Punk USA: The Rise and Fall of Lookout! Records - Brossura

Prested, Kevin

Brossura

ISBN 10: 1621066126 ISBN 13: 9781621066125

Casa editrice: Microcosm Pub, 2014

Riassunto

Through hundreds of exclusive and original interviews, Punk USA documents an empire that was built overnight as Lookout sold millions of records and rode the wave of the second coming of punk rock until it all came crashing down. In 1987, Lawrence Livermore founded independent punk label Lookout Records to release records by his band The Lookouts. Forming a partnership with David Hayes, the label released some of the most influential recordings from California’s East Bay punk scene, including a then-teenaged Green Day. Originally operating out of a bedroom, Lookout created "The East Bay Punk sound,” with bands such as Crimpshrine, Operation Ivy, The Mr. T Experience, and many more. The label helped to pave the way for future punk upstarts and as Lookout grew, young punk entrepreneurs used the label as a blueprint to try their hand at record pressing. As punk broke nationally in the mid 90s the label went from indie outfit to having more money than it knew how to manage.

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Informazioni sugli autori

Kevin Prested is a music journalist, an archivist, and a musician. He wrote for the official Lookout! Records blog and website.

Kevin Prested is a music journalist, an archivist, and a musician. He wrote for the official Lookout! Records blog and website.

Estratto. © Ristampato con autorizzazione. Tutti i diritti riservati.

Punk USA

The Rise and Fall of Lookout Records

By Kevin Prested, Joe Biel, Tim Wheeler, Lauren Hage

Microcosm Publishing

Copyright © 2014 Kevin Prested
All rights reserved.

ISBN: 978-1-62106-612-5

CHAPTER 1

LOOKOUTS ON SPY ROCK ROAD

With a population of under 1,500 people, Laytonville California — located in Mendocino County — is an elevated town founded in 1874 by one F.B Layton, who built the first house where the town is now located. A little over 100 years after Laytonville's founding, a new resident by the name of Lawrence Livermore arrived. Lawrence — or Larry — was born in Detroit on October 28 1947, and the 36-year-old hippie movement supporter made the jump to a new life in the country with his then-girlfriend Anne.

The summer of 1984 marked both a time of discontent and an important first step in what would become an unexpected journey for Livermore. With finances low and a growing, messy situation that would ultimately end his four-year relationship, he hatched the idea for Lookout Magazine. By October of 1984, he primed a crudely assembled issue number one, its pages filled with vocal opinions from a disgruntled perspective. A photocopied run of 50 copies was created, and in little time, through his screeds — a trade learned in the 1960s writing for the underground press — Larry accumulated a swell of outrage among locals, including the "like-minded" hippie community. Local issues were covered in the free Lookout Magazine, naming actual incidents or events in the surrounding Laytonville, which led to a boycott of Livermore and his newly beloved publication, including instances of locals destroying it on sight. With local threats forthcoming, Lookout Magazine began to widen its horizons and focus on subjects aside from the Laytonville pot harvest, including punk rock.

Although Livermore's interest in the punk scene stemmed from the 70s, the birth of the radio program Maximum Rocknroll reignited interest for the newly impassioned editor. The new radio show influenced Livermore to the point of creating music and his new band was formed — taking the namesake of his magazine, The Lookouts. During the bleak breakup of his relationship, Livermore salvaged the drum kit left behind by his ex-girlfriend and now ex-drummer. Sue Rhine met Larry at the gay club The Stud in San Francisco, and after sharing some dance floor moves, they reconvened outside to get better acquainted.

Sue Rhine: "Behind his smile, I sensed that Larry was an interesting and complex character. When he suggested that I ought to consider being the drummer for his punk band, I laughed out loud. I had never even thought about playing drums before. Was this a joke or maybe a very strange pickup line? He insisted that he was indeed quite serious about this and explained that, based on my dancing, he could detect some sort of natural rhythm. He told me that he had a drum set, a rehearsal space, and that he could easily show me what to play. Key elements already in place, I figured, why not give it a try?"

Getting together to play their only gig at a small venue Lawrence had booked himself, Sue became immediately concerned with the idea that they had already graduated to headlining status.

