Unnatural Helpers / The Intelligence split 7” – Dirty Knobby

Eddie Schneider bought the copy of this split that the record store I worked at had, so I missed my chance at purchasing this record the first time around. Luckily the hype behind both of these bands died off so hard that I ended up being able to buy a copy for $1.50 a few years after it came out. This is one of those records where each band covers each others’ songs, but the back of the record gives no mention of this, so if you passed on buying this because it only had 5 songs that were already on LP’s, go find it. I could do without this kind of record in general, but there have been two records in the last few years that ruled: the Jay Reatard / Deerhoof split that has a brilliant cover of “Oh It’s Such A Shame”, and this 7”.
Unnatural Helpers playing Intelligence songs falls a little bit flat because what I loved about Unnatural Helpers is the pop that oozes from their lazily played songs. Intelligence write great songs with hooks, but they don’t utilize vocal harmonies the way Unnatural Helpers do, so when they force the background vocals into these songs it just ends up being kind-of-good, but not phenomenal. Hearing a heavier version of “This Is A Gift” is the highlight of this side. It’s much more chaotic sounding than the Intelligence version, and it makes you wonder what Lars’s Intelligence project would sound like if you jammed some more Mayyors down its throat.
As it turns out, Intelligence really kill the Unnatural Helpers tracks. Three songs that are pretty good on the self titled LP end up being total rock’n’roll sing-a-longs. The twisted guitar riffs that play a key part in songs like “Fake Surfers” are used exactly enough to turn these Helpers songs into beach-side romps. It could be used as evidence to show how truly talented Lars Friedberg is, or you could go ahead and say, “Well they were good songs to begin with.” And isn’t that kind of the problem with this format? It ends up being the band with the better original songs that enable the other group to create a cool track. But when your band can write sing-alongs and can’t really capture excitement with covers, you find yourself with the Unnatural Helpers side of this record (or the Reatard side of the Deerhoof split).
This 7” is worth tracking down for a few dollars, but it’s really not a great place to start for either of these great bands. I think the first LP on Hardly Art, or the “Sunshine/Pretty Girls” single on the same label would be the place to begin with Unnatural Helpers, and my favorite Intelligence records are either “Deuteronomy” or “Fake Surfers”.

Brilliant Colors – “Brilliant Colors” – Captured Tracks

Brilliant Colors was top-of-the-pile Slumberland resurgence bands. They were one of the most solid 7” bands that I can remember, so a 12” containing their first two 7”s makes total sense to me. The first side of this compilation is the really wonderful self-titled ep on the amazing Make A Mess Records (Rank/Xerox, Gun Outfit, Grass Widow, etc). It’s funny because I remember really digging the Make A Mess ep when it came out, but probably haven’t listened to it in 3 or 4 years. The songs are definitely there, but it doesn’t have the impact that the follow up 7” on Captured Tracks had. Actually, I take that back. I think that the first side of this compilation (the Make A Mess 7”) sounds like a band trying to find their sound. Each song sounds a little bit like a different band, and this sometimes ends up being a turnoff for me. “I’m Sixteen” might be the most punk sounding song Brilliant Colors wrote.
The second side of this LP contains the two songs from the Captured Tracks single (“Highly Evolved” and “Takes So Little”) as well as a bonus track (“I Start With Your Name”). This single wasn’t something that necessarily stuck with me, but when I listen to it now I totally understand why this band was so awesome. “Highly Evolved” is a beautiful song that could very well have been on the original Slumberland comps. It’s not too far off from Raincoats, but the harmonies are still a little bit more punk sounding. I think that when this came out, under the shadows of the Brooklyn-“girls” bands, this probably just blended in. But after a few year break from the Viv’s, I can safely say this record rips. It’s just sloppy and lazy enough to come off as punk, but just dreamy-sounding enough to be a solid genre release.  I'm glad I grabbed this for the steep steep price of $1.50, otherwise I might have continued to kind of forget about these jams.


