The Mal Thursday Show #53: Mass Pike Memory Lane

Mal Thursday takes a trip in time and space to the Commonwealth of Massachusetts for "Mass Pike Memory Lane," an episode featuring 30+ Bay State bands 1964 to now. Dedicated to the Rodney Sinclair Defense Fund, raising money to help pay the legal fees in a case where an old friend of Mal's finds himself in the crosshairs of America's misguided war on drugs, on trial for his freedom. There will be a benefit concert on October 4, 2013 at J.J.'s in Florence, Massachusetts, featuring a reunion show by the Unband, with special guests Playtopia, The Nice Try, and Unagi/Jack Falcon. The PayPal address to donate to the cause is middlefinger@comcast.net.

Presented in Living Monophonic Sound.

Playlist:
THE REAL KIDS: Better Be Good
THE REMAINS: Once Before
THE BUGS: Slide
THE BARBARIANS: Hey Little Bird
THE BOLD: Gotta Get Some
COBRAS: I Wanna Be Your Love
THE ROCKIN' RAMRODS: She Lied
THE MODERN LOVERS: Roadrunner
BARRENCE WHITFIELD & THE SAVAGES: Ramblin' Rose
THE NEIGHBORHOODS: The Prettiest Girl
THE HOPELESSLY OBSCURE: She's My Best Bette
THE BROOD: In and Out
THE FLIES: In the Dark
THE ODDS: I'll Make You Sorry
THE PRIME MOVERS: 1-2-5
THE TIME BEINGS: Why Don't You Love Me
CLASSIC RUINS: Geraldine (I Need Money)
LYRES: Tear You Up
KENNE HIGHLAND CLAN: Everybody's a Lyre
PRESTON WAYNE FOUR: Kumbaya (bed)
RICHIE'S RENEGADES: You're in the Pepsi Genration
DMZ: The First Time (Is the Best Time)
THE MALARIANS: Good Times
THE VOODOO DOLLS: Bad Feeling
THE UNBAND: We Like to Drink, We Like to Play Rock n' Roll
TAG SALE: Why You Smilin' (Live at the Pulaski Club)
SCUD MOUNTAIN BOYS: Midnight Cowboy (bed)
MISSION OF BURMA: That's When I Reach for My Revolver
SEBADOH: Skull
NEW RADIANT STORM KING: I Am a Scientist
BUFFALO TOM: Going Underground
THE PIXIES: Ed Is Dead
MORPHINE: Cure for Pain
MUCK AND THE MIRES: Gone, Gone, Gone

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The Chunk Records Story: The Complete Saga

"The Chunk Records Story" remains the BLOG!'s finest hour. It tells the true tale of the rise and fall of the label that delivered "Obscure but Rewarding" recordings promising "Medium Fidelity, Extreme Quality." To mark the tenth anniversary of its demise, here is the Complete Saga:

Part One
Chunk Records Is Born

Part Two
Salad Days

Part Three
The Beginning of the End

Part Four
The Decline and Fall of Chunk Records

The Chunk Records Story, Part Four

In Part One, Chunk Records began as an outlet for '80s garage band the Malarians; in Part Two, it was reborn as an imprint for limited edition 7-inch singles; then in Part Three, Chunk made a move toward bigger and better things, only to get caught in a perfect storm of hubris, naivete, and alt-country effrontery.

Chapter Six: After the Gold Rush

At the end of August 1995, I moved with my then-girlfriend from our downtown Northampton apartment to a remote two-story farmhouse at 23 Beaver Drive in South Deerfield, Massachusetts. There was an above-ground pool and a spacious downstairs bedroom that became the new corporate headquarters of Chunk Records.

A week later, my girlfriend moved out. She later said of our two-year relationship, "I was young and lost. What was your excuse?"

I had been abandoned by both my girlfriend and by the Scud Mountain Boys, who, having paid me off, were now recording their debut album for Sub Pop. I was pretty desolate, but was cheered a bit when the buyout check arrived in the mail.

In November, I had a week-long whirlwind courtship, followed by an impulse marriage to Wednesday Thursday. Most of my friends didn't give the marriage six months, but we proved them wrong. It lasted a year and a half.

CH4520: GUIDED BY VOICES/NEW RADIANT STORM KING

Split 7-Inch

Here's a near-perfect record in the grand tradition of split singles like the Sonic Youth/ Mudhoney "Touch Me, I'm Sick"/"Halloween" (orignally released on Sub Pop, ironically enough), where the two bands covered each other's songs. It is perhaps Chunk's finest hour.