Sue Rhine: "There was some relief in that the audience was quite small. I was relieved that we made it through our set without any major fuck-ups, as if anybody would've noticed anyway. Still, I felt inadequate about my wimpy drumming and lack of stamina. My insecurities had gotten the best of me. I was done. I don't remember how I left the band, probably over the phone. Soon thereafter, I moved away to Maui not knowing whether Larry continued with his vision for a band or not."

The vision was indeed followed through, and would come to fruition upon meeting two teenage boys in their local area of Iron Peak, located off non-county Spy Rock Road. Coaxing twelve-year-old Frank Edwin Wright to come and join his new punk band on drums, Livermore also recruited another youngster — fourteen-year-old Kain Hanschke on bass guitar. German-born Wright also had no prior knowledge behind a drum kit, which raised some voicing of opinions from Kain, who was concerned with not being taken seriously, especially with the age difference of the pre-teen Wright. Hanschke was swayed after several get-togethers, in which young Wright proved his natural rhythm abilities. With Wright's obvious natural talent, an impressed Livermore was quick to re-christen the twelve-year-old with "Tré Cool" — or "Very Cool" in French. Kain Hanschke was duly renamed Kain Kong and the three piece team of Tré, Kain, and Livermore were on their way to springboarding one the most important and influential scenes in American punk music in the 1990s.

The Lookouts fought through the spring of 1985 rehearsing, with further unsuccessful local live appearances. While Livermore continued building the circulation of Lookout Magazine, The Lookouts recorded for the first time, creating Lookout! It's The Lookouts, their 26-track demo tape featuring a good helping of oldies and 70s rock covers. Following the distribution of the demo via mail order, The Lookouts began playing further afield in the Bay Area. Spending more time between San Francisco and Laytonville over the next year, Lawrence became immersed within the punk community and the live scene.

Kamala Parks (Kamala & The Karnivores): "I used to book gigs at various places with Victor Hayden, and we were looking for a permanent place to have gigs when we found 924 Gilman and a very accommodating landlord. It was a bit trying at first because we didn't have money saved up. Timmy Yohannan of MRR was looking for a place to have shows in San Francisco, but wasn't finding anything. So, Victor convinced him to look at Gilman. Tim saw the place, met with the landlord and decided that it would work. But, he had a different idea for running the place ... Victor and I had wanted it to be our jobs to run the place, whereas Tim wanted to run it like MRR, as a collective, volunteer-run place. Nonetheless, I stayed involved with Gilman but Victor dropped out. I regularly went to shows, volunteered, and booked some shows."

Paul Curran (Crimpshrine, Monsula, Go Sailor): "In 1987, when the Gilman Street Project opened, it felt as if punk had reinvented itself. All of a sudden going to shows was A: possible if you were underage, B: fun, C: welcoming, and D: safe. It has been hashed over many times, but it's true that skinhead violence was a regular part of Bay Area shows in the mid-80s and scrawny little kids like myself were easy targets for getting pummeled in the pit and jumped on the street."

With the new venue in place, the stage was set for an upcoming renaissance in the East Bay punk scene. Countless emerging bands would find their feet in the premises of 924 Gilman Street. Along with this musical revolution came a new set of ethics, politics, and rules: No drinking, drugs, racism, sexism, homophobia, or violence; yet it was still rock and roll with an anything goes attitude.

Kamala Parks (Kamala & The Karnivores): "I remember Operation Ivy's first show, more in retrospect than anything. Jesse Michaels held his gut the whole time, but they were obviously a great band, even from the beginning. Isocracy always put on quite a show. One involved a guy named 'Slither' throwing out bags and bags of cat litter during their set. We all had respiratory problems afterwards. Blatz would sometimes throw out very questionable items. In particular, I remember Jesse one time reaching into a furry animal toy and bringing out a handful of something that resembled dog food. I stepped to the back. The singer of the Feederz came on stage with cockroaches glued to his bald head and a dead German Shepherd wrapped around his shoulders. He said something like 'I guess Lassie isn't coming home' and threw the dog out into the crowd. Blood got spattered on a whole bunch of people, including my roommate Honey, who was a vegan and pretty upset."

