The Weekly BOMP!: The Voxx Rebellion

Crawdaddys

By now it’s an old story: It’s 1979, the last few spurts of punk drizzle into either the testosterone jockstrap of hardcore, or the twinky commercialism of “new wave.” And to make matters worse, not even the Real Kids can save power pop. Underground R’n’R looks to the past again for inspiration & direction, to what is still a largely bypassed trip, it looks to 60s punk.

Greg Shaw temporarily folded both Bomp Magazine and the BOMP! label in 1979. He then launched the Voxx imprint to “offer a home to bands working in a purist '60s garage/punk/psych tradition.” At least that’s the story (never mind that Bomp continued releasing classics like Stiv Bators’ "Disconnected" and the Taxi Boys mini-LP). So you can credit Voxx for getting the drop on 80s garage revivalism. At first business was slow, with only a few bands answering the call. Still, the label probably reached its zenith with its first few releases, namely two by San Diego’s Crawdaddys, their 1979 LP “Crawdaddy Express,” a veritable slab of ’64 time-traveled to the Year of the Voxx, and their 1980 EP “5 x 4.” Mike Stax, also of the Tell-Tale Hearts, and editor/publisher of Ugly Things magazine, in a short piece on Voxx included in the book Bomp: Saving the World One Record at a Time, tells of hearing these records on John Peel’s show as a lad, then writing a fan letter to Crawdaddys leader Ron Silva. Silva replied by inviting Stax to come to San Diego from England to play bass for his band. Stax hopped the next plane and the rest is garage revival history. Here’s a couple of cuts from “5 x 4”.

Mono Man

If the Crawdaddys took the purist’s approach, Voxx stalwarts DMZ, fronted by Jeff “Mono Man” Connolly, who would go on to lead one of the greatest of 80s garage bands the Lyres, hammered out a crazed hybrid sound, at times made of equal parts Sonics, Stooges, and 13th Floor Elevators. Shaw helped DMZ get signed to Sire records for their eponymous debut, which kicks ass despite a few flaws like closely mic’d, clicky drums, but which flopped on the sales. Shortly after Sire dropped them, Voxx released some truer sounding DMZ tracks, originally recorded in 1977, on the “Relics” LP. Here’s “Do Not Enter” plus their version of the Standells’ “Barracuda.”

Paula Pierce & the rest of the Pandoras

Low-budget recording and packaging was a major part of the Voxx ethos, and Shaw booked cheap studio time at a place called Silvery Moon, in Los Angeles, the city which, with the Cavern Club as its live showcase, functioned as the scene’s ground zero. Unfortunately, it being the 80s and all, the studio featured modern equipment more suited to recording Hollywood hair metal than 60s punk. One of the cuter bands on Voxx, the Pandoras, who came out swinging on their debut LP “It’s About Time,” from 1984, got the Silvery Moon treatment. Then, as if too much of the studio’s effects rubbed off on them, the Pandoras evolved from 60s punk purists to a hair metal band themselves. By ’89 they looked and sounded more like Poison. Leader Paula Pierce died suddenly from some type of brainurism in 1991, aged 31. Here’s their version of the Invictas “Do the Hump,” plus one Paula Pierce original, both from “It’s About Time.” Don’t they sound like nice girls?




So, yes, today’s post offers but a small sampling from the Voxx roster. There were lots more bands, like The Gravedigger V, The Tell-Tale Hearts, The Miracle Workers, The Eyes of Mind, and The Things, to name a few. Also excluded from this post are the great & influential Battle of the Garages comps, just because I don’t own any, and the Acid Visions comp, which, actually, I do have, so maybe down the line I’ll add a couple of tracks from that as an update to this post.

Still Paying the Rent

By now, thirty years after the release of their first single, Jeff Conolly's band the Lyres have become sorta like their namesake ancient instrument. They've been here among us since the earliest days. Cities come and go. Civilizations rise, fall, and burn. But the Lyres remain. In the underground rock universe, thirty years is a long goddamned time.