The bonus song sounds like a throw-away track and isn’t reason enough to buy this compilation, but if you don’t have the first two records, its well worth the bargain basement price that I paid for it.

here's an awkward youtube video to make you feel good:

Saturday Part Time Punk

I'm playing records at the Wythe Hotel rooftop bar in Brooklyn on Saturday. Lots of protopunk/mod/uk/garage is getting played. Come if you want, It's free.

Calabi Yau – “Elitist” – Lunchbox

Calabi Yau were hands-down the best band in North Carolina for a few years. There was no other band pushing music as hard or as out-there as this band, and they opened every single rad show that came to Charlotte. By the time this record came out, they had already been a band for close to four years and had changed sounds quite a few times, always holding on to the off-kilter feeling of near collapse. Between the time that this record was recorded, until it was released the actual sound of the band had changed so dramatically, that seeing them sell this record was actually strange. They mellowed out and a lot of the intensity had left. They had also gotten quite a bit more popular, which led me to believe most of the squares that bought this record after seeing their more subdued live show were left scratching their heads.
This single does a great job capturing the most no-wave sounding that Calabi Yau ever got. The two-guitar rambling is very routed in the Mars/DNA camp, but the drums are off the chart in terms of defining. Davey, who later went on to play in the very good Moenda, is probably my favorite drummer. There are points in these songs where it sounds like he actually wrote the songs and had the other two members write parts to accompany his incredible drumming. The first side of this record sounds a lot more like the Contortionist than the second side, but I could never figure out why until I accidentally listened to it with the bass cranked: the bass line on the second side is just amazing. It pulls a bit away from the New York scene and starts drawing more into the Skin Graft arena. Some of the back-and-forth between the stringed instruments is reminiscent of Arab On Radar, but there is nothing abrasive about the actual sound of the record. It’s recorded well, and it’s beautifully packaged, but there are moments when the drums kind of disappear in the recording. I wish that I could remaster just the drums on this record and put that out again because I feel like it would be a game changer.
This record never really sold well for a variety of reasons. When the band was most active they were touring and playing out all the time, but by the time this came out some of the energy seemed to have disappeared. I think the delay in getting the covers assembled definitely contributed to this problem. It’s hard to sell a record when you know you only have half of the pressing to sell. Bo White, who sings and plays guitar and bass on this went on to play in Yardwork, as well as putting out a number of solo recordings and running the now-infamous, Yau Haus in Charlotte. Robin and Davey, who played guitar and drums respectively, went on to form the really incredible Moenda, who put out an LP and in my opinion, one of the best demo tapes I’ve ever heard.


This video isn't from this ep, but you get to see at least a little of what was going on with this group-

Diet Cokeheads – “Nasal” - Drugged Conscience/Vinyl Rites

Diet Cokeheads went on a tear for a few years where it seemed like everyone that was into noisy punk was extremely excited for them. They toured pretty extensively, put out three records and split in less than two years, and then disappeared into the swamps of Florida. The “Nasal” ep I believe is the first of the three 7”s, but I could be wrong. The two songs on this record definitely sound similar to a lot of the things that were happening in Florida, Texas, North Carolina, and Brooklyn at the same time. It’s very influenced by the AmRep/noise rock scene of the early 90’s, but I’d argue that most of the music that was coming out around 2009 in this vein was much less flat sounding than a lot of the 90’s bands that many reviewers so frequently mentioned. I think it’s that the beefy bass, noisy guitar, and occasional sketchiness of the collective group of punks making this music had more in common with those that had made music the decade prior.
“Oedipussy Complex” is a screeching mess of pounding bass, stomping drums, and spoken lyrics. The vocals remind me a little bit more of John Sharkey on this song than on any of the other Cokeheads tracks, but after Brian (or possibly Daniel?) stops singing on this track, the female vocals take over until the outro. It ends up much creepier than a lot of their other songs, and the literal tracks of just static only add to the very unhappy listening experience.
The flipside, “High Country”, is a slower, almost Butthole Surfers sounding song that plods along until a dramatic short-lived tempo shift. It’s heavy, noisy, and a real head-banger. When the tempo shifts for an extended period of time and the Viv’s vocals come back in, it really drives the song home. There are a few bits where the guitar noise combined with the vocals actually make this song sound a little bit like Teenage Jesus and the Jerks, though I’m not sure it was intentional.
This record was released by two excellent Florida labels: Drugged Conscience (Cult Ritual, Dead Friends, Libyans, Neon Blud, Tenemant, etc) and Vinyl Rites (Mauser, Pollution, Bukkake Boys, Nazi Dust, Church Whip, etc). It was also recorded by Carson Cox of Merchandise fame. Post implosion Brian moved all over New England but is now playing in Ukiah Drag and Cottaging, while Daniel opened the really excellent Arrow’s Aim record store in Gainesville, and Viv is living in NYC.
Everything Diet Cokeheads put out was perfect, so do yourself a favor and pick it up.