With Gilman Street entering its golden days, the first documentation of the new scene emerged in the form of a compilation record — the Turn It Around double 7". Compiled by punk scenester David Hayes, the compilation served as the original authority on the secrets of the Gilman scene. Released via the Maximum Rocknroll Records imprint, it quickly added to the legend surrounding the all ages venue. Hayes had laid the groundwork, working with local bands, including Crimpshrine, Sewer Trout, The Lookouts, Isocracy, and Corrupted Morals, on his own cassette compilations. Much in line with these outings, Turn It Around, housed in its handmade cover, put forth seventeen tracks, including Corrupted Morals, Sweet Baby Jesus, Isocracy, No Use For A Name, Crimpshrine, Operation Ivy, Stikky, Nasal Sex, Yeastie Girlz, Rabid Lassie, Sewer Trout, and Buggerall.

Paul Curran (Crimpshrine, Monsula, Go Sailor): "When Turn It Around came out, it was a big deal. It was a mystical thing to put out a record back then, so to have all of your fellow Gilmoids' bands come out on vinyl was exciting. Not only that, but to hear them recorded in a real studio was amazing! Some bands were revealed to be even better than you'd thought — especially Crimpshrine and Isocracy — and some bands, who I won't mention — when you got to hear what they really sounded like, you were like, 'meh ...' I don't know if that record was a huge success nationally but it certainly was locally, and it was played to death. To this day, when 'Another Day' ends I immediately expect to hear the Operation Ivy song right after it."

While David Hayes was busy assembling Turn It Around, Larry Livermore had been gearing up his young cohorts in preparation for what would not only be the first release bearing the Lookout Records name, but also the first official foray into vinyl for The Lookouts — the album in question: One Planet, One People (LK 01). The band's first "official" release was a collection of basic, yet charming and likeable, songs with slight folk flavors. These shambling musical punk performances gave early clues to Livermore's future mastery of crafting a fine, jaunty punk music tale.

Shortly following the album's release, instead of supporting the album in the live scene, Lawrence headed out traveling for a few months. Back from a long vacation, he took a fresh look at the growing scene exploding out of 924 Gilman — and believed it warranted being documented as it emerged.

Having not been put off by the experience of releasing his own band's album, Lawrence forged a business friendship and co-founded a record label with David Hayes. Hayes had been flirting with the idea of starting his own label, Sprocket Records, to release Corrupted Morals. The two were drawn together through Maximum Rocknroll, where Livermore was a columnist and Hayes was a "shitworker," and both regularly attended live shows. A partnership was created, with Lookout Records winning out as the name, due to its recognition in the punk world. Hayes brought a strong edge of comedic value; along with a fantastic, identifiable, and creative individual art style. Despite different personalities — as demonstrated by Hayes's constant referrals to Livermore as "The Hippie" — the formula was successful, with matters of business — even though most of these were handled by Livermore — providing enough common ground for them to work together.

The idea of a split LP between the Lookouts and Isocracy was being toyed with, but the second Lookout release was the Chet (LK 02) 7" EP by Corrupted Morals. The band had recorded two cassette demos in 1986 and 1987 before the debut five track 7" was offered, developing a metal-tinged blend of speedy punk and American thrash. Although undeniably punk, the band's sound was rounded out with two guitarists, and fast metal style blasts of lead soloing, bringing together something musically akin to an early Metallica or Bay Area thrash metal sound battling with early 80s hardcore pioneers like Minor Threat or the Circle Jerks. The mix worked, creating an exciting cocktail of energetic and furious songs, which the five piece laid down at the Art of Ears Studio in the summer of 1987. The colorful photocopied sleeves of Chet featured one folded pink sheet with wraparound artwork by Mark Tippin, based on Bill Paxton's character Chet from the John Hughes movie Weird Science.

