Returning” accentuate the meditative qualities of FUZZ. While coming from opposite ends of the spectrum, they balance restraint and compulsion. FUZZ will ultimately cave to compulsion. That is without question. But what good is a freak out without an initial glance inward? “End Returning” takes that look inward and scrambles the timeline. It finds peace and challenges it in the next breath. Arguably, it brutalizes this peace to test the foundations on which it rests, inevitably bringing the origin back into focus.
Three points reflected in three Mirrors; a pyramid of sonic destruction and psychic creation. Nothing People feed the roots while the freaks fly free in the treetops - Blind to Vines, Eyes Closed, Stuck in Spit, triumphing the Returning of beginnings and Ends Returning while beginning to see the Time Collapse. Love is the only way to annihilate hate, and Sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.
We hope everyone is staying safe and well during this time of unprecedented weirdness. Despite the fact that most everything is closed down right now, we’re still making records. When things start to reopen we’ll have some pretty amazing stuff to announce but right now we have these awesome new releases ready to order:
We’re proud to announce the new solo album by Don Howland. Don’s been pursuing his brand of scuzzy roots rock for over a quarter of a century, first as a member of the Columbus’ beloved Gibson Bros and later as the main man in the Bassholes. His music is a raw convergence of country blues, ’76 punk and lo-fi garage. Don was one of the original flagship artists for In The Red and we’re happy to be working with him again. Don’s been a crucial figure in underground music for several decades and is of American underground’s true originals. Limited edition on splatter vinyl.
Another Don Howland-related album! That’s right, we’re putting out two albums by the man at the same time! That’s how much we love him and his music. This full length is by his now defunct five piece band Burning Bus. The band released two 7”s earlier this decade and recorded this album which has laid dormant until now. While Don’s solo work and the Bassholes tend to be stripped-down, terrible-kicking affairs, Burning Bus is a full throttle three guitar and bass attack. It’s much noisier and more brutal than anything else he’s done. Fans of Pussy Galore will want to take note. Limited edition on splatter vinyl.
Also in from our pals at Spacecase Records we have these awesome new titles:
Rubber Blanket is a new group featuring Brad Eberhard and Jun Ohnuki of Wounded Lion and The Intelligence’s Lars Finberg. This is their debut LP. For fans of The Screamers, Fast Product-era Human League, and The Better Beatles. Limited to 500 copies.
The 7” features Walter Daniels’ usual all-star lineup, including Texacala Jones (Tex and the Horseheads), Marco Butcher (Jam Messengers), Cypress Grove (Jeffrey Lee Pierce) and Luis Tissot (Jesus and the Groupies). Cover art by Art Chantry. Limited to 300 copies.
Also, we’re now shipping Alice Bag’s awesome Sister Dynamite album. Flame color vinyl is going fast!
PRE ORDER: ALICE BAG - SISTER DYNAMITE February 25 2020L.A. punk icon Alice Bag has announced her new album Sister Dynamite,
out April 24 on In The Red Records! Her third solo effort, the album marks a thrilling return to the full-throttle punk that Bag pioneered with her legendary first-wave punk band, The Bags. An unbridled celebration of community and the undeniable power in embracing your own truth, the collection confronts some of the most pervasive problems troubling our world today: unchecked privilege and willful ignorance, systemic inequality and fragile masculinity. Bag will kick off a national spring tour on March 6 in Vancouver, joining her like minded sisters Bikini Kill on several dates. Tickets will go on-sale Friday February 28 @ 12:00pm local time.
NEW LAVENDER FLU! + RECORD STORE DAY RELEASES February 19 2020
THE VICTIMS - LP & 7" EP October 21 2019
The Victims - s/t LP
The Victims - Horror Smash 7” EP
Punk music, at its most effective, its most important, exists at a nexus of a few simple but important ideas. Punk needs to be youthful, it needs to be reactionary, it needs to be short-lived and it needs to be controversial.
So for a group of twenty-something Australians, excitable as the frontline first wave of kids responding to both the Ramones and the Sex Pistols (yet still influenced by the New York Dolls and Stooges and Flamin’ Groovies), who existed for but barely for a year from 1977-1978 and wrote songs about serial killers, high school girls and hating disco…well, I’d argue they are the most perfect punk band ever.