Buster Poindexter And His Banshees of Blue – “Hot Hot Hot” 12” – RCA

I couldn't think of a better way to end 2013 than with Buster Poindexter.
Oh you like the New York Dolls? Have you ever heard the stuff that David Johansen did afterwards? You mean when he played in the Saturday Night Live Band? No… You mean the string of somewhat mediocre solo records? No… You mean when the Dolls reformed recently to put out a shitty non-Thunders album? No… I mean the most fabulous post-dolls performance ensemble: Buster Poindexter!
Is “Hot Hot Hot” one of the greatest 80’s pop club songs that makes you want to kill yourself? Almost certainly. This 12” however features not just one version of the Caribbean cruise-destined single, but FOUR! First on here, you have the extended club mix that will have you dancing for a very long five and a half minutes. After you’ve finished grinding your hips to the dance mix, is of course the radio edit that was also released as a 7” (which is probably a better buy because it has the song “Cannibal” along with one version of “Hot Hot Hot”).
The second side of this DJ single is of course, the “Caliente Dub Mix”. If you wanted more slap-back-reverb soaked Johansen screaming and an almost PiL level rhythm section along with sampled headache-inducing Hot Hot Hot chants, then you have to hear the Caliente Dub Mix. It’s kind of unbelievable that they thought this version needed to exist along with the last cut, the “Spanish Club Mix”, but we are all lucky to have them both at our palms for basically pennies.  It's kind of amazing Mr. Johansen managed to pull of this character so successfully.  More power to him, and given that he's currently playing shows every few months in New York, maybe I'll get a chance to see him do this jammer.

The Shitty Limits – “Here Are The Limits” ep – Sorry State

I didn’t hear this ep until after I’d worn a hole through my copy of The Shitty Limits first and only LP, “Beware The Limits”. I was already singing along to modern punk classics like “Television” and “Your Limits Are My Limits” and I knew that I needed to track down the four 7”s that preceded the LP.
“Here Are The Limits” emits the same upbeat punk vibes that their LP does, and all the songs could have stood alone as singles. I’m actually shocked that the title track of this ep didn’t chart in the UK, but with a name like The Shitty Limits, I guess making it probably wasn’t ever an option. The first two songs on this ep bleed together and create a feeling that the whole first side was recorded live. “I’m A Square” is the poppiest of the three tracks on this, while “All The Rage” finishes out the A side with a song that’s probably the most similar to US hardcore that this band would ever be.
The flip side is another three tracks of catchy UK punk. The songs on this side seem longer and more thought out than the previous, but that might be because the first song is such a stomper. Instead of relying on the single slow riff, this songs switches back into another racing punk song that owes at least a little bit to the LA band with circle tattoos. “In Your Shoes” is another song that given the right circumstances, could have been a huge hit. Honestly, if the vocals on this record hadn’t been recorded through a megaphone then this could have been used during a beachside Coca-a-Cola add. “Leave Me Alone” closes out this ep with a real blitzkrieg speed pair of riffs that will have even the most hardened punk bobbing their head or pogoing in their living rooms.
I’m sad that this band is no more. I was lucky enough to see them a few times and they did not disappoint. If you dig this 7”, I encourage you to check out every other record, especially their long player, along with the new Golden Triangle LP on Sorry State.

