Acid Archives Diaries #11 - Debris static disposal label 1976 original vinyl record review
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- เผยแพร่เมื่อ 2 ส.ค. 2024
- Acid Archives Diaries #11 - Debris static disposal label 1976 original vinyl record review
1000 privately pressed
Oklahoma's Debris' (yes, there is an intentional apostrophe after the "s" in their name). Their self-titled debut, released in a private pressing of 1,000 copies in 1976
For those that don't know, Chickasha, Oklahoma is a small city located about forty miles southwest of Oklahoma City. Prior to the success of The Flaming Lips, the pride of Oklahoma City, in the early 1990s, the city was not exactly known for its punk rock bona fides. With this in mind, the mere existence of a group like Debris' should seem like some sort of proto-punk rock miracle. Helping advance this thesis is the relatively high quality of the music and just how many similarities it shares with the more legendary acts of that time period. Consisting of Charles ("Chuck Poison") Ivey, O. (Oliver) Powers (both assuming various duties on guitar, bass, and synthesizer), and drummer Johnny Gregg, the trio--with help from a session saxophonist, drummer, and female background vocalist--reportedly, as per the boast on the album's back cover, pumped out this well-rehearsed material in "Six hours and 59 minutes." In this relatively short period of time, spread across two different sessions in December 1975 and January 1976, they incorporate their influences (which the group notes on their myspace page include "The Velvet Underground, The Stooges, Captain Beefheart, and English glam rock") and produce sounds vocal yelps comparable to Richard Hell and the Voidoids, Alan Vega of Suicide (both of whom had yet to release anything), and David Thomas of Pere Ubu. The stuttering rhythms of their guitar playing, the free jazz textures of session musician Richard Davis's saxophone, and the sharp bursts of noise that emanate from their synthesizers draw immediate comparisons to the aforementioned Pere Ubu, Robert Quine of the Voidoids, early "hardcore" Devo, and The Silver Apples. Thanks to record collector Karl Ikola, the founder of Anopheles Records, Debris' was re-issued (and re-christened Static Disposal, the name of the group's short-lived record label) for the first time in 1999 on CD (with numerous bonus tracks) and again on vinyl in 2008.
As exciting as this all sounds, let us not confuse the historical importance of this album's anomalous existence with the quality of the material on it. As an album, it is more often than not good, sometimes great. It often meanders, especially on the longer tracks. Similarly, some of the material is just not that strong ("Witness" and "Boy Friend," for instance). That being said, there is plenty to like here. The opener, "One Way Spit," begins with Charles Ivey retching into the microphone as he counts off the track. This is a fitting introduction to the album, foreshadowing the spastic sounds that would follow, insuring their obscurity, especially as an Oklahoman rock act, in 1976. Another highlight is the sludgy "Tricia," as desperate a love song one is likely to hear, complete with a power tool to create added texture (and long before Eddie Van Halen, it's worth noting!). Side One ends with another favorite, "Leisurely Waiting," which features a pulsating two chord sequence that is rendered all the more unsettling by Ivey's vocals. Side Two begins with the most accessible track on the album in "New Smooth Lunch/Manhattan," a fun romp that foreshadows something like "Gut Feeling" from Devo's debut LP, and manages to stay surprisingly catchy despite spazz-skronk guitar runs worthy of inclusion on Captain Beefheart's Trout Mask Replica. After two decent cuts in "Tell Me" and "Flight Taken," the album unfortunately ends with its weakest number in "Blue Girls," which is also, not surprisingly, the slowest number on the album. Ultimately, Debris' may come across as a novelty to those listeners with an inflexible conception of proto-punk. However, it is more than just a curio. It is an interesting piece of outside-outsider music that is refreshingly relevant, far more so than it was for the Oklahomans who were (un-)lucky enough to hear it back in '76. - เพลง
Another favorite of mine, featured it in my top 100 psych. If I didn't have the original myself id have bought that spare copy. Have you seen the weird period documentary they self made on you tube? Super weird and amazing. Stunning record merging psych and punk, and very early for the punk thing too. Certainly Stooges influence and perhaps Devo?? Maybe that Ohio connection you mentioned happened here
You can add in pere ubu and brainiac as a band they influenced too. Tim Taylor loved Devo and debris. I did get to see the doc which was pretty cool. By the way, I thoroughly loved your top 100 ;)
Thanks Jimmy. Unlike Dom I don't already have a copy and am not familiar with it. I do like Pere Ubu, so I am interested in listening to this album. - Chris
You will LOVE debris
Just streamed this one this week! What a find! Totally nuts, kind of gives me a Velvet Underground at their most cacophonous and some of that Stooges Fun House stuff with all the saxophone on it, as you mentioned. I think one of these songs was featured on the Total Punk 45 comp.This one is a really pricy record for what it is, but that sound is nuts. Kind of reminds me of The Residents and Trout Mask Replica, but Debris' totally does their own thing. I just love the absurdity. I love the talking and stereo madness. Nice copy of Power Plan back on your wall too!
You describe debris well!! Toss in a little pere ubu for good measure. So glad you liked it. If you ever want a clean original press I have 1 extra down from 3. I went a little nuts. lol. It’s a private press so you know it will continue to rise over time. Cheers Jimmy
@@Vinylfromtheunderground That's awesome Jimmy, thanks for the offer! I can't justify getting an original press, but may consider a reissue at some point. I was listening again today and turned a friend on to them on our drive back from lunch. It really is a one of a kind album, it's just so out there and different and it makes me smile to hear this stuff.