Maybe they've released nothing new since... when? 2003? But who cares? Especially when Conolly, who's hired and fired more musicians over the years maybe even than Buddy Rich, currently leads his greatest line-up through the monthly hometown "rent gig." Drummer Paul "Machine Gun" Murphy, bassist Rick Corraccio, who both played with Conolly in the mighty DMZ, and guitarist Dan McCormack (along with Conolly himself on vocals and vox) make up the same band that plays on the classic 1984 On Fyre LP, as well as the "She Pays the Rent" EP from the following year, both released on Rick Harte's Ace of Hearts label.

On Fyre, which for several months in '84-'85 held a steady position on the college radio charts, demonstrates the Lyres' cover song effect pretty well. Mingling there with signature Conolloid originals "Help You Ann" and "Don't Give It Up Now" are a couple of Kinks tunes, another by the New Colony Six, and one by Pete Best, "The Way I Feel About You." Likewise, the "Lyres, Early Days" live CD, a merger of two earlier, oop live LP's on Crypt, features tons of covers, with work-outs of material mostly by American bands like the Wailers, Don & the Goodtimes, and the Chocolate Watchband. Nowadays, the live set seems to emphasize Conolly's fascination with Wally Tax and Tony Jackson. These two currents of 60's punk --that Northwest sound, and the European, or what's now called freakbeat, have fueled Conolly's output going back to the DMZ days.

According to Brett Milano's Vinyl Junkies: Adventures in Record Collecting, Conolly follows a code when selecting the band's cover material. The Lyres only play songs which he owns in original form, as singles. To think of it sorta boggles a record collector's mind. Imagine, original versions of "Enough of What I Need" by San Antonio thugs the Stoics, "Wasting My Time" by the New Breed, "Talk About Her" by the Sevens, all current rent gig regulars. Tony Jackson? Forget it. You couldn't find it even if you had the dough. As Conolly says, as quoted in Milano's book, "I'm not a collector, I'm a friggin' archivist."

That he makes these songs his own speaks, I think, to Conolly's talent as a stylist. And that's a talent that don't get too much cred these days. But there was a time when careers were built as much on interpretation and delivery as composition. The Coasters did their Lieber-Stoller. Jerry Lee Lewis played, well, everything. And their versions of the chosen material often stand out as the best. In some cases, I think the same can be said for Conolly's covers. Like for rockin' power and menace, I'll take the Lyres' version of "No Reason to Complain," and Don & the Goodtimes wish they sounded as good playing their own "Little Sally Tease."

By harping on Jeff Conolly as a song stylist, I don't mean to detract from his song writing. And he's penned some rockers. If you add it all up, the split's about 50/50, covers vs. originals. Not a bad rate, over the course of a R'n'R career. Like Axl Chitlin has said, an artist is doing good to write one decent song ever, great if they write one per year. This bit about churning out an album's worth of original material each year is a standard propagated by record companies, and has only led to an increasingly vast heap of insipid dreck.

So is Jeff Conolly the Jerry Lee of 60's (by way of 80's-2000's) garage punk? Go ahead, try that one on for size. The fit might feel a little loose at first. Still, many have tried, but few, including many from that original crop that Conolly first sought to emulate, have managed to bash this stuff out so relentlessly, for so long, and with such skill. As others have noted, most garage bands from the last thirty years have merely been Lyres-in-training. And barring the occasional break or hiatus, Conolly & Co still belt out some of the best live R'n'R you're likely to hear in these suckshit times, and they do it almost every month. And it's still possible on those truly special nights down in the dank basement of the Cantab Lounge, in Central Square, to hear 'em run through practically the entire songbook, no matter how indifferent the world might be at this point. And how often does that happen in your town?

******

Although I'm partial to those old Ace of Hearts records, nearly all of the Lyres' best releases were reissued on CD by Matador Records about 10 years ago. I think many of these are still in print 'coz I still see them in the bins from time to time, and they always include lots of great bonus cuts and scattered EP's. Tim Warren keeps most of those Crypt releases in print too.

Thanks to Stevie Gomez for use of the band photos.