Crossed Eyes – “Rattled” – Sorry State

Two hardcore punk 7"s in a row!?  It's a Christmas miracle!

Crossed Eyes were the first band I saw Rich Ivey play in where I thought, “Jesus this guy can write songs” (Rich is the mastermind behind the prolific Whatever Brains). I was a fan of thee Sharks, but didn’t really think they were doing anything spectacular beyond being a very very solid local band that brought cool bands to North Carolina. This record was also one of the first records that I remember making me really stoked on Sorry State Records (who are of course now a hardcore powerhouse). I had bought the Direct Control LP that Daniel did as well as the Koro represses, but when a local record of this caliber came out it became very apparent that Mr. Lupton was doing something special, and at least for me, marked the beginning of the North Carolina music domination that culminated in Double Negative being hands-down my favorite hardcore act in the world (I’m aware that -/- and the Eyes existed during the same period).

The first side of the Crossed Eyes 7” starts with the title track, “Rattled”, a two minute jammer that I always thought sounded more like Marked Men than anything else. There is actually a moment in the song where it’s almost a 90’s pop-punk sounding jammer, but lets all agree to ignore this fact and focus on the sheer power that this very simple record produced. The end of this song veers into a chanting “Crossed eyes, cracked teeth!” that always has me yelling along at home. This side finishes off with a song that isn’t much different that the one previous except for a British sounding guitar solo that dominates the latter half of the track.
For whatever reason, the second side of this record always reminded me of like Hot Snakes, but after listening to it for the first time in a while it actually makes me think of the Buzzcocks. I think it’s the bass line in the first song that jumps out to me as something Mr. Shelley would have written, though these songs lacks the sing-along ability that most of the British bands it references had. In that way, the first song really is much more akin to some of the hardcore records that I know everyone in Crossed Eyes love. The last song on the record, “Scottish Pop”, is probably my favorite. It’s bouncy and upbeat just enough to suck you in, but it also has some really perfect bleakness to it which is a nice change from the previous three tracks of upbeat punk classics. It’s almost like Ian Curtis started writing songs along with all of the punk bands I already compared this record to, except without being whiney little babies.
The art on this 7” is cool, but there is something to be said for not having your cover reflect your band’s name. The printed inside of the sleeve is beautifully and actually feels a little bit like something Nick would end up doing later in the F≠ world. Something I’ve always appreciated was labels' having a distinct center label for their records (specifically the beautiful Small Wonder Records center labels from the late 70’s and early 80’s) which is obviously something Daniel thought about in the first few years of being a label. If you like this record, you can buy one RIGHT NOW for ONE DOLLAR from Sorry State, along with a few more recent things he’s done that any fan of Crossed Eyes will probably enjoy (The #Ones 7”, Whatever Brains third LP, Love Triangle LP, etc).

Avon Ladies – “Guns and Gold” – Katorga Works

A band with H-100’s members and Pigeon Religion members? Gold foil covers? Gun wielding Grateful Dead bears on the back cover? SOLD!
I remember buying this, listening to it a few times and thinking, “this is good, but man I wish it was better” and after a few years (and finding another copy for a buck a month ago) I kind of feel the same way. The songs on the first side are GREAT, but there is some definite riff salad going on a few times. “Hang Em High” is clearly the standout on this side, and I’m happy to say, the weird-factor doesn’t ever run thin on this record. It really is as out-there as it was supposed to be. The songs are kind of scattered and the Ginn-worshipping is pretty well isolated.
The second side of this 7” starts off with a very Pigeon-vibed song. It’s noisy and punk and much more cohesive of a track. There isn’t any uncomfortable stop-start-stop fastcore going on, which is an improvement over the first side. “Quality Programming” is a real stomper that could very well have been an Amphetamine Reptile single, but because of the sound on this record, ends up sounding much dirtier. The second song, “Power Failure” takes a step away from the AmRep and back into the H-100 realm. It’s a great song, and at parts even sounds like the almighty Double Negative.
This record is a solid piece of wax, and Adam should be proud to have put it out. I just wish this band would grace us with a real full length already!