Matt Hunter of New Radiant Storm King was a big fan of Guided By Voices, and soon found his band sharing bills with the Ohio-based lo-fi legends. Bob Pollard of Guided By Voices was a big fan of New Radiant Storm King, and so this split 7-inch came to pass. It was originally going to be released on as the first release of a label called Indi 500, a fledgling enterprise started up by, if I recall correctly, Nate Albert of the Mighty Mighty Bosstones and filmmaker Chris Appelbaum, among others, but the venture got back-burnered when the principals all had found they had better things to do than run an indie label. That thankless task is reserved for schmucks like me. And thus the record fell into my lap.

GBV chose to cover "The Opposing Engineer Sleeps Alone" from NRSK's difficult second album Rival Time, while NRSK returned the favor by turning in a stellar rendition of "I Am a Scientist" off of Bee Thousand. This would be the last Storm King release to feature original drummer Elizabeth Sharp.

I would be remiss if I didn't mention the sleeve art. The GBV side sported a collage by Pollard, while the NRSK side featured artwork borrowed from '50s sci-fi paperbacks. At the time, I was working with local graphic desgner Eric Olsson, who did the layouts of many of the best-looking records we ever did, including all three Scud Mountain Boys releases, the two DMZ 45s, and this one.

CH1012 THE VERONICA CARTWRIGHTS: One Careless Match CD

Prior to this record, the Veronica Cartwrights previous releases were all Chunk products: their 3-song 7-inch from 1993, "A Message to Pretty" on 1994's Unloved and "Frog" on Hotel Massachusetts. And so it came to pass that the band's full-length debut, One Careless Match, would bear the Chunk logo as well. Unfortunately, it also bore the imprint of another label (whose name escapes me) started by this guy (I think his name was Corey) in direct competition with Chunk, who hoped to take advantage of our distribution channels and indie cred by making it a joint venture.

The upside was that the other label paid for the pressing; the downside was that the record sold poorly, and the guy from the other label kept pestering me for money that wasn't there.

CH1013: FLYCATCHER: Pee CD

Flycatcher was supposed to be Chunk's Nirvana. Instead, the band helped dig the label's grave.

A record I committed to back when I still expected a 50 grand buyout from Sub Pop, Pee was already in production when the Scud deal went south. Otherwise, I would have pulled the plug. Not because of the music on the record, but because the band had apparently signed a contract with some Manhattan Rock Skank who was a total mental case, and who bedeviled me with phone calls threatening all manner of legal mayhem. I wasn't about to shelve the record, since it was too late to cancel the order from the pressing plant and the artwork was already done.

Despite being overly derivative of Nirvana, the album definitely has its moments, and sounds great, thanks to the stellar production of Mark Alan Miller. There was also a limited edition sampler 7-inch released simultaneously.

Unfortunately, the band broke up right around the time of its release, and sales were next to non-existent. Not exactly what we needed after the Scuds' defection.

CH1015 RAY MASON BAND: Missyouville CD

Ray Mason is a Western Mass music legend who has been cranking out his brand of "Silvertone Pop" for decades. Chunk had provided distribution for Ray Mason Band's Between Blue and Okay CD, and Ray's "Falling Down" was a highlight of the Hotel Massachusetts compilation CD. Although the record-buying public was largely indifferent to Between Blue and Okay, I agreed to release the follow-up. Part of the reason being that I was expecting a big windfall from the Scud Mountain Boys signing at the time, so I could put out Missyouville as a "loss leader," because it was a damn fine record.

Ray was fond of saying of his often under-attended live shows, "I play the same whether there's six people in the audience or half a dozen." Coincidentally, this album sold in the dozens, although it probably made more money for Ray than any other record in his catalogue, because the following year, when the ship was going down, I gave him boxes and boxes of Missyouville CDs at no cost, to sell at his gigs. Since the Great Scud Mountain Buyout turned out to be something less than the bonanza I had once anticipated, the dismal sales of this record and a couple of other non-starters pretty much blew the buyout loot.

Still, a damn fine record, and I'm glad we put it out.

HAMLET IDIOT:
CHD1016: Tango Palace CD
CH4517: Don't Let Them/Hypnotized

Here's a couple of records I don't remember a whole lot about. Hamlet Idiot was an Amherst-based noise outfit who made a series of obtuse, skronky records with producer Steve Albini. I do recall that the band paid for the pressings, provided the cool cover art, and headlined an underattended record-release show at the Bay State.

