This song has always been one of my favorites by one of my fave local punk bands. Ded Bugs recorded this song sometime in the late 1990s and included it on the Landlocked & Loaded! TIRC Records comp that I put out in the spring of 2000. Wanted to share the song on Facebook so I thought it would be a good idea to upload it to YouTube. Got a little creative with the imagery in the process. Hope you dig it.
White Suburban Youth—it was an adjective. A lot of hardcore bands wrote about all kinds of things we had no real experience with, and guessed a lot of them didn’t either, so we didn’t see the point in it, well, at least I didn’t and I wrote the lyrics. We put “youth” in the name, as a bit of a joke, too, since there was no shortage of bands with that in their name.
The band started in the Ritenour High School radio station after hours. It was just Rob Wagoner, myself, and another friend, Keith. This would have been very late 1982. We banged around, recording to a two track until the school year ended, then moved to the basement of Keith’s parents’ house, since they were in California for the summer. Prior to that we had also added Tom Sutter on bass. It was during this summer of 1983 that we really started putting a set together and writing more songs. There were a lot of comps out at the time and Rob commented we were better than most of those bands already. Considering these were mostly Mystic comps, that wasn’t really a great feat. It was also during this time that Rob declared we would play Mississippi Nights. I can’t remember if he said within the year or not but we did accomplish that in August of 1984 opening for MIA.
The next phase was the fall of 1983 when we had to move from Keith’s basement to Rob’s house, where we set up in his room to practice and record to a cassette with two microphones. I’m guessing those tapes are someplace if they didn’t get recorded over later. We had a lineup change during the early months of 1984, losing Keith and replacing him with Fritz Noble, who we had met at Mr. Records. We were amazed by his playing because he had hi-hats, having him with us increased the momentum. After playing with Fritz for a month or so, we recorded the first demo, mostly just pulled songs from the practice tapes and dubbed them to one tape, made copies and sold them at New Values. At this point we had still not played a show.
Our first show was the infamous Offenders gig that was raided by the vice squad at the Bernard Pub. Up until then we knew a couple of people from hanging out at New Values and going to a few shows but we didn’t hang out in the scene. Rob and I spent our Saturday nights hanging out at the community college station, KCFV, for the Radio One/Faster and Louder show. It was through the DJ for the show, Rob Meirhoffer, that we got on the Offenders gig. After that show, we were pretty much immersed into the scene over night. We played a lot of house parties and then got our second show opening for the Rude Pets and The Unconscious Five at the Tivoli. Before that I had been reluctant to get involved with people outside our own band. Fritz and Rob had to actually come to my house one night to talk me into playing our first party. But from that Tivoli show on we played more parties and I was more than happy to do it. The other highlight of that early summer was a New Values basement show with Drunks With Guns and Proud Young Men.
During the summer we pretty much lost our bass player, Tom, due to his schedule, so we played a lot of these parties without a bass player, then in August added Gary Yoxen. I think the first show was with MIA at Mississippi Nights.
Going into the fall of ’84, we played some pretty cool shows, 45 Grave/Vandals, Stretch Marks in KC, TSOL, and more house parties. We did a huge New Year’s Eve party at Bob Thurmond’s house in Overland. He joined the band when Gary moved to Atlanta a few months later. We played more shows than I can remember right now. The next really big one was with Battalion of Saints at Mississippi Nights in June of ’85. We hit the road a few more times to Columbia, MO, Topeka, KS, and Springfield, IL.
In January ’86 we played with Naked Raygun at SIU-Edwardsville, and that made us enough money to record in a real studio. Well, in a guy’s basement in St. Charles, anyway. This would be the second demo that we didn’t really sell for very long since we broke up not long after we made it available. We did a lot of shows at Turner’s Hall in between but ended up doing our last show with Naked Raygun at Turner’s in April ’86. Fritz was more interested in doing Culture Shock and Rob and I had been talking to Mike Doskocil about doing something, which led to the forming of Ultraman.