Blues Magoos “Gotta Get Away” b/w “(We Ain’t Got) Nothing Yet” – Mercury (1966)

And now for something completely different…
As a fan of protopunk, garage, and psych music, seeing a 45 in a cheap bin scrawled with “Garage/psych” is always exciting. When I pulled this out I realized it was the one and only Blues Magoos! Blues Magoos are a band that I had only heard of because of reading old posts on the wonderful Flower Bomb Songs blog. The Brit that does this blog has taught me more about 60’s punk than any other source. He knows his stuff and finding stuff he recommends is always cool.
Once you get past their awful name, Blues Magoos wrote a handful of really catchy singles in the mid-to-late 60’s, and were one of the first bands to use the word “psychedelic” to describe their music. I think it’s kind of funny, because there isn’t a ton of “psych” going on with this single. “Gotta Get Away” is a really great stomping garage song with a blistering chorus and bridge. The guitar solo is actually much punker than most of their contemporaries.
“(We Ain’t Got) Nothing Yet” was the Magoos big hit and it’s the reason this record can be score for a buck. It’s a garage rock classic that was probably bought by every fan of the genre in 1966. The bass line, and the mirrored organ riff, are danceable and punchy in the same way that some of the 13th Floor Elevators tracks are. As a band, the Elevators do a much better job with this genre, but Blues Magoos most popular single really does have it all.
The copy I bought was from the new Captured Tracks storefront in Greenpoint and is an old cut-out that’s in pretty good shape. If you see this single (or the earlier one on Verve) it’s definitely worth picking up.

Frumpies – “Babies And Bunnies” – Kill Rock Stars

With the release of the Kathleen Hanna movie, “The Punk Singer”, I’ve been revisiting some of the classics, including the wonderful and often ignored Frumpies. The Frumpies existed at the same time as Hanna’s Bikini Kill, included Billy, Tobi, and Kathi of Bikini Kill, but didn’t feature Hanna. There was a second on this record that I thought I was listening to an Ian Svenonius band, and then I realized that the almighty Michelle Mae plays bass on this record! So this band is members of Bikini Kill, The Make Up, and Bratmobile, came out in 1993, and are on Kill Rock Stars. Do you really need me to tell you what it sounds like?
This record surprisingly sounds much more like a sloppy garage band than it does Bikini Kill. It’s very punk, but the vocals are layered in reverb and aren’t nearly as direct as anything Bikini Kill did. The riffs are just as stripped down, and at points I actually thing I heard a Bratmobile lick. The recording quality is pretty good, sans the vocals that sound like they were recorded straight into a boombox in a cave. I actually really like the songs on this record, especially the very proto-punk sounding “Bo Good”. “What’s His Name Heart’s The Frumpies” is a motor-city rock’n’roll jam that is only grounded by the poor-mix. It could have easily been a song in a Toy Machine video had they not completely botched how high the vocals are in the mix. It’s a shame because this record is still a ripper, I can only imagine how great it would have been had it been produced properly.
I guess that’s the price you pay for being punk?
“Intertube Tomorrow” is the best track on this record. The vocals are relaxed and the songs drips of attitude. It even starts out with the classic lyric “East coast west coast, I think I hate them both…” Solid record, solid band, and a good time to sit down and listen to the Frumpies.

GG King – “Drug Zoo – Rob’s House Records

Mr. King was a member of the almighty Carbonas, and if you only heard his first 7”, “Adult Rock”, you might have assumed he wouldn’t ever stray from the path paved by the last Carbonas LP. “Drug Zoo” is a lot less Carbonas than “Adult Rock”, which is weird because I think the songs on this ep were from the demo that Greg put out before any of the 7”s were released. In fact, if I remember correctly, the 7”s on Rob’s House and Local Cross were just demo songs put onto wax (something that seems to be standard in punk now). Anyway…
This record is great. The title track is a catchy little sing-along that will get every punks’ head bouncing up and down. It actually is a little bit more Australian sounding than I first picked up on. The bass thumps along with the drums and they together really carry the song. According to the back cover, Chris from Carbonas and Bukake Boys played bass on this record, which is good news and totally explains the sick song.
The second side is more upbeat and while I like the song “Witching Hour”, I don’t think it’s nearly as cool as “Drug Zoo”. Other than the moaning background singing, I don’t think there is anything that really catches me about this song. The 7” ends with a great cover of the Box Tops’ classic, “The Letter”. Greg King’s vocals carry this otherwise pretty standard cover. Two of the best people I know in the world are now in GG King, so if you're in Atlanta (or if they ever tour), go see them.


