Monthly Archives: September 2009

Paul McCartney Live CD/DVD News

 

Multi-disc package
culled from Macca’s three-night run at Citi Field, site of the old Shea
Stadium.

 

By Blurt Staff

 

Paul McCartney’s historic three-night musical christening of New York’s Citi Field, witnessed by 120,000-plus
attendees and universally hailed as a concert experience for the ages, will be
immortalized November 17 when Hear Music/Concord Music Group releases “Good Evening New York City“.  This momentous
musical experience will be available in two formats: a 3-disc (2 CD + 1 DVD)
standard edition and a 4-disc (2 CD + 2 DVD) deluxe version featuring expanded
packaging and a bonus DVD including McCartney’s traffic-stopping,
headline-making July 15 performance on the Ed Sullivan Theater marquee
(including bonus numbers not aired on the Late
Show with David Letterman
broadcast). The set will also be made available
in high quality vinyl. In any configuration, the 30+ songs and nearly 3 hours
of music comprising “Good Evening New York City” are a must-have for
attendees wishing to relive the July 17, 18 & 21 shows, those who couldn’t
get tickets and/or anyone interested in an audiovisual document of a living
legend. “Good Evening New York City
marks McCartney’s 2nd release for Hear Music. The first was 2007’s highly
acclaimed Memory Almost Full
The standard version of “Good Evening New York City” will be
available at participating Starbucks company-operated locations.

 
 As the inaugural musical event at Citi Field, the site of the former Shea
Stadium, the July 2009 shows held special significance not only for McCartney
but for generations of his fans. The shows were performed on the same hallowed
ground that The Beatles, in 1965, played the 34-minute show that would set the
precedent for the modern day stadium rock show–and where in 2008 McCartney
joined Billy Joel for the final rock show before the original stadium’s
demolition. As documented on “Good
Evening New York City
“, “I’m Down” from the 1965 set list
was revived for the Citi Field shows, albeit this time played through a PA that
was not overpowered by screaming fans (though there were still several thousand
who tried). Other highlights of  “Good Evening New York City”
include faithful takes on Beatles classics “Drive My Car,” “Got
To Get You Into My Life,” “The Long And Winding Road,”
“Blackbird,” “Eleanor Rigby,” “Back In The USSR,”
“Paperback Writer,” “Let It Be,” “Hey Jude,”
“Helter Skelter” and more, plus “Something” rendered on ukulele
gifted to Paul by George Harrison, and a tribute to John Lennon in the form of
a medley of “A Day In The Life” and “Give Peace A Chance.”
Wings era chestnuts include “Band On The Run,” “My Love,”
“Let Me Roll It” and the pyrotechnic tour de force of “Live And
Let Die,” while timeless McCartney solo material ranges from “Here
Today” to the upbeat “Flaming Pie” and “Dance Tonight”
to a pair of numbers from Electric Arguments, the 2008 album released under the
alias of The Fireman.

The concert footage featured on “Good Evening New York City” standard
edition features concert footage directed by Paul Becher, who has overseen live
visuals for McCartney for some 200 performances and counting. The 33-song 2
hour 40 minute performances were shot in High Definition using 15 cameras and
digital footage incorporated from 75 Flipcams handed out to fans over the
course of the three night stand. The audio mix, in both stereo and 5.1, was
handled by longtime McCartney engineer Paul Hicks, whose credits include the
recent Beatles remasters, The Beatles
Anthology, Let It Be…Naked
, and two Grammy awards for his mixing work on
the Beatles’ Love album.

 

The deluxe edition bonus DVD will feature footage of McCartney’s July 15
performance on the outdoor marquee of the Ed Sullivan Theater, previously
available only as a webcast on the Late
Show with David Letterman
website. The marquee set, which marked
McCartney’s return to the site of The Beatles U.S. television debut, generated
front page headlines and literally stopped traffic as word of mouth generated a
crowd that packed Broadway from Columbus
Circle to Times Square. 

 

 

Stax Records Lathe Back In Action

At Super 400’s
prodding, the legendary record cutting machine gets refurbished.

 

By Blurt Staff

 

Sure, it’s just another press release. But it’s kinda cool –
the band Super 400, from Troy, NY, recently issued their latest album Sweet Fist (on Response/Rock Ridge), and
this week they’re also having it released as a double LP featuring cover art by
no less than Klaus Voormann.

