Carburetor Dung #2

The 2nd episode of the Carburetor Dung podcast from GaragePunk Pirate Radio.


Side A:
The Monsieurs – Young Gun (Slovenly Recordings)
Nots – Reactor (Goner Records)
Gateway Drugs – Head (Cobraside)
Monkeywrench – Flashy New Dance Steps (Birdman Records)
Shadow in the Cracks – Timeless (Goner Records)
Rik & the Pigs – Pig Sweat (Total Punk Records)
Jeffrey Novak – Pictures on a Screen (Trouble in Mind Records)
Nikki Corvette and the Romeos – He’s Gone (Premium Otis Recordings)
The Coathangers – Springfield Cannonball (Suicide Squeeze Records)

Side B:
Ty Segall – Drug Mugger (Famous Class Records)
The Dirtbombs – Daddy Rockin’ Strong (Norton Records)
Gino and the Goons – Babydoll (Slovenly Recordings)
Manges – I Tried to Die Young (It’s Alive Records)
Isotopes – Ballad of Rey Ordoñez (Stomp Records)
Zig Zags – The Fog (In the Red Records)
Ex-Cult – Cemetery Secretary (Goner Records)
Cheater Slicks – Love Ordeal (Columbus Discount Records)
King Tuff – I Love You Ugly (Sub Pop Records)
Buck Biloxi and the Fucks – Rock and Roll Sucks, Pt. 2 (HoZac Records)
Bazooka – Bye Bye Girl (Slovenly Recordings)


Carburetor Dung #1

The first episode of the Carburetor Dung podcast on GaragePunk Pirate Radio.

Mixtape-style podcast featuring modern-day trash punk/garage noise. Produced by . These shows will all fit nicely onto one 60-minute cassette tape.

Side A:
Cal and the Calories – Plop (Rat King Records)
The Brainstems – Nervous Conditions (self-released)
Acid Baby Jesus – Homo Sapiens (Slovenly Records)
Nobunny – Blow Dumb (Goner Records)
Lumpy and the Dumpers – I Was a Teenage Bozo (Erste Theke Tontraeger)
Strange Boys – They’re Building the Death Camps (In the Red Records)
The Anomalys – Retox (Slovenly Records)
Rick Shaffer – So Tired (Tarock Music)
Dean Dirg – Chartbreaker (Stereodrive! Records)

Side B:
Cannibal Animal – Motorkade (self-released)
Black Panties – Prophet of Hate (Total Punk Records)
The Conjugal Visits – 8th Grade (Preteen Cretins) (GRGPNK Records)
Brat Farrar – Do You Really Wanna Know (P. Trash Records)
Useless Eaters – American Cars (Castle Face Records)
Speedy and the Fuck Offs – Freeway Shooter (GRGPNK Records)
Overnight Lows – City of Rotten Eyes (Goner Records)
White Fang – Strange Feeling (Burger Records)
Hank Haint – Don’t Talk to Me (GG Allin) (Voodoo Rhythm Records)
Giorgio Murderer – Nobody Likes You (Goner Records)
King Khan & BBQ Show – Killing the Wolfman (In the Red Records)
The Tough Shits – Cats & Dogs (Burger Records)



Yesterday I sold to a guy named Damos from Connecticut. The sale includes the domain name, the GaragePunk Hideout (powered by Social Engine), and the GaragePunk Hideout Comp Series that were released under GRGPNK Records. The comps were included so that he could continue to use them to help pay for the hosting costs of the site. I wish him well with the site, but at the same time I am very relieved to be rid of this monkey on my back.

I originally set up back in June of 2001 as an online home for my KDHX radio show, The Wayback Machine. A short time later I set up a discussion forum there and the site quickly took on a new meaning or purpose; one that was for promoting wild and primitive garage/punk/rock’n’roll more than it was for promoting my own radio show. The GaragePunk Forums were a very successful and rather popular online forum for several years in the mid-2000s, but once MySpace entered the picture, traffic came almost to a complete hault, and I had a really difficult time bringing people to the site on a regular basis and growing the user base, even with the popularity and success of GaragePunk Pirate Radio (a.k.a. the GaragePunk Podcast Network).

Not included with the sale of the site is the GaragePunk Pirate Radio podcast network, which will continue on indefinitely at This part of running the old site I still enjoy, so I wasn’t quite ready to do away with it or part with it just yet.

The Hideout, though, had been a big thorn in my side for the past few years and I am quite glad to be rid of it once and for all. In the age of social networking, it just became impossible to compete against the Facebooks and Twitters of the Internet.

I’m looking forward to using the money I got from the sale of the site to buy myself a new computer and start another podcast sometime soon. Stay tuned.

White Suburban Youth

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.

January 1984:
Fritz Nobel drums.

August 1984:
Gary Yoxen bass.

April 1985:
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

City PD

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 @

Catalog number: TIRC-012

Screemin’ for a Reemin’?

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 time for the APOCALIPS!

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

Additional Musicians:
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

Let’s Play Corkball—You Know, Corkball?

Originally published in the Chicago Tribune.
January 23, 1989 | By Albert L. Grieve

Have you ever played corkball? You’ve never heard of it? It figures. For to merely mention the game is to court ridicule.

I first learned this truth during World War II. A small-town southern Illinois lad, I had become an on-the-spot infantry private in distant Camp Rucker, Ala.

