GARAGE ROCK MY SWEET ASS – A WORD WITH JOHN DWYER OF THE COACHWHIPS

By Kidwell King

[audio:http://www.youbettershutupandlisten.com/mp3s/coachwhips_-_you_gonna_get_it.mp3]

Oh, yes.

It’s not often that a band provides a musical experience you can equate to ballroom dancing with a jackhammer. If that sounds enticing, pick up the latest record by the Coachwhips, Bangers Versus Fuckers, a messy eighteen minutes of pure, nearly indecipherable brimstone out on Narnack Records. This slab of wax must be played at full ear-pillaging volume, but this isn’t just needless noise. There’s something lurking deep within the sonic onslaught of this album, and without the volume, you’ll never hear past the static.

The San Francisco-based trio is made up of John Dwyer on guitar, a cat-in-heat communiqué they call “the vox,” secret weapon Val-Tronic on keys, and Mat Hartman on drums. The keyboards are really what distinguish this band, adding a chrome-like sheen to the trash sculpture. Val’s keys lash out from the metallic walls of Dwyer’s guitar, like some lewd sex-slicked ghost out to disrupt your pulse. Continue reading

YEAR OF THE BULEMIC: MEMORIES OF TEXAS GARAGE PUNK CHAOS

By Andy Martin

Well, truth be told it was just a little over eleven months that I was the bass player for the Bulemics. I would join the band about six months after the Reclusives had broken-up, and had made a few attempts with Tim Storm (Reclusives, Gargoyles) to start a different band. Tim, at this point, had begun to “settle down” and ease into civilian life (eg: not singing for bands). Not that I didn’t try to keep him out of retirement. Every guitar player I would suggest, he would rip apart over preposterous shit like facial hair– that is, if he couldn’t challenge his playing. Anything he could think of to politely say “no” to climbing back on stage. Finally, I got the hint. I started talking to Gable Barber of the Bulemics (then lead guitarist) about playing bass after they’d dropped their original bassist, Daniel Claypool. Gerry was in a “work release” program after racking up two DWI’s in the span of two months (on one he almost hit a cop car at a stop sign leaving a titty bar). Gerry would go to work, but had to be back in “lock-up” by sun down. That meant no rehearsals or shows. With the down time, they were in search of a new bassist. The reasoning behind letting Daniel go was this: he had a habit of getting real fucked up. Instead of playing, he would just start giving people the finger in the middle of a song. Which looks real cool, but sounds like real shit. I mean, hey, I had a habit of getting real fucked up when I played, but I could maintain rhythm most of the time. Continue reading

MANSON: SONGS OF LOVE AND TERROR

By Courtney Jerk

[audio:http://www.youbettershutupandlisten.com/mp3s/charles_manson_-_look_at_your_game_girl.mp3]


“Outside of whatever historical interest this record may have, it is the work of a man who was as good a singer/songwriter as he was a human being…
DON’T BOTHER”
-Kenneth M. Cassidy, on LIE: The Love And Terror Cult LP

The other day, my mother and I were sitting in the living room, when I decided to do a little experiment. I told her that I wanted to play a song for her, and that I wanted her to tell me what she thought about it. I played “Look At Your Game Girl,” from the LIE album. While it played, I asked her if she liked the song. She said that she did, and asked who was singing. I didn’t answer her, and instead asked if she thought that the man singing had a good voice. She thought that he did. I waited until the song was over to tell her that it was actually Charles Manson singing and playing guitar. She scowled, and immediately tried to take back everything she had said just moments before. My mother acted as though she had been duped into spilling some kind of juicy family secret, or like she had just admitted to owning all of David Haselhoff’s albums, even the hard to find imports like Hooked on a Feeling. Nothing so horrible, fortunately Continue reading

THE BIZARRE TALE OF THE PRODIGAL BEACH BOY

By Courtney Jerk & Max Dropout

[audio:http://www.youbettershutupandlisten.com/mp3s/beach_boys_-_never_learn_not_to_love.mp3]

“Cease to resist, come on say you love me
Give up your world, come on and be with me
I’m your kind, I’m your kind, and I see”

http://www.youbettershutupandlisten.com/images/BEACHMANSON.jpg

Fans of the Beach Boys may recognize the above lyrics from the song “Never Learn Not To Love,” a B-side for the 20/20 LP’s first single, “Bluebirds over the Mountain.” What they might not be aware of is that “Never Learn Not To Love” is, in actuality, a Charles Manson song. Originally titled “Cease to Exist,” Dennis Wilson made a few minor lyrical changes and re-titled it before recording it in 1968. Lyrical credit was given solely to Wilson, much to Manson’s dismay and anger.