–Tim Jamison, Summer 2014
White Suburban Youth members:
December 1982 through January 1984:
Tim Jamison vocals, Rob Wagoner guitar, Tom Sutter bass, Keith Ubelien drums.
Fritz Nobel drums.
Gary Yoxen bass.
Bob Thurmond bass.
“So This Is Apathy” recorded February 1984 with Tim, Rob, Tom, and Fritz.
“February 1986 demo” (I don’t know that it ever had a name) with Tim, Rob, Bob, and Fritz.
Catalog number: TIRC-013
Out now on TIRC Records:
“City PD” is a peaceful protest to the crosshairs that white suburbia has aimed at “disparate” people. These people are deemed dangerous because of their race, color, creed, gender and/or socioeconomic standing. When law enforcement becomes a button pusher for the people of power, then anyone who doesn’t match the profile is a target. We, the “disparate,” must be unified in voice to stop the senseless violence on our peers.
What happened to Michael Brown is not a lone incident. We are angry, we are sad, and we are amalgamated. “City PD” is a reaction to the rich history of police brutality in the United States of America. If simply existing makes someone a target, then there is no justice anywhere.
This song is dedicated to Michael Brown and all proceeds from “City PD” will go to the Michael Brown Jr. Memorial Fund. CLICK HERE TO BUY/DOWNLOAD.
Artwork donated by Ray Lego @ RayLego.com
Catalog number: TIRC-012
It was 22 years ago today, and THE REEM had nowhere to play.
That’s right kids, THE REEM was a highly unsuccessful and obnoxiously offensive Metal/Country/A-Capella “band” that wowed crowds of up to 6 people (including friends) that assured they would not be asked back to any of the few places they were lucky to have played.
Their Metal-A-Capella shreeking was obviously misunderstood and an easy way to clear any room (including the so-called “punks”). In fact, the song “Nobody Likes Us” is a very accurate portrayal of THE REEM.
The original concept came from McDink & Schtick to form a crappy cover band to make $$$$. Playing the worst, burnt-out crap cover-band songs imaginable, but with a distinct edge… to deliberately SUCK (with feeling) and watch the $$$$ roll right in. Thus, THE REEM. This shitty band makes $$$$ and the audiece gets THE REEM. That—somehow—evolved into what THE REEM actually became… which was, well, THE REEM. Need we say more? I MEAN, C’MON.
Formed in 1991, THE REEM consisted of:
SLACK – Vocals, Harmonica, Jaw Harp
SCHTICK BORG – Lead Drums, Vocals, Kazoo
SQUEEGEE PAPSMEER – Lead Guitar, Vocals, Posturing & Posing
XORON VALDEZ – Lead Bass, Vocals, Whining
All members contributed “songs.” Some completed by one member, some collaborated, each and every one an embarrassment. Including the McDink-inspired guitar riff for the opening track, “BIMBOS RULE.”
The 1st and only official release, YOU’RE GONNA GET IT SOONER OR LATER, was mass-produced on 100 cassettes, which the band proudly couldn’t even give them away for free. The album cover art work was by SLACK and is classic! Recored “LIVE” on 4-track cassette.
The 2nd release, SCREEMIN’ FOR A REEMIN’, was recorded but never officially released. A pity, we realize… UNTIL NOW, BABIES!! Recorded “LIVE” on 2-track cassette. Like a mixing board through a home stereo cassette. Very “High Tech.” Recorded “LIVE” from start to finish, including the song “WOOD JA,” which was written and recorded on the spot. Believe it, Ripley. In other words, what you’re hearing is the first time they ever. played. that. song. (and, most likely, the. last.)
A 3rd release of the “band”s favorite covers titled REEM ACHES was planned, but never recorded. Yeah, you could say the “band” REEMED themselves on that one.