Hamlet Idiot's fearless leader Dylan Metrano later formed Tiger Saw. Although the band was pretty obscure in their day, Hamlet Idiot reunited in 2005 for a couple of shows in the Boston area. No word on the attendance.

CH4518 THE FIGGS: Christmas Shake 45

Here's another record that got delayed until it was too late to make a profit on it. Due to the demands of Figgs' manager Brad Morrison, and then having to wait for the unremarkable cover art to come from the graphic artist dude, this 7-inch got released about three weeks before Christmas, and thus sold only a fraction of what it might have.

Let me just say here that the Figgs were, and are, awesome, a great band with great material that should have been the kings of pop-punk, but unfortunately got beaten to the marketplace by Green Day.

At the time of this release, the Figgs had just gotten signed to Capitol, where they released their somewhat disappointing Banda Macho album. Some of the material on this 7-inch eventually got rereleased on a Capitol sampler CD.

The EP combined group originals with a sparkling cover of the Kinks' "Father Christmas," and along with the Cheetahs' "A Message to Santa Claus," puts Chunk alongside K-Tel, Ronco, and other great purveyors of holiday hits.

The Figgs' Mike Gent responds:

"A manager who was difficult? You actually lose money selling 45's??? You don't say?...Also, Banda Macho was not a disappointment for me. I bought at least three guitars, two amps, paid my rent for two years and made The Figgs Couldn't Get High with Banda Macho money."

CH1018 DRUNK STUNTMEN: Taking My Pee Pants Off CD

Drunk Stuntmen originally hailed from Taunton, Mass., and came west to the Pioneer Valley in the guise of a high-energy jam band called Soup ("Bring a bowl for Soup" was their slogan, as I recall). The band changed directions in 1995, reinventing themselves as whiskey-swilling country rockers. In the process, they alienated their UMass hippie fanbase but gained renown among the local indie rock cognoscenti.

Their first release under the Stuntmen moniker was Taking My Pee Pants Off, recorded in their basement by guitarist Terry Flood's brother Mike (who was immortalized by Sebadoh in their song "Flood"). True to the Chunk aesthetic of "Medium Fidelity, Extreme Quality," the disc is a little rough around the edges, but features some great tunes, most notably Alex Johnson's "Statue of Joe Raposo" and the album opener, Steve Sanderson's "Jesse James Dean," which contains the immortal line, "You can all go to hell/I'll go to Texas."

Words to live by, brother.

CH1019: TAG SALE: Trashed and Bent CD

By the end of the '90s, Chunk was a going concern in name only, as the day-to-day business of running the label was no longer my focus. Surviving was more my immediate concern at the time. However, our last two releases, although financed by the bands and released through a distribution network that was a shadow of its former self, are among my all-time favorite Chunk records.

Tag Sale was a local punk squad made up of several of my friends that was a bit polarizing, as they were loved and hated with equal vehemence by the local scenesters. I loved 'em, and I still listen to Trashed and Bent, their lone release, a claim I can't make about a lot of Chunk stuff. I even co-produced a couple of the tracks, which we recorded at the end of a chaotic video shoot for "Jet" (see Appendix B).

Among the highlights are "Rear View," "Space Frontier," and "Traversing the Wave," an homage to the Pixies that is one of the live tracks at the end of the disc.

CH1020: THE COOPERS: American Car CD

The last ever Chunk record, put forth by a young garage band in suits and ties whose demo had caught my ear. I really loved this one song about the singer buying pot in Pulaski Park, but this great song was excluded from their debut album, and since there would not be a follow-up, never got a release. I had wanted to direct a music video for that song, but since it wasn't on the CD, I did one for the title track, an unconscious plagiarism of Billy Idol's "Dancing with Myself."

The video is a visual tribute to A Hard Day's Night, shot on black and white super 8 film. Unfortunately, on the day of the shoot, we quickly lost the light, and the second half of the video is pretty dark.

Jed Smith, the leader of the Coopers, is still active musically in the NYC area, and tried to get in touch with me a while back via MySpace. I'll have to get back with him, now that I've listened to his old band's record for the first time in years.