The band was Dave Flick (aka Dave Faulkner later of the Hoodoo Gurus) on guitar and vocals, Rudolph V (Dave Cardwell) on bass and James Baker on drums. Best known for their classic “Television Addict”, that song is but the tip of the iceberg of the band’s powers. Having self-released two godhead 7-inches during their brief existence, the seven songs on those singles are absolute cannon at this point. Quintessential, pure, unfuckwithable.
Of particular note is the blast beat, proto-hardcore velocity of “Perth Is A Culture Shock” an ode to the band’s isolated hometown, unreleased at the time, which presages the vibes that would emanate from Black Flag, Minor Threat and Negative Approach in just a few years.
And all that is just side one of the LP.
Side two contains a bounty of unreleased-for-decades demos of nine otherwise undocumented Victims originals. Demos in name alone, these properly recorded songs brim with all the identifying marks of the known Victims classics…irreverence, taking the piss, murderers and an invigorating youthful attitude.
The sheer perfection of songs like “Horror Smash” and “I Wanna Be With You” only further cements how essential the Victims were…that even their outtakes are A+ prime material.
The last thing to remember about punk as a theory, an aesthetic, is that its "ideas" are all bullshit anyway. That’s easily proved by the 7” EP released alongside this release of new recordings of “Charlie”, “Horror Smash”, “I Wanna Be With You” and “Everynite” which proves that the Victims now (featuring Ray Ahn from the Hard-Ons on bass), some 40 years after their heyday, could still easily take on any au courant band half their age
The LP comes in a handsome gatefold foil-stamped cover. Limited edition color vinyl on both but, black is always best! Essential!
The DUM DUM BOYS - Let There Be Noise LP September 12 2019
NEW! SKULL PRACTITIONERS / DAN MELCHIOR BAND / TYVEK July 26 2019
THIS JUST IN: NEW STUFF AVAILABLE FOR PRE-ORDER NOW!
Skull Practitioners - Buy Death 12” EP
We are proud to announce the debut vinyl release from NY’s Skull Practitioners - a three piece featuring Jason Victor (current lead guitarist in the Dream Syndicate), Kenneth Levine and Alex Baker. This band’s brand of heavy psych post punk skronk is some of the coolest sounds we’ve heard in eons and we are excited to be working with them! Jason’s guitar shredding is positively brain splattering and Kenneth’s huge bass throb and Alex’s propulsive drumming make these guys sound bigger and heavier than most five piece bands. This 12” is limited edition, vinyl-only. A full length is in the works. You need this!
Dan Melchior Band - Negative Freedom LP
The highly prolific Dan Melchior is back again with a new album - this time with the Dan Melchior Band. The band consists of Dan (obviously), Adam Charles Cooper and Pat Ganely, both formerly of the Taiwan Housing Project. Negative Freedom once again proves Dan to be a treasure who continues to musically and lyrically evolve in the most twisted way. His garage/blues tendencies of his early output have all but completely given way to weirdo/outsider post-punk damage, though this record still rocks…sorta the same way The Fall rocked. With as many records as Dan Melchior has already unleashed on the world you may ask yourself “do I really need another one of his albums?” When you hear Negative Freedom you will no doubt answer “YES!” Limited edition on red vinyl.
Tyvek - Changing Patterns Of Protective Coating 4 song 7” EP
We are happy to be distributing this brand new, limited edition seven inch EP which the band has just pressed up themselves. If you’re on this mailing list then you are no doubt already familiar with this incredible Detroit-based band and you already know you need this. We have a couple of new Tyvek releases in the works but, in the meantime, this fantastic record should keep you tided over.
Pre-Order: CFM - Soundtrack To An Empty Room June 17 2019
Phast Phreddie and Thee Precisions - Hungry Freaks Daddy b/w What a Friend I Have in Whiskey 7"
Forty years ago, rock scribe Phast Phreddie Patterson of Back Door Man fame formed Thee Precisions with Jeffrey Lee Pierce (Gun Club). Phreddie was known for putting LA supergroups together for Precisions recordings; “What a Friend I have in Whiskey” features Jeffrey Lee Pierce on guitar—his earliest appearance on vinyl—The Screamers’ KK Barrett on drums, Phreddie on vocals and Precisions mainstay and fellow rock writer Don Snowden on bass. The cover of the Mothers Of Invention’s Hungry Freaks Daddy is killer!! Limited to 300 copies. An essential piece of LA rock history!
Coming soon new stuff from: Dan Melchior Band, Victims, Dum Dum Boys, Don Howland and Burning Bus!
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