Due to the lack of success, talent, and absolutely no support, THE REEM blew away like a sputtering fart and never played again. Thus ends one of thee most lifeless tales in the history of St. Louis RAWK.
Slack and Schtick, however, remained close friends, and, in 1995, the opening of “The Rock & Roll Hall of Fame” inspired Slack & Schtick to introduce “The Rock & Roll Hall of Flamers.”
And finally, the very last gasp of THE REEM was in 2001 on the 10th anniversary of THE REEM. Founding members Slack & Schtick decided to have a REEM Reunion Farewell “Concert” featuring no original members, but couldn’t find anybody to commit. Go figure.
Slack passed away on March 5, 2011. RIP, old friend.
Catalog number: TIRC-011
It’s rock ’n’ roll, babies! Freakin’ the beat and pumping the punk muscles, the man-children are drivin’ sonic switchblades in the earholes. The Yowl be rockin’ and rollin’, children! EP number #2 be born! Lipstick on the holy 12-bar blues in leather-clad fury: it’s the Apocalips!
Produced by Jonathan James (Someone Still Loves You Boris Yeltsen) in Queen City, MO, Apocalips comes hard and unapologetic. The Yowl’s boogieman awakens in trash-garage wonderland, caterwauling in a streamlined climax of unbridled energy. Sylvain Sylvain of The New York Dolls joins the band on “Get Off” and adds heavy cream with wail and moan to the sleaze romp. On #2, it remains: Rock ’n’ Roll had a baby and they named it the Yowl.
Vocals, guitar, and harmonica: Bobby Skulls
Guitar and vocals: Brad Barnerd
Bass and vocals: Heath Lanyon
Drums: Nick Smith
Organ, Guitars, and vocals: Eli Southard
Sylvain Sylvain Mizrahi: Guitar and Vocals on “Get Off”
Jonathan James: Percussion, Background Vocals
C.H. McCoy: Organ on “Lips of the Apocalypse”
Ryan Spilken: Organ, Piano
Produced by Jonathan James
All songs written by Bobby Skulls (ASCAP)
The Yowl logo: Stephen Blickenstaff
Album artwork: Nathan Cook
Catalog number: TIRC-010
The rockin’ 2nd LP from The Nevermores from St. Louis! “Adeline” picked by Little Steven as the COOLEST SONG IN THE WORLD for July 8, 2012, with heavy rotation on the Underground Garage channel on SiriusXM!
CLICK HERE TO DOWNLOAD (FREE) or to purchase a copy on vinyl.
The Nevermores are:
John Ebert (vocals/guitar)
Steve Marquis (bass/organ/sitar/vocals)
Jason Sanders (guitar/sitar)
Roger Ward (drums/vocals/percussion)
Catalog number: TIRC-011
The Gentleman Callers formed in April of 1999, played two shows on July 1 and 2, 1999, then got in a fight and broke up. Three years later, they reappeared with an organ player and 2nd guitarist (same guy), played a bunch of shows, self-recorded and self-released a single, toured a little bit, recorded a full-length CD released by Wee Rock Records of Springfield, MO, then broke up before playing any out-of-town shows in support of that album. In 2005 they got a new keyboard player, played more shows around the Midwest, recorded the basic tracks for a second album, then broke up before finishing or releasing that album.
This album is the result of those sessions. A Tangled Mess (there was a different working title but this seems more appropriate in retrospect) blends Beatlesesque pop, raucous R&B, and trashy garage punk in a way that is uniquely the Gentleman Callers. Sometimes serious, sometimes stupid, always entertaining, the new album features twelve songs written by four 20-somethings in the 21st century. Yes, it is influenced by music of the past 50 years; but it is not retro, a throwback, or a “period piece.” It’s just good. Good music is not specific to a particular era or genre.