 

But there’s an interesting story behind it the LP – it was
cut on the original Stax Records lathe at Memphis’ Ardent Studios, and it’s the
same machine that had cut vinyl
masters for everyone from Al Green and Isaac Hayes to Led Zep and Stevie Ray
Vaughn. Out of commission for 20 years, the lathe was cleaned up and repaired
by Ardent after Super 400 charmed ‘em, and the idea was to cut Sweet Fist then put the lathe in the Stax Museum.
But once word got out that the famous lathe was back in action, calls “poured
into Ardent, booking the machine for months in advance, re-establishing a
physical piece of American musical history back into the fold of modern
recording.”

 

That’s some
history, indeed.

 

Here’s what the
members of Super 400 had to say about all this:

 

“During our time
at ardent, we listened eagerly to John Fry and Larry Nix tell us the magical
tales of the 1960s and 70s recording sessions and how tight the bands became with producers
and engineers, and how the whole Memphis scene was one big family, all sharing
an obsessive love and joy of music.


 
“Larry still has the original card catalog from every album cut there – it’s a
magical library of memories for those guys, one that I was honored to get a
close look at. Every EQ setting for every album is meticulously recorded –
names like Stevie Ray Vaughan, Isaac Hayes, Big Star, Al Green, what a sight it
was to get an inside look at Memphis recording history.


 
“The lathe is the machine that ‘cuts’ the sound to vinyl – this legendary piece
of art lay inoperable in the Mastering room for years.  It was a star
feature in the many Ardent studio tours, drawing many oohs and ahs from the
passers-by, but Larry hadn’t cut vinyl on it in quite some time. On many
occasions during our sessions there, we hinted to John and Larry, not so
subtly, that we’d be tickled pink to have the
Sweet Fist record cut on the old Stax Lathe.


 
“Larry told us it wasn’t possible, that he wasn’t sure if the lathe was
fixable, maybe they didn’t make the parts anymore. We continued bugging him
about it, enough so that he looked into the possibility of repair.  He
still was unconvinced. On the last day of the Super 400 sessions, we sadly
packed our gear into our trailer, and prepared to leave this magical place.
 I knew I had to give it one last try. I went into Larry’s office and told
him how much our experience at Ardent touched us, that the stories he and John
told us about the old days made us want so badly to have our own family-style
memory, especially since the entire record was done at Ardent this far.
Recording, mixing and mastering. He must have been feeling it too, because the
next thing we knew, we were flying back down to Ardent to witness the cutting
of the
Sweet Fist record to vinyl, by
Larry’s own hands.
 


“To say we are
proud of this achievement is no way to describe it. It just feels so right.
 It was a great honor for us to make this record with the legends that
became our friends. You can’t beat that.”

 

 

 

David Bazan Limited Xmas Single Due

 

John & Yoko, meet
the Flaming Lips. Wayne,
meet John & Yoko…

 

By Blurt Staff

 

David Bazan’s latest (sixth) installment of his Christmas
Singles Series for Suicide Squeeze is in the works, and this year, it’s a
corker: adaptations of John Lennon & Yoko Ono’s “Happy Xmas (War is
Over)” and Wayne Coyne’s “Say It Isn’t Greensleeves (A Change at
Christmas)”. It’s due in stores Nov. 3.

And for all you collector scum, the 7″ is pressed on blue w/ white haze
(200 copies), gold (400 copies) and clear (400 copies) vinyl. As it’s sure to
be a sell out, Suicide Squeeze is already taking pre-orders (www.suicidesqueeze.net), and those
who do pre-order will be entered in a drawing to win a test pressing of the
single.

 

Meanwhile, watch for the new issue of BLURT, headed to newsstands as we speak – we’ve got an in-depth feature on the man by Senior Editor Randy Harward, who traveled to the Northwest (twice) to discuss Bazan’s solo career and earlier work with Pedro the Lion, his take on family and Christianity, and more.

 

 

 

Ray Davies To Tour Kinks Khoral

 

Band’s hits recast for
choir arrives Nov. 10 followed by a tour.

 

By Blurt Staff

 

As you’ve no doubt heard, some time agao Kinks
frontman Ray Davies  adapted songs from
his extensive back catalog for choir, re-recording key tunes with brand new
choral arrangements. The collaboration with the the 65-strong Crouch End
Festival Chorus at the 2007 BBC Electric Proms in London has now yielded The Kinks Choral Collection, due November
10th on Decca. A nationwide tour is scheduled to coincide with the release. (U.S. dates
below.)