Postscript

When I originally sat down to write "The Chunk Records Story," I had no idea it would take me four months to finish telling the tale. I made a conscious decision to focus on the music as much as possible, rather than on the often insane goings-on behind the scenes. As it was, I'm sure I pissed a few people off with what I did write. In fact, I know I did, in fact, as I received a message from Angry Johnny saying that I had made him, well, angry. Anyway, in respect to various individuals' privacy and my sense of self-preservation, I left out a lot of bad shit.

Frank Padellaro (King Radio, Scud Mountain Boys, Cheetahs, Miss Reed, etc.) put it this way:

"In your defense, I've found your history extremely entertaining and surprisingly even-handed. I laughed out loud when you described Miss Reed as 'less than the sum of its parts.' It was my favorite review since, 'this record is blander than corn and harder to digest.'

"The part you are really missing in the downfall of Chunk is how you were completely out of your mind. It isn't like you made one or two bad decisions. You were making them too fast to count.

"The thing is, I miss those days more than I care to admit, and you, your delusions of grandeur, and your bitter wit will always stand out as high points in my memory.

"In the end, Chunk Records was a mirror image of you. It was hard to tell if all those records had any impact on anyone, until they were gone, and you realize what an empty hole was left in their place.

"The day you left the Bay State, the Northampton music scene started its long slow death, or at least it contracted some kind of withering illness. The day Chunk put out its last record was the day most of our delusions died. Without your boundless influx of positivity and energy, it was impossible (for me anyway) to suspend disbelief. Most of us woke up one day to realize we were coffee shop employees, cooks and sales clerks."

Thanks, Frank.

I no longer have any of the master recordings of Chunk's 30-odd releases, save for a CD-R of the Cheetahs' "A Message to Santa Claus." I have very few of the actual records in my possession. After my marriage broke up, I stored the back catalog in Frank's garage. When his marriage broke up, he moved out of the house, and all the records got swiped by the cleaning crew. They eventually wound up at the Hadley flea market, and in the hands of several local collectors. I bought a few on Ebay, but it's kind of tough having to buy back records that I paid to make, and having to pay collector's prices. thanks to Ken Reed of Main Street Records for selling me at a fair price the GbV/NRSK split that I had sold him all those years ago.

Appendix A:

Announced but Unreleased:
13 Chunk Records That Never Saw the Light of Day

ARCITECHTURAL METAPHOR/SONS OF THE CORPORATE DOG Split 7"

THE CHEETAHS: It's All Going By Too Fast LP/CD

DMZ: Live at the Rat '76/Live at the Middle East '93 CD

ZEKE FIDDLER: "Socket" 45

Framin' Gloovies: A Tribute to the Flamin' Groovies LP/CD

Hotel Massachusetts II Compilation CD

LYRES: "Zebra in the Kitchen" 45

THE MALARIANS: Finished in This Town CD

NEW RADIANT STORM KING:

Singular, No Article CD, My Little Bastard Soul LP

SCUD MOUNTAIN BOYS: Pine Box 8-Track Cartridge

TAG SALE: Fuck the Age Difference EP

THE UNBAND: "Why Do You Think They Call Us Dope?" 45

Several of these titles eventually saw the light of day on other labels. Most of 'em remain unreleased.

APPENDIX B: Music Videos Directed by Mal Thursday

HOSPITAL: "Crazy Train"

TAG SALE: "Jet"

THE COOPERS: "American Car"

THE MONTREAL EXPOS: "Vladimir Guerrero"

The Chunk Records Story, Part Two

In Part One of "The Chunk Records Story," our tale unfolded with the story of '80s neo-garage band the Malarians, and their house label, Chunk. After the band broke up for good, it seemed the world had heard the last of the mighty Chunk Records. However, circumstances conspired to bring about a revival of the label.

Chapter Two: The Savage Return of Chunk Records

By 1991, I had moved on from my days as the madcap frontman of the Malarians. I had gotten hired as the head baseball coach at Hampshire College, and held down a steady job as a radio personality on WRSI, and as a rock 'n roll know-it-all behind the counter at Dynamite Records. I was living in a duplex on South Street that dated back to the early 19th century (with very low ceilings -- I must have bumped my head dozens of times, which may explain a few things). Our twenty-something landlords, John and Carlo, went bankrupt and lost the house to the bank. Carlo told me to stop paying rent, and for the next six or seven months, I lived for free, except for the cable bill and the massive gas bill (the house was poorly insulated, to say the least).

