History
Leatherface was formed in August 1988 by Frankie Stubbs (vocals/guitar) and Stuart Scouler (bass), alongside HDQ members Andrew Lainey Laing (drums), Richard "Dickie" Hammon (guitar). [3] Their first show was opening for GBH at the Riverside. GBH did not arrive, and Leatherface performed for twenty minutes. They quickly grew a local fan base, soon recording a demo at Desert Sounds studio in Gateshead then embarking on a tour of mainland Europe in May 1989 with Union Morbide. For this tour, they performed as a trio, due to Hammond's scheduling conflicts with HDQ. [4] In July 1989, they recorded their debut album Cherry Knowle at Beaumont Street Studios in Huddersfield, which would be released by Meantime Records. Immediately following the recording, Scouler departed from the group, leading to the hiring of Rob Bewick then Dick 'Head' Camm. [5]
In 1990, they released the EP Beerpig, then toured the United Kingdom with Fual, and Europe. Much of the European tour was undertaken as a trio, other than a date in Eindhoven, where Hammon performed with both Leatherface and HDQ. After the tour, the band hired Rob Turnbull on bass, and signed to Roughneck Recording, releasing their second album Fill Your Boots the same year, as well as the single Razorblades And Aspirin and the Smokey Joe EP. [6]
Their third album Mush was released in 1991. According to Allmusic, it was "one of the most intense records of the 90s, with some of the fiercest playing and song dynamics.. considered one of the best albums of the decade." [7] At the beginning of 1992, they toured mainland Europe with support from Wat Tyler. This followed by a single covering ABBA's song "Eagle", then the Compact And Bijou EP. At the end of the year, they recorded their fourth album Minx which was released 1993, the same year as the EPThe Right Thing. In 1994, they released their fifth album The Last, followed by a UK headline tour. The final date of the tour was in Leeds, where Stubbs, unbeknownst to the other members, announced that it would immediately disband. [8]
The band split in late 1993, [9] – releasing a posthumous mini album (The Last) the following year – but reformed in 1998, after the death of bass player Andy Crighton (also of Snuff). Four more albums followed between 1999 and 2012. [1]
Rubber Factory Records released a tribute album to Leatherface in 2008, featuring 41 tracks by over 35 artists from several different countries who were influenced by the band, including Hot Water Music and The Sainte Catherines.
There is confusion as to whether their cover of "Can't Help Falling In Love With You" was played in the final episode of Sons of Anarchy as there is evidence it was performed by Franky Perez & The Forest Rangers. [10] [11] [12]
Post-split
After Leatherface disbanded, Stubbs moved on to two new bands, Jesse and Pope. Jesse released three singles and one self-titled album between 1995 and 1998. Stubbs also performed solo and released one single in 1995 and a 10’’ EP in 2001, while Hammond formed Dr Bison. [13]
Stubbs was featured on Duncan Redmonds' 2009 collaboration album Bubble and Squeak on four tracks alongside Redmonds, Loz Wong (Snuff) and Wes Wasley (Consumed, Billy No Mates) calling themselves "The Pissmops". He was referenced in Franz Nicolay's song "Frankie Stubbs Tears". [14]
'Heart is Home' was among the first four VinylVideos ever produced. [15]
Musical style and legacy
Leatherface's music has been described as a cross between Hüsker Dü and Motörhead, [16] a notable element being Stubbs' rasping, "gravelly" vocals. [1] Critics has categorised them as emo, [17] [18] melodic hardcore [19] [20] and punk rock. [21]
They have cited influences including Dag Nasty, the Exploited, Descendents, the Police, Sex Pistols, AC/DC, [22] Motörhead and the Blood. [23]
They have been cited as influence by Samiam, [24] American Nightmare, [25] Lifetime, [26] Hot Water Music, [27] Mil-Spec, [28] Avail, Dillinger Four and the Gaslight Anthem. [29] Alternative Press cited them as an influenced upon the development of the pop-punk genre, [30] while New Noise Magazine noted them as establishing the sound of Gainesville punk, stating "it’s almost like the Gainesville sound, but the Gainesville sound really came from Sunderland." [31]
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