Shortly after arrival, with a few hours of free time, I innocently suggested to companions, “Hey, let’s get up a game of corkball.”

In knee-jerk reaction, everyone within earshot began to guffaw, much as we did at Yankee-Rebel jokes, all the fashion then since we “sophisticated” Northerners had invaded rural Dixie. But this was no joke. They were laughing at my beloved corkball—laughing at me.

One cohort countered, “Sure, Lefty, we’ll take a piece of cork and play ball with it.”

Another chortled, “You sure you don’t mean ‘Let’s go fishing’? Gotta have a cork bobber, right?”

I was dumbfounded. In my provincial naivete, I had assumed that everyone played corkball.

I later learned that my boyhood avocation was limited to an area ranging northward from St. Louis to only as far as Springfield.

But the game indeed existed. A St. Louis sporting goods firm manufactured both bat and ball. The ball, a seamed mini-baseball, golf-ball size, was struck at—even hit at times—with a bat that resembled a broomstick.

I could give you the rules right now, but who really cares?

I wonder if corkball is even played these days. Yet in the 1940s around St. Louis, regular league games were played outdoors nightly, requiring lighted cages no longer than a common horseshoe pitch. And for the sheer fun of it, we played less formal games in an open field.

I may even mention my revered sport to my cronies one day. On second thought, I dare not. At 62, I no longer tamper with a fragile ego. Besides, maybe it’s all just an absurd dream, an old man’s fantasy.

Yet at times I’m once again a lad in far Downstate Illinois. And with that fervor owned only by the young, cherished pals of yesteryear are crying out so hauntingly, “Hey Lefty, let’s play some corkball.”

Teach Your Kids to Play Indian Ball!


Too many kids today don’t play enough pick-up games of baseball. There are many reasons for this. The obvious one is that kids, in general, just don’t go outside and PLAY enough… at least not as much as they have in generations past. There are too many other tempting distractions for them, like an almost limitless supply of television channels, the Internet, video games, handheld devices, and so on. In the last two decades, childhood has moved indoors. The average American boy or girl spends as few as 30 minutes in unstructured outdoor play each day, and more than seven hours each day in front of an electronic screen. And, as Mike Lanza points out in this great piece, Playing Ball With No Adults Around, parents too often delude themselves that their child can become a superstar athlete by playing in the most competitive (read: “Select”) leagues around, where they often have to try out for a team, as if they’re trying to make the varsity squad of their high school team. Hogwash, I say!

One of our jobs as parents is to try and encourage our kids to spend more time outdoors, by themselves, and as often as possible. It’s not only healthy for them to do so, but is good for their mind and spirit as well. I don’t really have to go into more detail about this, do I? I didn’t think so.

But expecting your kids to run out and play baseball, without some sort of overly competitive, organized league to belong to, is very problematic. For one thing, it takes too many kids! Even if you can make it happen with only 7 or 8 players a side, that’s still about 15 kids. And even in the most densely populated neighborhoods, that will most likely be too difficult to pull off, especially on a regular basis. In fact, your son or daughter may be lucky to find even two or three others in their general vicinity to play, either because that’s all there is, some of the kids simply don’t like playing outside (sad, but too often true), or the other kids’ time is just being over-managed by their helicopter parents.

But, let’s say that your kid is able to find a handful of others in the neighborhood with enough free time and appreciation of the sport to want to play it. Most people probably have a Wiffle Ball set, and that’s great. There’s nothing wrong with Wiffle Ball. It makes it easy to play ball in a smaller area and is lots of fun. But if you have a larger area to play in, say an open field, a big park or a vacant baseball diamond, then a game where they can actually use a baseball and a real bat would be better for them to learn the basic skills of baseball, like hitting and fielding.

This is why I recommend teaching them to play Indian Ball. Indian Ball is basically baseball without the base running, so that you don’t need a player positioned at every base. The great thing about Indian Ball is that as few as three players can get a game going.

But how do you play Indian Ball? Well, just like a lot of bat-and-ball games, there are many different variations. Some of them are quite complicated, while others can follow the simplest rules, such as those of Wiffle Ball. I happen to prefer the rules that some old timers who’ve been playing Indian Ball since the 1940s use, the only difference is I prefer to use a baseball rather than a softball. If you have a smaller lot to play in, or there are too many houses around, you can choose to use a tennis ball instead, making Indian Ball very similar to fuzzball!

In Indian Ball, the pitcher tosses the ball toward a batter from his own team. It’s a single if the fielders of the other team fail either to scoop up the grounder before it stops rolling or to catch it in the air. An out is recorded if they can do either of those or if the batter hits two fouls to the same side of the plate. If a batted ball is fair but doesn’t fly or roll past the pitcher, then it’s an automatic out (so, no bunting!). Three strikes is an out. There is no catcher, no umpire, there are no doubles or triples and, in fact, there are no bases; runs are scored by an accumulation of singles and home runs (hits that go over the fence) using “ghost runners” like in corkball or fuzzball. Likewise, there can be no walks, either, so a ball (a pitch not swung at by the batter) is recorded as a strike.

The game can be played anywhere where you have room to hit the ball and not interfere with parked cars, buildings with windows, or anyplace where the batted ball can cause damage or get easily lost. That’s why it’s best to play it in a sandlot, an open field, or an available baseball diamond with a backstop. But, no matter how you slice it, it’s fun, and a great way for kids to get outside, get some much-needed exercise, and spend a lazy summer afternoon.