Living rent-free allowed me to accrue enough capital to start a small business. While I could have started any number of potentially profitable and socially responsible business ventures, I chose to bring Chunk Records back from the grave. Inspired by the rise of Nirvana and the example of Sebadoh's "Gimme Indie Rock" 7-inch, I reinvented Chunk as a purveyor of limited edition 45s. At the time, labels like Sympathy for the Record Industry were doing great things with the format, which at one time had been the dominant medium, until it was surpassed by the LP, and later the CD. I wanted to emulate the Sub Pop Singles Club, but I knew I didn't have enough loot to put out a record every month. I decided to start small, and I had just the right song to relaunch the label.

CH451: THE CHEETAHS:

A Message to Santa Claus/That's Your Problem

After the break-up of the Malarians, I made a point of not starting another band, reasoning that the rock 'n roll lifestyle was just so much wanking into the wind. However, one of the dudes on my baseball team, Ezra Gale, played guitar, as did my roommate, Chris Soucy, and we threw together a band to play at a fundraiser for the team. We called it the Mal Thursday Experience. Having gotten another taste of the joy of kicking out the jams on stage, I was hooked, and decided to turn up the knobs to 11.

Ex-Malarian John Lebhar had started a band called Farmhouse, which was sort of an uneven blend of R.E.M. and CSNY. Although I didn't care much for the music they made (I tended to dislike all of my ex-bandmates' new projects), I did admire their live version of the James Gang's "Stop" and especially their rhythm section, which I stole to transform the Mal Thursday Experience into the rock powerhouse that would become the Cheetahs. Bassist Brent Nielsen was a jazz player, but was capable of John Entwistle-type lead runs, while drummer Nelson Bragg, who now plays with Brian Wilson's backing band the Wondermints, was not only a great drummer, but also sang like an angel.

We worked up a killer set, many of the tunes ("Try It My Way," "Spundalina," "It's All Going By Too Fast," etc.) coming from a rock opera I was writing with Chris, loosely based on my old friend and bandmate Kent Garver's losing battle with heroin addiction. We went into Slaughterhouse Recording in the Summer of '92 to lay down our best stuff. Among the resulting 11 tracks was a profane rewrite of the Malarians' "Get Outta Dallas" called "A Message to Santa Claus":
Fuck you, Santa Claus / You never done nothing for me / Said there weren't no toys / When I looked under my Christmas Tree / Fuck off, Fatso You whacked-out, sad, sick clown / Get outta Brooklyn / Turn them reindeer around!

In October, Chunk released "A Message to Santa Claus" with a naked Bettie Page on the cover and a cover of the Outsiders' "That's Your Problem" on the B-side, in a limited edition of 300 copies on festive red vinyl. It quickly sold out, and Chunk Records was back on the map.

CH452: THE VERONICA CARTWRIGHTS:

Hey Girl/Mirror Mirror/Everything I Own

One of the crucial elements in Chunk's rebirth was my role as the master of ceremonies and booking agent at the Bay State Hotel in Northampton, which had started with an arts grant I had received to create a live performance series called the Bay State Cabaret, originally intended to be a mix of bands from various genres, spoken word artists, comedians, etc.

The first show, in early '92, demonstrated that the format needed to be tweaked: the female comedian wasn't funny, the spoken word guy was a waste of time and space, and the crowd was anything but. A crowd, that is. By November, I had refined the formula to feature nothing but music, with a show headlined by the Lyres and the Cheetahs that was a rousing success. Another show, in January of '93, headlined by Sebadoh, was packed to the rafters, and the following Monday, I got hired to put on regular gigs at $400 a week, plus a cut of the door. I started getting a lot of demo tapes, and began to put together the next volley of Chunk releases. I had already decided to put out singles by New Radiant Storm King, whose first CD My Little Bastard Soul impressed me mightily (they were also students at my alma mater, Hampshire College), and Angry Johnny, a local artist and profilic songwriter of psycho-billy death ballads and gutbucket, shit-kicking country-punk.

One of the demos that impressed me came from a band called the Veronica Cartwrights, named after a '70s character actress who specialized in playing nervous types, and fronted by Californian Jeff Lloyd, featuring some tasty fuzzbox action (I was always a sucker for good fuzz). I took them into the studio (on their dime, of course), and recorded four songs, three of which comprised their debut EP. Lloyd's quavering voice was off-putting to some, and some critics were unkind to the band's version of Bread's "Everything I Own," but I dug it all. Established local bands like Free Press and the Big Bad Bollocks were probably affronted that I ignored them in favor of an unheard-of little band that had only played a handful of shows, but I was trying to forge my own aesthetic, and besides, Free Press sucked. And the Bollocks wouldn't let me take a cut of the door at the Bay State (which was partly how I could afford to make records in the first place), so the hell with them.