 

Produced by Davies himself and with arrangements by
David Temple, Steve Markwick and Davies, this union casts a fresh light upon
Kinks klasssics via new versions of “You Really Got Me”, “All
Day And All Of The Night”, “Waterloo Sunset” and many more.
Davies said of his Crouch End vocal colleagues; “With a song like
‘Waterloo Sunset’, I feel as if the people I wrote it for are singing it”.
He added that they display “an ingenious palette of choral techniques” – for example,
“See My Friends’ recast as an a cappella gospel hymn to illuminate life-after-death
lyrics.

 

There’s also a six-song suite from the 1968 album The Kinks Are The Village Green Preservation
Society
. Although not as well known as some of the bigger hits, this
collection is now widely regarded as The Kinks’ masterpiece, with songs like
“Do You Remember Walter?” which is a poignant memoir of a vanished
childhood world.

 

Already got the Kinks katalogue? Decca predicts the
album “offers so much to explore and admire from fans who own it all, or to
complete newcomers… a great introduction to Davies’ idiosyncratic, delightful
world.”

 

Well, all right then. Let’s hear it for delightful
worlds!

 

Tour Dates:

 

Thursday, 11/12 
San Fran, CA           
Warfield Theatre with The Vox Society Choir

Saturday, 11/14  
Los Angeles, CA     
Orpheum Theatre with The Vox Society Choir

Tuesday, 11/17   
Boston, MA             The Berklee Theatre

Thursday, 11/19  
New York, NY       
Town Hall with The Dessoff Chamber Choir

Friday, 11/20       
New York, NY      
Town Hall with The Dessoff Chamber Choir

Saturday, 11/21   
Philadelphia, PA      
Tower Theatre

Monday, 11/23   
Albany, NY             The Egg

Tuesday, 11/24   
Montclair , NJ         
The Wellmont Theatre

 

 

 

Thom Yorke Puts Together Solo Band

 

Does two quickie gigs
starting this weekend in LA, in fact.

 

By Blurt Staff

 

 

Thom Yorke announced last night on the Radiohead site that
he has assembled a band to play a pair of shows October 4 and 5 at Los Angeles’
Orpheum Theater. Thom, Joey Waronker, Mauro Refosco, Flea and Nigel Godrich
will play material from his 2006 album The
Eraser
as well as new songs.

 

***

 

From Yorke:

hi
in the past couple of weeks i’ve been getting a band together for fun to play
the eraser stuff live and the new songs etc.. to see if it could work! here’s a
photo.. its me, joey waronker, mauro refosco, flea and nigel godrich.

at the beginning of
october the 4th and 5th we are going to do a couple of shows at the Orpheum
Theatre in Los Angeles.
we don’t really have a name and the set will not be very long cuz ..well …we
haven’t got that much material yet! but come and check it out if you are in the
area. we’ve also got locals Lucky Dragons playing.
all the best

click here to get to get tickets>

10/04

10/05

***

 

“Radiohead is not breaking up” – Yorke’s handlers hasten to point this out, incidentally. As
previously reported, Yorke released the FeelingPulledApartbyHorses/The
Hollow Earth
12-inch on September 21. The single will be released digitally
October 6. Both tracks were produced by Nigel Godrich and mastered by Bob
Ludwig. 

 

 

 

Sid Lives!

 

Ah, but can anyone
every truly “know” an enigma wrapped up in a paradox wrapped up in a dirty,
blood-encrusted sock?

 

By Blurt Staff

 

Ya just can’t keep a good stiff down, especially when it’s a
punk icon like Sid Vicious. Ergo, Odeon/MVD Visual’s upcoming DVD Sid! By Those Who Really Knew Him. Due
Nov. 17, it’s billed as “the first intimate full-length 80 minute documentary on Sid’s
life.”

 

It
marks 30 years since Vicious’ death from a heroin overdose (he was just 21
years old), and for the documentary many of those closest to him speak for what’s
reportedly “the very first time” about the Sex Pistol who wasn’t willing to
burn out and fade away quietly. He simply went up in flames…

 

According
to MVD;

 

 
 This brand new documentary, in
association with ITN Archive, charts the fall and rise of Sid Vicious from punk’s hero to
society’s cultural icon of the twentieth century.


