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.

The Weekly BOMP! - The Zantees "Out for Kicks"

Released by Bomp in 1980, the Zantees first long player Out for Kicks is like some old V-8 lunging off the line, building power and speed as it goes. Here at the Gemini Spacecraft archive it gets shelved beside the Blasters’ American Music and Alex Chilton’s Like Flies on Sherbert, two other great 1980 LPs that helped spark that branch of postpunk that Greg Shaw dubbed “Real Rockers,” rightfully reclaiming the word from “the same creeps who took over new wave,” who were then trying to apply “Rocker” to “that lethargic sludge they worship as reggae.” Shaw asserted that only “records with that frantic beat that makes you want to go hog wild” deserved to be called “Rocker.” And Out for Kicks definitely lives up to Shaw’s criteria.

The Zantees line-up included Billy Miller and Miriam Linna, on the vocals and tubs respectively, then of Kicks Magazine, soon to launch Norton Records, teamed up with guitarist brothers Paul & Bill Statile and bassist Rob Norris in a sort of proto A-Bones, if you will. As for the words to describe their sound, let Shaw say it, “Some folks call the Zantees a rockabilly band, but they’re not. They’re so much more than that. They’re a Rock ‘n’ Roll band in the strongest sense, having grabbed inspiration from all the high points of the past 30 years including not only rockabilly but punk, invasion, surfing, and maniac R&B and bashed it all into a style that’s indefinable.”

On Out for Kicks, dig how the Statile brothers' string-wringin' calls to mind that of Paul Burlison, Cliff Gallup, and others, then mixes it all together, sometimes simultaneously, sometimes even in the same riff! And Billy Miller’s wild vocals here display a spastic youthfulness not as apparent on later A-Bones records. Add Miriam Linna’s “hog wild” beat, and a heapin’ helpin’ of reverb on the vocals, guitars, drums, and, hell, everywhere, and you get a real classic. Now out of print, but not too hard to track down.

Greg Shaw quotes originally from Bomp! Magazine, now reprinted in Bomp! Saving the World One Record at a Time (Ammo, 2007).

Songs:
"Blonde Bombshell," "Big Green Car," and "Gas Up," from Out for Kicks (Bomp! LP 4009).

Introducing the Weekly BOMP!

Pet project of uber-fan Greg Shaw, BOMP! Records evolved from the early-70s magazine Who Put the Bomp--prototype for all Rock fanzines to follow--which in turn grew from its 60s predecessor, that mimeograph monument to San Francisco psych, Mojo Navigator.


Shaw’s obsession for cataloging and collecting, and his admiration for Ralph Gleason’s writing (SF Chronicle jazz crit who was among the first to give “serious” consideration to that newfangled rock music), along with his ability to operate that mimeo machine laid the groundwork for him to eventually become one of the earliest rock critics. Shaw wrote not only for Who Put the Bomp, but also contributed to CREEM, Phonograph Record Magazine, and others, his work appearing alongside Dave Marsh, Richard Meltzer and Lester Bangs. Meanwhile he also compiled and released the legendary Pebbles 60s punk series. Shaw’s influence grew during the 70s and he eventually became instrumental in bringing the Flamin’ Groovies, DMZ, and others to Seymour Stein’s Sire Records. It’s safe to say that without Greg Shaw the Sire catalog, and thus the whole golden temple of CBGBs NY RnR as we now know it, would look a lot different.

Greg Shaw

Anyway, you can read all about Greg Shaw, who died in 2004, and his various projects in the recently published pair of books BOMP! Saving the World One Record at a Time, edited by Suzy Shaw and Mick Farren, and BOMP!2 Born in the Garage, edited by Suzy Shaw and Mike Stax, of Crawdaddys and Ugly Things fame. Both are worth checking out, even if there seems to be considerable overlap between the two. Among the highlights are essays by Bangs, Phast Phreddie, Marsh, the Ig, Kim Fowley, and others, plus lots of great pix and repro’d pages from various past issues.

Gemini Spacecraft would like to offer its own sort of tribute by launching a new series called The Weekly BOMP! Just as the name suggests, the idea here is to turn the GS spotlight on another BOMP! (and BOMP! imprint VOXX) band each week until we run out of records or the game ceases to be fun, whichever comes first. And since BOMP! is still very much in business, etiquette and copyright rules limit use to two or three streaming tracks only. (Thanks Suzy!)

Nikki Corvette

First up is the great Nikki and the Corvettes. Hailing from Detroit, Nikki Corvette cut her teeth on MC5 and Stooges shows, girl groups, and other vital ingredients of good old RnR. She talked long enough about wanting to start her own band that Romantics guitarist Pete James finally booked a show and pushed her in front a microphone. Thus began the career of Nikki Corvette, or so the legend goes, and this during a time when a female’s contributions to the form tended to garner less attention than they would in later years. The original Nikki & the Corvettes LP, from 1980, while something of a forgotten milestone of power-pop, left the singer less than satisfied with vocal mix. “The original LP left us sounding like the Chipmunks,” Nikki has said. So what you get here are a few tracks from the remastered eponymous album released in 2000, twenty years after the original.

Nikki Corvette circa '80 or any of a thousand Williamsburg girls 2009?

Photos:
BOMP! Saving the World One Record at a Time (2007 Ammo Books)
ed. Suzy Shaw & Mick Farren.

Songs: Nikki & the Corvettes LP, BOMP! 1980/2000:
Young and Crazy
Criminal Element
He's a Mover