Kevin James Schneider – vocals, bass, harmonica, guitar, baritone guitar
Mike Virag – guitars
Matt Picker – drums
Seth Porter – organ, piano, electric piano, vocals, acoustic guitar
Recorded October in 2006 and 2007 at Firebrand Recording in St. Louis, Missouri. Engineered by Brian Scheffer. Cover photo by Sharon Brogan, used under Creative Commons license. Designed by Jeff Kopp and Matt Mauger.
BUT WAIT! THERE’S MORE…
The Gentleman Callers’ live set recorded on The Wayback Machine radio show on KDHX-FM 88.1 in St. Louis, Missouri, on the evening of October 18, 2004.
In case you missed it, this past week we officially released LEFT ARM‘s new CD Dissatisoul on my resurrected record label, TIRC Records. You can get a copy of the CD for just $6 postage paid from the band, or download it for a suggested donation from the TIRC Records online store (visit that page for more info). Oh, and if it helps, it rocks quite hard… so get it!
The insanity just never ends here at TIRC Exitprises! The company made an official statement this past Monday during a press conference called by company CEGO (Chief Executive Goof-Off) Harvey Floorbanger that they would be “GIVING AWAY FOR FREE” downloadable copies of its latest release on its struggling “TIRC Records” subsidiary. Dissatisoul from local St. Louis “garage-punk” (ahem) HEAVYWEIGHTS Left Arm is being released on the company website for a “recommended” “donation” of anywhere from three to five bucks. But who do they think they’re kiddin’? Any thrifty Beatle Bob out there in consumer la-la land knows that music is just out there (everywhere) for THE TAKING, so why not just put down that hoagie, grab it, and run like a jackal? And indeed, you CAN! Actually, there’s no need to even RUN (nor try to stealthily sneak it inside your favorite smoking jacket). No siree, Bob. No shame, a-tall! Just go to the online store and, with trusty mouse in hand, click the LEFT ARM CD cover and download away!! I mean, LOOK AROUND… No one’s going to see you do it from the privacy of your PC there. It’s just like downloading kiddie porn!! Now, any of you out there from more distinguished, cultured upbringings who may encounter feelings of guilt after doing so MAY, if you so desire, of course, return to the scene of the crime and pay a few bucks for it, but that’s only if you feel REAL GUILTY. Because obviously if there’s no guilt, there’s no CRIME!
Oh yes there’s Trouble, right here in River City… That starts with “T” and that rhymes with “C” and that stands for CRAZY!!
By the way, hard copies of the CD are for sale at the band’s website for six bucks postage paid, for you weirdos who insist on having something to hold in your hands and look at and then sell to the local used record store when you run outta cigarette money in a few months.
Minister of Propaganda
I’m taking a break from the whole TIRC Productions show-promotion/booking thing. Why? Well, I feel like Bill Streeter and I really busted our asses to promote the Show-Me Blowout, only to have it not meet our expectations. I don’t mean that in terms of the quality of the performances of each band (they were all fantastic, as expected), but due to the very poor attendance both nights at Off Broadway (not even close to what I was shooting for, as a matter of fact). There were also dozens of people that I fully expected to see there (some of them from actually TELLING me they’d be there) who, for whatever reason, decided not to come either night (or show up at the free barbecue at Apop, for that matter). I don’t mind working hard to promote things that people enjoy and/or support, but when you work hard to promote something only to have it fail time and time again (and lose money doing it), it just starts to lose its appeal. It’s just not fun anymore. So I’m tired of it, tired of the disappointments, and am simply going to take a break. So don’t be surprised if you don’t see me promoting (or showing up at) any shows for a while. I just need some time away from music promotion and the whole local music scene in general. Whether or not this break becomes permanent or not is yet to be decided, but no matter how much I try to remain positive about the rock’n’roll scene in St. Louis, I keep getting reminded of how much it really sucks ass. Those two nights at Off Broadway were big, daunting, humiliating reminders of this for me.So the big question remains: Will there be a Show-Me Blowout 2? Don’t hold your breath.