Charles Manson is generally perceived by the public as a figure of revulsion and fear: a societal poster boy for the dangers of dementia — a scruffy pack of bones putrefying in the flower power movement’s closet. However, prior to the notorious Manson Family murders, Charlie was largely perceived as a charismatic and talented folk musician, well known amongst a network of Hollywood actors and actresses, record producers, promoters and rock stars at the time. While many recognised Manson’s almost eerie ability to coerce and control the minds of those around him with his catchy chatter and sedative aura, few would have ever imagined it would yield so much bloodshed and tragedy. Continue reading

SOUL BROTHER WITHOUT A NUMBER: TIM KERR SPEAKS

By Max Dropout

[audio:http://www.youbettershutupandlisten.com/mp3s/big_boys_-_sound_on_sound.mp3]


With respect to a man who embodies the constellation of concepts and definitions revolving around the word “movement,” I have found tremendous difficulty encapsulating Tim Kerr’s accomplishments and personality into a tidy preface. This is a man whose experiences splinter off in directions so numerous that it is now impossible to present a streamlined appraisal of his life. Though it has seldom been said in the right places, good people before me have put it straight on numerous occasions when it comes to the lives he has touched through his prolific career, which spans the forefront of several sonic chapters of contemporary music history. Continue reading

ROCK N’ REEL: RETURN OF THE LIVING DEAD

By Max Dropout

[audio:http://www.youbettershutupandlisten.com/mp3s/jet_black_berries_-_love_under_will.mp3]

No doubt during times of great economic and political tribulation the public caught up in its throes burry their woes in whatever form of escapism they can obtain; and the early eighties was nearly as exemplary of this social trend as the forties was in terms of entertainment. People were turning out in droves for anything decidedly UNREALISTIC at the time, thus demanding a sort of boom in terms of both horror and sci fi. It was a great decade for horror. The slasher genre was not yet a moot and sad affair; monster and mutation movies were enjoying a renaissance; and films like “Scanners” and “Videodrome” were a relevant warning of the potential threat of technology that lay waiting in millennial turn. Continue reading

COLUMBINE: THE CONTROVERSY, THE CONSPIRACY… THE BULLSHIT

By Courtney Jerk

After I mow down a whole area full of you snotty ass rich mother-fucker high strung God-like-attitude-having worthless pieces of shit whores, I don’t care if I live or die.
– Eric Harris

At 11:21 a.m. mountain time on April 20, 1999, a total of five calls were received by the Jefferson County Communications Center of the Sheriffs Office in Jefferson County, Colorado. It was at this time that eyewitnesses saw two armed people enter the southeast Columbine High School parking lot, where they threw a few small explosive devices and began unloading duffel bags from their cars. Dressed in long black trench coats, fatigues, and possibly ski masks, they entered through the school cafeteria, firing as they walked, and climbed the stairs to the library, where they continued shooting. About 1,500 students fled the school as the slaughter began, while others hid in cupboards and classrooms for several hours. The two gunmen stalked through the hallways, shooting students and tossing around pipe bombs as they went. At around 12:05, after firing a reported 186 rounds, the two masked madmen turned the guns on themselves. Continue reading

THE SAILORS: LIKE CANNED LAUGHTER DURING A SEXUAL ASSAULT

By Karen Ingram

[audio:http://www.youbettershutupandlisten.com/mp3s/sailors-finding_my_match.mp3]

Under direction of another — friend, foe or stranger — to fist fuck the family dog or jerk off their brother, most people would likely sock over a broken nose in a surge of shock and anger. However, if Australian Melbournites the Sailors told you to do either of those things, you should feel nothing less than untainted adulation. Comprising of members Viktor (guitar, vocals), Vernon (guitar, vocals) and Hector (drums, vocals), the Sailors received their first taste of bona fide attention when their debut album Violent Masturbation Blues was released in 2001, courtesy of Dropkick Records. The LP was recorded with virtually no funds, and was intended to be nothing more than a farewell recording session between the boys, prior to Viktor’s returning to Taiwan to be with his wife. Two years earlier, during a trip to Shanyong Province, Viktor had married a local peasant and decided to continue a basic, undemanding lifestyle in the non-English speaking country, doing little more than spending time with his new wife and caring for her family�s rice fields. Continue reading