CH453: NEW RADIANT STORM KING:

Subway Token (Save My Soul)/Rival Time (Viral Mind)/Lord Is Coming

As I mentioned earlier, New Radiant Storm King was the real deal. Their first full-length was full of good songs and good ideas, and they had two distinct voices in Peyton Pinkerton and Matt Hunter, and the third, their drummer Elizabeth Sharp, was pretty distinctive in her own right. Sharp created the cover art for their 3-song 7-inch, and the top side, written and sung by Pinkerton, "Subway Token (Save My Soul)," stands as the most accessible number in their 15 years as a band. Their friend Zeke Fiddler would later pay homage by stealing the riff for his Chunk single, "Half Inflated."

Storm King would go on to release several more tracks on the Chunk imprint, most notably the split 7-inches with Silver Jews and Guided By Voices.

For more on this fine band, go to furnacerock.com.

CH454: ANGRY JOHNNY:

Henry (with THE KILLBILLIES)

Ring of Fire (with THE CHEETAHS)

Angry Johnny is indeed a prolific artist, both as a painter of gruesome outsider art, and as a songwriter/performer, with literally hundreds of songs to his credit. His lone 45 for Chunk consists of a typically violent tale of love and revenge about an unfortunate young man named Henry, who meets his comeuppance at the hands of the local cops. The B-side was Angry fronting the Cheetahs' arrangement of Johnny Cash's "Ring of Fire." His vocals are a little undermixed on the record, owing to producer Sean Slade thinking that it was just a bar-band cover-type throwaway, and not destined for release as a single. He also expressed his distaste for Johnny's pig squeals over the rave-up at the end.

Angry Johnny has carved out a solid career for himself, having released several full-lengths with the Killbilies, and several more of his brooding solo work (sadly, Bones, a collection of acoustic numbers about a certain old flame of ours, remains unreleased). He also created the cover art for Dinosaur Jr.'s Where You Been?

I just found out that he played in Austin last Saturday night. I'm sorry I missed him.

Apparently, it was my last chance, as a message on Johnny's MySpace page states that, "On Saturday December 1st 2007 in Provincetown Massachusetts, Angry Johnny and the Killbillies played their final show. Thank you to everyone who has supported the band over the many years."

Oh well. So it goes.

For more on this unique American artist, visit getangry.com.

CH455: HOOLAPOPPER:

See Section/Racing for Nowhere/Tacks & Nails

Hoolapopper was a short-lived band from Ware, Massachusetts, whose demo caught my ear in late '92, as a nice blend of crunchy, metallic guitar and good ol' "pop smarts." Mind you, this was before bands like Blink 182 forever sullied the term "pop-punk" with their whining wankery. But I digress. I liked Hoolapopper, both as a band, and as good dudes. Tom, Matt, and Garrett were honest joes who could write good songs and rock a room with the best of them.

But like I said, they didn't last long, and soon moved on to other projects. Tom Shea ended up playing drums and mandolin with the Scud Mountain Boys (read all about their skulduggery in Chapter Five, "The Decline and Fall of Chunk Records"), Matt Hebert went on to front Ware River Club and his current band Haunt, while Garrett Fontes had a lengthy run drumming for New Radiant Storm King.

Chapter Three: Salad Days

1993 was what you could call a "watershed year" for Chunk, the Bay State, and the Western Mass music scene in general. The previous year, Billboard had written a story pegging Northampton as "The Next Seattle," prompted by a guy named Dave Blowhair who had a local label called JamaDisc that was the antithesis of what I wanted Chunk to be. Blowhair blew his wad on CDs by the Big Bad Bollocks, Dieselmeat, his own band (the name escapes me) and a spotty compilation of local bands entitled Big Fish in a Little Pond.

I hoped to stay around for the long haul, and build the label at a sane pace. The first step toward establishing the label had been taken. Most of our first wave of 45s had sold well enough to establish Chunk Records as a force to be reckoned with by the major independent distributors (most all of which have since been rendered extinct by the rise of digital downloads). For the time being, I wanted to stick to 7-inches, but ultimately, I hoped to develop artists that would release full-length albums for the label. Then, when they got snapped up by a major label, the buyout money would fund more records for more bands. And when those bands got signed, the buyouts would fund even more records for even more new bands.

