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Label: Analog Distillery
Year: 1994
Not surprisingly, based on the title, this is a compilation of Louisville bands covering their favorite Misfits songs, to varying degrees of success, and with varying degrees of fidelity.
I will say this; as much as I love a lot of the music that has come out of Louisville, I can't help but bristle at the sorta self-congratulatory aura that was built up (internally mind you) in the mid-Nineties around the hardcore scene (I'm looking at you Scott Richter), when anything coming out of that place was documented to the hilt. It took the concept of scene pride and made it tough to digest, even when there were really good bands, and the city does have a rich history of music, especially for a town it's size. But, for every Endpoint, there was an Enkindel, you know? Like, it wasn't all that great, so maybe let's downplay the hype a bit, that's all.
So, this was originally released on cassette, 500 copies, the bands are:
Sunspring
Crunchy Cereal
Endpoint
Plunge
Cherub Scourge
Content Zero
Crain
Leafpile
Deadline
Da' Yodelin' Taxidermist
Hula Hoop
Falling Forward
Slate
LG&E
84 Lumber
Slo-Pok
Rodan
Hedge
Gravelblind
Gyotaku
Also, no Kinghorse? Would it have killed you to get Kinghorse on this thing?
DL
5 comments:
I was one of the two people who put this thing out back in 1994. I was very surprised to find out it was getting reissued back in 2007, which seems to have given it a new lease on life.
To answer your question, which is a good one: Kinghorse wasn't playing when we started working on the tape in early-mid '94. They were between bassists and given how volatile there were I had no idea they'd reform. I would have loved to have heard their take on the Misfits - if Sean Garrison and the band would've deigned to have played a Misfits song after the shameless bit of marketing that Caroline Records indulged in with their record. But we didn't ask.
You've got a good handle on what was going on back then. I second your opinions about the documentation, which, despite being compulsive, was by no means comprehensive.
Thanks for posting it and keep up the good work.
Hank
Thanks for checking in Hank, and a special thanks for the Kinghorse info. I guess I had forgotten about the PRODUCED BY GLEN DANZIG on their lp for a minute, but that would certainly make for a touchy situation if you asked them to cover the Misfits. Understood.
Speaking of old Louisville, what was the name of that laser tag place, or whatever that hosted shows for a bit? The Machine, maybe? I remember seeing Endpoint sell that place out.
I treasure the 'horse still today. I think to people who didn't see their incredible live show they just sound like thrash-metal. True believers know they were much more.
At the risk of getting into annoyingly complete documentation: that place off Shelbyville Road started out as a Photon as I recall. I even had a membership card. Then they had a brief period as "C.D. Graffiti's" when they started doing shows. Then ownership passed to a cokehead named Austin and he called it the Enterprise. That was short-lived. Some decent, kid-friendly management got hold of it and we tore down the walls to give it that 1000+ capacity you remember. K Scott Ritcher got involved with some branding and booking around this time.
I'm not sure what happened after that because I started going to 18+ shows and then left Louisville.
It was a good period for music, though, without a doubt.
Enkindel - the only group to be banned from the Driver Dome, by none other than Steve Wishart himself.
Enkindel were terrible, and seemed to be shitheads to boot. I remember them getting bounced from the Driver Dome.
The Kinghorse phenomena is strange bird, and that band is a real "line in the sand" type prospect between friends. You either love it, or just don't get it.
I can't believe Endpoint was selling out a 1000 capacity venue in Louisville, then they would have to play in front of 50 kids in Morganton, WV, or Muncie, IN, or Richmond, VA. But alas, that was the weird Louisville "thing" I guess, the scene supported itself. Endpoint was such a great live band who's records never quite did them justice anyway.
I actually had to review that Slamdek book for Heartattack fanzine (I think it was Heartattack), and had a tough time getting through it. A little too dense, and Scott Richter-centric for my tastes.
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