here's a youtuber:

Reprobates – “Stress ep” – No Way Records

Canadians playing hardcore the way that only true hardcore punks could. The first song on the ep is clearly the standout, if for no other reason than the tribal drumming intro. I feel like so many bands in the late 2000’s were trying to –pull off “weird” hardcore (thanks a lot McCoy), and most just didn’t get it. Reprobates accidentally made a hardcore classic while still maintaining a total “outsider music” vibe. This band did “it” right! Their demo was catchy and beautiful and from what I remember, had a total Boston Crew vibe to it. The building up and then releasing of energy and tension is what this band nailed. They created songs that made you pull your first back in anticipation of the release and then blindsided you with short explosions of hardcore power.

The second side of this ep isn’t as standout as the first, but the songs are probably better. The title song, “Stress”, which starts the second side, is a very well done example of the No Way Records sound, but I think that their guitar leads are more interesting than a lot of the stuff that the Ferrell’s gave to us. This I meant to be less of a putdown of this time period in hardcore, and more a praise for how well Reprobates pulled it off.
The last song on the ep, “Gone To Shit” could very well be a lost SSD song. Like, I think it might actually be “Boiling Point” for a few bars. This record is a certified ripper and the fact that you can currently buy it from Grave Mistake for basically nothing should motivate you to GO BUY THIS!

Eddy Current Suppression Ring - "Wet Cement" - Mexican Summer Records

Hey!  I've had what might be the flu for a few days and before that was dealing with being an elementary school teacher in the weeks building up to Christmas, so the Dollar Bin Rippers blog has taken a back seat to actual responsibilities and illness.  Deal with it. I'm also always looking for people that want to contribute to the blog, so if you are also an avid fan of the Dollar Bin, send me an email.  I'm returning with a real banger:

What can be said about these Australian geniuses that hasn't already been said a thousand times? They were THE band for a few years, and then after a lackluster (and expensive) 12" and a return to their homeland seem to have simmered. I like just about everything that ECSR gifted to the world, and at the time when this came out, I was a huge fan of the Mexican Summer label. This single (along with the Jacuzzi Boys record) marks the end of my interest in Mexican Summer. The Kurt Vile, Golden Triangle, and Headdress records were all great, but after a bunch of lackluster (and expensive) releases, I didn't care anymore. However, this Eddy Current record is great!
The record starts out with "Wet Cement", a typical lazy-paced Eddy Current riff that pulls you along for half the song before the chorus finally kicks in. The return to the initial riff is with great relief and honestly, I would buy more than one record that was just this riff nailing into my brain. Great single, but not surprised it wasn't a total hit. It doesn't offer much for the non-ECSR fans (or post-punk fans in general).
The second side is much more "Primary Colours"-era Eddy Current. It still includes a riff that is played ad-nauseam, but the songs are much more driving and at one point even Fall or Gang Of Four sounding. The last song is my favorite, and is the reason I'm including this record for Dollar Bin Rippers. It's a sing-along ECSR classic. Buy this record if you have any interest in the Australian outsider headliners.

Voxtrot – “Mothers, Sisters, Daughters & Wives” b/w “Rise Up In The Dirt” – Full Time Hobby Records

At Macrock in 2005 I happened into seeing Voxtrot and they were unbelievably amazing. A band that I knew nothing about completely blew away every other band that I had driven to middle-of-nowhere Virginia to see (Cloak Dagger was sick though). They totally played a good time slot on a Friday, and I remember their set more than any other band that weekend (including Fucked Up-with-a-guy-bass-player).