 
Sid’s short and controversial life is profiled with interviews from Jah Wobble (childhood friend, founder
PIL), Steve Severin (Siouxsie
and the Banshees), David Vanian (The
Damned), Malcolm McLaren (Sex
Pistols Manager), Viv Albertine (Flatmate,
The Slits), Ron Watts (100
Club), Glen Matlock (Sex
Pistols), Rat Scabies (The
Damned), Caroline Coon (Writer
and Artist), Vivienne Westwood (Sex
Designer), Marco Pirroni (Adam
& The Ants), John Tiberi (Sex
Pistols Tour Manager), and many more of Sid’s close friends.

Featuring previously unseen archive footage and filmed in HD, this new
documentary provides the most definitive and intimate life story of the punk
hero who truly lived his life with chaos and anarchy. Fuelled with a soundtrack
of Sid’s own music, this is the faithful telling of Sid’s life story by those
who really knew him.


 
In addition to the DVD documentary, this special collector’s edition includes a
10 track CD of Sid live in New York’s,
and a biography booklet profile by best-selling music author Mark Paytress.

 

 

Er,
there does appear to be at least one person missing from that roll call of true
friends, but nevermind those rotten bollocks.

 

Check
out the trailer to the film, below.

 

 

Neko Case is Bad, She’s Nationwide

 

Billed as “turning up
in some seriously cool – and unexpected – places this fall.

 

By Blurt Staff

 

With apologies to “Where’s Waldo?” – where’s Neko?

 

Last week she was in NYC to tape a performance for the next
season of the Sundance Channel’s Spectacle:
Elvis Costello With…
and a duet with Meatwad (say WHAT?!?) rom Cartoon
Network’s Aqua Teen Hunger Force.

In a couple of weeks she’ll be turning up on A Prairie Home Companion on October 10, and then she returns to NYC
for a conversation with the New Yorker’s pop music critic Sasha Frere-Jones as part of The New Yorker Festival on
October 17.

Finally, on November 16, Neko headlines NYC’s Beacon Theater – her fall tour
starts Nov. 11 in Memphis; dates below – followed in December by a stint in the
Guest Programmer’s chair on the Turner Classic Movies channel.

 

Busy gal. Those rumors about her being appointed ambassador
to France,
however, appear to be just that – rumors. She’s got too much on her plate to
worry about government silliness…

 

Tour Dates:

 

11/4 – Minglewood Hall, Memphis, TN
11/5 – The Pageant, St. Louis, MO
11/6 – Canopy Club, Urbana, IL
11/7 – The Clazel Theater, Bowling Green, OH
11/8 – Harro East Ballroom, Rochester, NY
11/10 – Wilbur Theater, Boston, MA
11/11 – The Tarrytown Music Hall, Tarrytown, NY
11/12 – The Music Hall, Portsmouth, NH
11/13 – Calvin Theatre, Northampton, MA
11/14 – Lupo’s, Providence, RI
11/15 – Wellmont Theatre, Montclair, NJ
11/16 – Beacon Theatre, New York, NY
11/18 – Knight Theater, Charlotte, NC
11/19 – The Plaza Theatre, Orlando, FL
11/20 – The Moon, Tallahassee, FL
11/21 – The Republic, New Orleans, LA
11/22 – Warehouse Live, Houston, TX
11/23 – Granada Theater, Dallas, TX

 

 

 

Bitch Fight! Black Lips versus Wavves!

 

Most creative use of
the “F” word all week, yo.

 

By Fred Mills

 

The much-anticipated “Neurotics Of Rock” tour abruptly
crumbled this weekend when representatives from proposed co-headliners the
Black Lips and Wavves had what some observers are describing as “a falling out.”

 

As reported by both Pitchfork and Brooklyn Vegan, the Black
Lips’ Jared Swilley and Wavves’ Nathan Williams got into a fight during the wee
hours of the morning at Brooklyn bar Daddy’s (Wavves had performed Friday night
at the Market Hotel, while the Lips had played at Roseland Ballroom).

 

You can read the accounts yourselves, but we have in this
corner, one person reporting that he observed “people dragging Nathan and Jared
apart, and then Jared and a popular DJ running at Nathan again” – this
presumably stemming from some internet shit-talking that went on between the
two a few months ago.

 

Then in the other corner, Williams is saying that it was unfortunate
that matters escalated but he [Swilley] got what was coming to him”.