Of course, you know what they say about the best-laid plans of mice and men...

CH456: LYRES:

Baby It's Me/I'll Make it Up to You

One of my favorite bands of all-time is Boston's Lyres, who have churned out an amazingly consistent body of work since their inception in 1979. Formed in the wake of the break-up of Beantown punk legends DMZ, and led by the mad genius of Jeff "Monoman" Conolly, the band has gone through many line-up changes, but thanks to Jeff's obsessive vision (some would call it "tunnel-vision"), they have remained true to their time-worn aesthetic. Inspired by '60s garage bands like the Sonics and the Remains, the Lyres' sound combines Conolly's distinctive voice and Vox organ playing with tremoloed guitar, crash and boom drums, and the fluid bass work of Rick Coraccio.

I approached Conolly about releasing a Lyres 45 on Chunk, and he was receptive, providing I paid him an advance, and use his ace version of Richie and the Renegades' "Baby It's Me" as the A-side. The B-side was an alternate version of the Roadrunners' "I'll Make It Up to You" that I preferred to the version on the Happy Now album on Taang!

The resulting vinyl was one of Chunk's finest hours.

Both sides were reissued a couple of years later on Norton's Those Lyres compilation.

CH457: ZEKE FIDDLER: Half-Baked/Half-Inflated

Zeke Fiddler was a fixture in the Northampton scene. While at Hampshire College, he began to perform his original compositions at shows on campus, and was later adopted as sort of a mascot by J Mascis and the Dinosaur Jr. entourage. When I met him, he had just inked a deal with the indie label SpinArt to release his Waterproof album, which had to be negotiated away from Dave Blowhair, with whom Zeke had signed a criminally one-sided deal in '92. I booked him to play a show at the Bay State, and we became friends. He told me he had hated me for making fun of his name on the air when he had called in a request to The Mal Thursday Show on WMUA a few years earlier, but I assured him I probably just said "Zeke" a bunch of times because it was a cool name. Anyway, at the time, I was recording a lot of the shows with a TEAC four-track, and took a liking to one of his songs, "Half-Baked."

He went into Slaughterhouse with a band that included Matt Hunter of New Radiant Storm King, and laid down a conceptual double A-side, "Half-Baked" and "Half-Inflated," along with an instrumental, "Brave Doorman," named after Zeke's part-time role at the Bay State.

Zeke later disowned me because I had "disappointed" him, by dropping the ball on the scene, I guess, by my abominable post-divorce behavior, and by putting out the Flycatcher CD.

Can't really blame him for that one.

CH458: UNLOVED:

A Tribute to Arthur Lee and Love

NEW RADIANT STORM KING:

My Little Red Book

LYRES: Signed D.C.

THE VERONICA CARTWRIGHTS: A Message to Pretty

SUPREME DICKS: Can't Explain

In the song "Cure For Pain" by Morphine, Mark Sandman asked the timeless question, "Where's all that money that I spent?"

In my case, a lot of it went into the pocket of the late, great Arthur Lee, mercurial genius of L.A. psychedelic/folk rock legends Love.

By the Summer of '93, word had spread that there was finally a hip venue in Northampton for touring rock bands. One of the booking agents I worked with called to see if I had an opening on a Monday night for Arthur Lee & Love, who were doing an East Coast club tour.
Unfortunately, Monday was the one night of the week I couldn't book, as there was a pre-existing condition known as "Blue Monday," where Bid Ed Vadas & the Fabulous Heavyweights played the white man's blues every week. I tried to persuade Big Ed to let me have one night -- I even promised to pay his usual guarantee for not playing -- but he wouldn't budge. I then tried to negotiate with Jordi Herrold, the owner/manager of local folk/jazz club the Iron Horse, and a notorious dickhead. He said that the date was available, but that he was disinclined to give it to me. Same thing at Pearl Street, the mainstream venue next door to the Bay State.

Undeterred, I booked the show at the Northampton Center for the Arts. Long story short, lacking the publicity arm of the other venues, and the hipster cachet of the Bay State, the show drew only about 50 people, and I took a bath. To add insult to injury, the next day, when I took Arthur out to lunch at the Northampton Brewery, he hit me up for another grand for songwriting royalties and the use of his trademarked logo on the Unloved double 7-inch. When I showed him the artwork for the record, which was a sketch of him by New Radiant Storm King's Peyton Pinkerton, he was livid, saying, "Who's that Ubangi-looking motherfucker? Is that supposed to be me? Looks more like Hugh Masakela!"