“Mothers, Sisters, Daughters & Wives” is by far the best Voxtrot song. Throughout the last couple of years I’ve managed to track down all of the Voxtrot records, but after listening through all of them, I purged the majority of the records that were “just okay”. The LP, and this single are miles above everything else they put out, and honestly better than almost everything else that Pitchfork raved about from 2005-2007. While “Rise Up” is a solid song, “Mothers…” is one of the best twee songs from the last 10 years. It’s unstoppably good. The slap-back guitar chops at the beginning, straight into a haunting organ, and the main riff kicking in over Ramesh Srivastava’s vocals: it’s damn near a perfect song. If you’re into this kind of music, it’s hard not to get chills listening to this song.
Voxtrot seemed like they were about to be THE band of the mid-2000’s, and then after an LP their hype suddenly died. I don’t know if they had a bad publicist or if the rabid media beast that was indie-rock-press found another band to praise, but it’s a shame that they didn’t end up being Arcade Fire-famous. Fortunately for any reader of this blog, a bunch of Voxtrot records have started showing up in cheap bins. During the much-written-about Academy Records purge I re-bought the “Firecracker EP” and won’t be giving this away.

GRAVE MISTAKE DOLLAR BIN RIPPING SALE!

Alex Grave Mistake is having a completely bonkers sale he's having.  Grave Mistake has been one of my favorite distros for a long time for the sheer magnitude of what he carries. He doesn't shy away from taking chances on out-there records and will buy pretty much anything that seems cool.  Unfortunately, these same awesome characteristics of his distro means he ends up with some dead stock.
This whole weekend Alex has had a pretty unbelievable Black Friday sale and it's every Dollar Bin Ripping buyer's dream.
Check it out here:
http://www.gravemistakerecords.com/catalog/index.php?cPath=51

He said it's only going to last another day or two, so get buying!

Rob

DBR: November Wrap Up

November was a big month for my personal record buying.  I returned to North Carolina and filled some pretty easy holes in my collection (how did I not own GI?), bought a couple long awaited want-list items (UK punk collection is reaching its limit), and New York City stores really picked up their game.  Mr. Adam Katorga bought some pretty intense records while I was cleaning up the $10 bin at wfmu, and Chris Fan Death's buying slowed down (though the Taco Leg LP he put out is pretty great).  West SS chastised me for not calling him before passing on a couple cool records as well.

Dollar Bin Rippers updates slowed down a little, but the choices are pretty sick.
Here's what we wrote about this month.
Warren Zevon - Werewolves Of London
Knaves Graves single (ATL!)
Meth Mountain - Monotony ep
Shana David's super out-there and mysterious single
Rockpile LPPPPPPP
There were a few others scattered in there, but a few of us were focused on buying too much.  Many more updates to come.

Warren Zevon – “Werewolves Of London” b/w “Roland The Headless Thompson Gunner” – Asylum Records

Warren Zevon might be my favorite rock’n’roll celebrity. Besides putting out a record on his deathbed, writing a song with Mitch Albom, releasing a greatest hits while dying that’s cover was his skull, and being the best guest on Letterman, Warren Zevon wrote the greatest dark-humor songs ever.
This single has two of best examples of Zevon’s fucked up sense of humor, both of which were featured on the 1978 album “Excitable Boy”. Every Warren Zevon single is a dollar bin ripper, but this single is THE RIPPER. “Roland The Headless Thompson Gunner” is a rock ballad the way that every brooding piano player wishes they could write. Not to be out-fucked-up by some other songwriter, Zevon co-wrote a song about a mercenary, with the help of an actual war mercenary. This song is also the last song that Warren Zevon would play before his death on Letterman.
“Werewolves of London” is a party pleasing sing-along. I have more fond memories of this song than maybe any other single. “Excitable Boy” might have been the original hit from this record, but “Werewolves” is the ripper. If I could play piano, I would exclusively play this song until I drove myself to Zevon level of insanity-genius.

I’m including a youtube link for the first on this blog because of how badass this is. Zevo’s last time on Letterman, pretty much his last live performance, and within months of dying (all of which is documented by Billy Bob Thorton of all people):