Beyond SST’s biggest act were groups like the Minutemen that were able to – moment to moment – shift stylistic gears. Taking a listen to the acoustic “Cohesion” after anything else on the band’s Double Nickels on the Dime is going to make that point well enough.
But going back to revisit what one recalls as a lost punk classic occasionally results in some disappointment. Of course, the notes are all the same, it’s just that you don’t always have ten of your drunken, idiot friends around to sing the choruses with.
Rodney Bingenheimer, though, wasn’t as dastardly a figure. He may have been just as despised by some folks, but whatever drawbacks the deejay’s approach to running his show or featuring bands that he liked was mitigated by his assistance in nurturing a nascent LA punk scene.
The Bay Area band was criminally disregarded by its hippie peers on the music scene during the latter portion of the ‘60s. It’s kind of understandable seeing as how the extended jams of those Dead styled ensembles was in stark contrast to what the Groovies were trying to work out. But in the band’s adherence to its source material – ‘50s rock and roll, trashy blues and British Invasion groups – the Groovies wound up presaging punk with a few tracks.
Back in 1970’s Los Angeles, Rodney Bingenheimer a deejay for KROQ, had settled upon his favorite punk acts from the scene. And, no there’s no reason that he was playing those group’s on the radio apart from the fact that he liked the music, he didn’t really fall in love with the Angry Samoans, though.
That being said, when folks wind up working on projects such as these, it becomes the gospel for people searching through recorded music’s past. And with Cleveland sporting such a rich and long running history, taking a look at a few recollected memories – as well as some compiled demos – can’t hurt too much, now can it?
Heir apparent to the capes and catastrophe that the Count Five have come to represent were San Mateo’s the Mummies. In the quartet’s ramshackle assemblage of a few chords was all of the Bay Area’s low rent rock history. The group’s Egyptian inspired get-ups harkened back to the acid eating Count Five: a sense of showmen-ship was as important to the group as its music, which was a mélange of garage tropes and revved up surf-rock vibrato.
The second wave of DC punk affiliated groups – by this time, it was incontrovertible that there was as much pop and straight rock influence as to begin a disassociation with hardcore proper – didn’t necessarily fair too well. Off course after Ian MacKaye figured out the Fugazi formula, his band would go on to international fame, but there weren’t too many other success acts from the ear. Nation of Ulysses garnered a bit of attention and so did Dag Nasty. That latter group, though, went through a few singers and didn’t really settle on a sound over the group’s first few albums.