 

And in yet another corner, Swilley comments that he didn’t
attack Williams at all; instead, he was the one assaulted by the Wavves tour
managers and others. Said Swilley, “What happened was, after we finished our
set I went to Daddy’s with some friends and saw that faggot from Wavves talking
to a photographer friend of mine. The only thing I did was walk up to him and
say “You’re that faggot from Wavves and I don’t like you”. He smiled
a bit but didn’t say anything. After that, I went outside and saw their tour
manager hanging around with some guys. They started getting all chuckles with
me and so I told them I wasn’t gonna have it. After that, Wavves tour manager
hit me square in the face with a bottle. Blood started pouring out and six
dudes fucking started kicking me until I blacked out.”

 

Who’s right? Who’s wrong? Who’s a faggot? Who’s not? Who
cares! Sob! Where’s Rodney King when we need him? Can’t we all just get along?

 

Proof that indie rock has its idiots and assholes just like
every other genre.

 

Fuck all that, let’s go watch some TV:

 

 

 

 

 


In Short: September 2009

You know the drill but indulge me for a little reminder here….

We know, for example, that fans prize souvenirs — a tactile take-away that reminds you of the feeling you have when listening to music. It’s kind of like what we’re doing with The Daily Dose — further enhancing the “sensory experience” with rock ‘n roll wine and cheese picks so as to emphasize “more than music.” Certainly, a recommendation isn’t exactly “tactile,” but it does bring us closer, drawing upon multiple aesthetic experiences and uniting them in one place. So, perhaps upon purchasing the wine or cheese of the day, upon tasting them, you’ll conjure up the associated songs, thereby giving the taste an added, well, taste.

All of that, the long way of saying: multiple aesthetic experiences rule the day. And things that you associate with music are likely the same things other people (who like the same music as you) might be curious about. It’s a Tribes-thing.

Hence, this month’s semi-random compendium:

1. Dunder Tchotchkes

office

Perhaps one for everyone you know this Christmas? Plus they have action figures, star mugs (sans Jim and Dwight), Office Clue… it was really hard for me to not buy one of everything. And it’s totally overpriced. I don’t care.[]

A Triple-A radio programming veteran, Kate has served as Music Director of the Loft at XM, Midday Host at WYEP, Evening Host at both WNCS and WUIN, as well as Content Supervisor for Pump Audio. Currently, she’s the CEO of Outlandos Music, a new-music discovery service for grown-ups. Kate has been nationally recognized for her ardent presentation of music and her ability to champion talented, compelling artists.

I DON'T WANNA GROW UP / JOHN MOORE

 

 

Damn! BYO Records turns 25

Pete Wentz wasn’t even wearing eyeliner when brothers Shawn and Mark Stern decided to start BYO (Better Youth Organization) Records 25 years ago. The label, which put out releases by Youth Brigade – the Brothers Stern’s own punk band – went on to put out seminal punk releases from bands like Leatherface and 7 Seconds.

To quote the band, BYO was founded as “part political movement, part business venture that began as a way to organize punks to take positive action to help sustain their scene and their way of life.”

To commemorate their 25th anniversary – not bad considering how many other labels have come and gone during that time – BYO is putting out a 31-song box set, featuring a who’s who of American punk rock. Groups like Bad Religion, Dropkick Murphys, NOFX, Anti-Flag and the Bouncing Souls all took turns covering BYO bands. The set also comes with the documentary Let Them Know, which looks at the influence of the label through interviews with Ian MacKaye (Fugazi, Minor Threat, founder of Dischord Records), Fat Mike (NOFX, Me First & The Gimme Gimmes, founder of Fat Wreck Chords) and Steve Soto (Adolescents, Manic Hispanic), among others.

Shawn Stern, in the middle of a Youth Brigade tour, took some time recently to answer questions about the label, the band and punk rockin’ as a 40-something.

Are you surprised that the label is still up and running 25 years later?
I’m surprised that we were able to put out one record, let alone nearly 120! When we started I never thought I’d be playing music in my 30’s let alone my 40’s and approaching 50. For us to last this long is kind of amazing to us and we feel extremely lucky.

So how do you think you’ve able to keep it going for so long when so many others have folded?
Pure luck! (laughs) Well, I think we just put out good music that we like and people seem to respond well. We never did this to make money; we never had any business plan or really any plan at all. We put out records ‘cause we had a band and we put out other bands’ records ‘cause we liked the band, the music and what they had to say. I guess we’re doing something right, otherwise we wouldn’t have survived.

Do you think its easier running a business with your brothers or ultimately harder?
My brothers and I are all very close, so I think it’s really easy to work together. I mean we’ve been doing it all our lives, so it’s pretty natural. We can argue – and we do – but we don’t take it personally, we just go eat lunch or go have a drink after.