At considerable expense, the artwork was redone, and the following year, Arthur played the Bay State to a full house. I almost broke even on that one.

CH459: LUMBER

Here's a record that I can remember very little about. I don't remember the song titles, or much about the band. I remember their singer was named Todd. They were UMass kids, I think, and they paid for the pressing. This was another record that Zeke counseled me against putting out. I figured, hey, the more the merrier, right? My distributors were suitably unimpressed, and I think we sold less than a hundred total. Unfortunately, there was another equally nondescript but slightly less obscure band by the same name from the Pacific Northwest, and also a fairly good one from Australia who are still around.

Still, I must have liked them, because I wouldn't have released it regardless of whether or not they were footing the bill.

The Lumber who made this EP have since vanished. Into the woodwork, you might say.

CH4510: SILVER JEWS/NEW RADIANT STORM KING Split 7-inch

The best-selling title in the history of the label, this one came about because of the fact that David Berman of the Silver Jews was an MFA student at UMass, lived in the same apartment as Zeke Fiddler, and had a mutual admiration for New Radiant Storm King. The Jews were originally a lo-fi art project by Berman in collaboration with Steven Malkmus and Bob Nastonovich of Pavement that found a home on the ultra-hip Drag City label. The band evolved into a vehicle for David's brilliant imagery and proved itself capable of musical depth and beauty, with or without Malkmus. At the time, Pavement was totally hot shit, indie rock gods of the moment, and that certainly didn't hurt sales of the record.

The tracks: "Sabellion Rebellion" and "Old New York" by Silver Jews; "Rocket Scientist" By NRSK.

CH1005:

HOTEL MASSACHUSETTS

Compilation CD

From Wikipedia:

Hotel Massachusetts is a 1994 Chunk Records release compiling songs by some of the musical acts featured regularly at the Bay State Hotel, a now-defunct Northampton, Massachusetts venue, booked and MC'd by Chunk founder Mal Thursday. Its 23 tracks are notable for not only capturing a cross-section of the Northampton indie rock scene of the early 1990s, but for including rare tracks by then- or later-famous acts such as Sebadoh, Silver Jews, Lyres, and New Radiant Storm King.

Track Listing:

"Invocation"

"Skull" – Sebadoh
"Half Baked" – Zeke Fiddler
"Phone Call" – New Radiant Storm King
"Sunday" – Home
"Hooked" – Lumber
"I'll Make It Up To You" – Lyres
"You're No Boy Wonder/Nothing You Can Do" – The Unband
"Traces Of Alignment" – Skinner Pilot
"Miss America" – Tizzy
"I Love You, Girl" – Queer
"Falling Down" – Ray Mason Band
"Frog" – The Veronica Cartwrights
"Nuclear Man" – Angry Johnny and the Killbillies
"Four Wheeled Friend" – Fuzzy
"Alone At Last" – Steve Westfield
"Stolen" – Hoolapopper
"Miami" – The Dots
"Ten Long Years" – The Maggies
"Believe You Me" – Miss Reed
"I Should've Sued" – Squeek
"I Like My Life" – Philth Shack

"Good Advices" – Silver Jews

Though I haven't listened to it in many years, I was proud of Hotel Massachusetts, which was intended as a musical snapshot of a time and place, and certainly succeeds on that level. I know I regretted some of the choices in terms of which bands made the cut, and looking at the track list now, I cannot recall some of them at all (who were the Dots?). The cassette version contained a few more artists, like Mother Holly and a couple of others, but we didn't make too many of 'em, as I recall. Also, the printer really fucked up Eric Talbot's great comic book cover art. The major accomplishment was that Chunk was now dealing in full-lengths, not just singles.

Ultimately, it would be our undoing.

In Part Three of "The Chunk Records Story," Mal releases some of the most popular titles in the Chunk catalogue, but begins to regret not having taken any business courses in college, as his attempts to grow the label are thwarted by naivete, stupidity, and alt-country effrontery.

For a copy of Mal Thursday & the Cheetahs' unreleased 1992 full-length garage rock epic It's All Going By Too Fast, featuring guest appearances by Angry Johnny and the Lyres' Jeff "Monoman" Conolly, send $9.99 via PayPal (includes shipping and handling) to malthursday@yahoo.com.