Sharing stages with Corrupted Morals was Operation Ivy. Through a childhood bond formed in the YMCA Indian Guides — a group for father and son companionship — Tim "Lint" Armstrong and Matt Freeman discovered English punk records like The Specials and The Clash along with U.S. punk heroes like the Ramones. After experimenting in a few prior bands, Freeman and Armstrong's love of music manifested in their band, Basic Radio. Basic Radio was an early ska-punk band, who played a handful of local shows until the two were kicked out by their bandmates via letter after a couple of years. Discovering the Gilman scene as Basic Radio was falling apart, Armstrong and Freeman quickly found other like-minded individuals to create a new band, again blending the two-tone ska influences into a West Coast punk blender.

Returning to Berkeley after a stint in Pittsburgh, Jesse Michaels was brought on board as vocalist. Michaels already had roots in the East Bay punk scene, having played alongside local Jeff Ott in the band S.A.G. Dave Mello, an Albany local — where both Matt Freeman and Tim Armstrong had grown up — was enlisted on drums following his time behind the kit for Distorted Truth. It wasn't long before Operation Ivy graced the 924 Gilman St. Project, playing their second show with MDC, after their show the previous night in Dave Mello's garage. It didn't take long for the band to hit its stride, and within the scene of 924 Gilman, the band was quickly becoming a hit.

Following the band's appearance on Turn It Around, Operation Ivy worked with Hayes and Livermore on the Hectic 7" EP (LK 03). Recorded in November of 1987 with Bay Area punk engineer Kevin Army in Oakland, the six tracks on Hectic capture a purely honest, raw, and original sound that is an amazing time capsule of a borderless period in underground punk. In its essence, it is the product of an unrepeatable time and place. Recorded in a day, the 7" sold out its initial run of 1,000 copies within a month, surprising the band, even with its newfound local following.

With Michaels busy in Operation Ivy, his ex-S.A.G band mate Jeff Ott was also laying the groundwork in another new East Bay band. The creation of Operation Ivy had driven an important stake into the ground and Crimpshrine continued to develop the scene's foundations. Guitarist and vocalist Jeff Ott and drummer Aaron Elliott (better known as Aaron Cometbus) attended summer camp together at age ten, along with John Kiffmeyer of Isocracy. Starting around 1983, they formed a piano and drums band that slowly evolved. By the mid-1980s, with some nudging from Dave Edwardson of Public Enema, they replaced Tim Armstrong with Pete Rypins on bass.

Pete Rypins (Crimpshrine, Tilt): "I got my folks to buy me some starter bass for under a hundred bucks. I got high every day and practiced in my room for three hours for two years, until I thought myself good enough to join a band. It was my plan all along to bring advanced and melodic bass to simple punk music."

The name Crimpshrine was a tribute to Maya, a high school music scenester who frequently crimped her hair. The trio immersed itself in the 924 Gilman St. community, becoming a regular on the scene, among peers Operation Ivy, Soup, and Isocracy.

Pete Rypins (Crimpshrine, Tilt): "All the Gilman bands were part of our crew, more so Operation Ivy and Isocracy than anyone. Operation Ivy and Crimpshrine shared a practice space in '87 and '88. We played dozens of gigs with them. The camaraderie was strong. However, there was envy towards Operation Ivy, because everyone loved them from the word 'go' and for the rest of the bands it was difficult to establish fans."

Jeff Ott (Crimpshrine, Fifteen): "There was a community feeling amongst the 924 bands as well as the people who worked there. Larry was always around the club, and I had seen The Lookouts a few times, so I already knew who he was and Lookout release #1 was The Lookouts 12" so I guess I already knew he was putting out records."

(Continues...)

Excerpted from Punk USA by Kevin Prested, Joe Biel, Tim Wheeler, Lauren Hage. Copyright © 2014 Kevin Prested. Excerpted by permission of Microcosm Publishing.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Dettagli dell'edizione

• Editore: Microcosm Pub
• Data di pubblicazione: 2014
• Lingua: Inglese
• ISBN 10: 1621066126
• ISBN 13: 9781621066125
• Rilegatura: Copertina flessibile
• Numero di pagine: 191
• Contatto del produttore: non disponibile
• Persona responsabile: Goodfellas S.r.l.; http://www.goodfellas.it; ; Via Rubaconte Da Mandello, 11; Firenze; 50126; Italia