Ever get into any Kinks style fist fights over the band or the label?
Nah, our punching each other out ended in our teens. Screaming arguments once in awhile that we usually end up laughing about is the extent of it.

Have you always had a defining principle or set of principles that BYO was founded on?
Well, like I said, we never had a plan we just did things as they came up. The principles have always been those that our parents and grandparents instilled in us as kids, think for yourself, life is about learning and giving back, helping people. From that we devised our own ideals about what punk rock is to us, that one should question everything and decide for yourself what makes sense. Don’t be a sheep, don’t follow anyone. I was heavily influenced in my senior year in high school by an existential lit class I took. I read Dostoyevsky, Kierkegaard, Sartre and Camus and the next semester I had an entire class on Herman Hesse. They all had a profound effect, but Albert Camus’ “The Stranger” and the “Myth Of Sysiphus” were almost life changing for me. I think those ideals will always stick with me.

What was always the deciding factor in putting out a band’s music?
We put out bands that we like as people, whose music we like and believe in and we feel we can help them. There’s lots of bands that we like and would like to work with over the years but for one reason or another it just didn’t work out.

Do you get a sense of enjoyment of watching major labels falter and grasp to stay relevant?
Hmm, I’m not really someone that takes pleasure in other people’s failure. I don’t really worry about other labels, it’s not something I can control or be a part of. But I’m not gonna lose sleep over the fact that a multi-national corporation leaves the music business, because in my view they only look at music as nothing more than a way to make money and I think that is not good for anyone. So the more of them that leave music, the better it is for music and all of us.

Was it difficult deciding who would be on the album that comes with the box set? More important, was there a fight between bands to cover “California is Sinking”?
We just asked all the bands we like and they all said sure. Now getting them to actually get in the studio and record, well that’s another story. Everyone is busy, when they are recording a new record they are concentrating on that and putting together a cover sometimes isn’t at the top of their list of things to do. Picking songs was up to the band, there were a few that wanted to do a certain song but someone had already picked it, but there were no “fights.” Worked out really well I think. Well, I guess everyone can listen to the record and decide for themselves, but it’s a pretty amazing record.

A lot of folks cite you guys as influences in starting their own labels. Did you really have anyone to emulate or learn from when you were starting BYO records?
No, there were very few labels at the time doing punk rock on the level we did it when we started. Slash and Dangerhouse were about it in L.A. but we just sort of figured it out on our own. Ask questions, call around, talk to the guys at the pressing plant about how to do things ‘cause they had been in the record business for years and they knew the basics. A lot of it was just logic, go around to stores and ask them to take the record. That was our early distribution.

Why did the band ultimately decide to call it quits?
Adam had left the band to go back to school in ’84, we got Bob Gnarly in the band and changed the name to The Brigade and our sound got a little more “poppy” I guess you could say. The punk scene was dying, the hair bands were taking over the sunset strip and we were burnt so we just decided it wasn’t fun anymore.

So was it an easy decision to get the band back together and tour?
Yeah, we were all playing music again in different bands. I had a band, That’s It and my brothers had all started the band Royal Crown Revue and met up on tour in Germany. People had been asking about Youth Brigade on both our tours, so we talked about doing a “reunion” and I said if we wrote new songs and make a record then I would do it. We all agreed, it was pretty easy and we’ve been going strong ever since.

Did you find that you missed playing together?
I think we found that we had fun playing together. Mark (Stern) and Adam (Stern) and our other brother Jamie were all playing together for a few years in Royal Crown Revue and having fun. That’s the bottom line, it has to be fun. Otherwise what’s the point!?

Was it surreal participating in the documentary?

No, not surreal. We put it together but we tried to not involve ourselves too much in the planning. We wanted to let the film makers make the movie, not us. We told them people they should talk to and gave them a chronological line of what/how things happened, but we let them put it together. I think they did an amazing job.

Listening to the interviews, were you surprised at how influential the band was to so many?
I’m flattered. I don’t know if I’m so much surprised ‘cause I think there was only a handful of bands in the punk scene that have lasted all these years and odds are they have lasted because people like the music and that’s ‘gonna influence bands that are coming after.

Any chance you’ll revive the BYO split series?
Oh it isn’t dead, just been on hiatus. The box set was such a huge undertaking, the biggest project we’ve ever done, so it took up nearly three years of our time. We’ve had quite a few bands interested, just haven’t managed to work it out. But we will hopefully soon.