The Gruesomes | |
|---|---|
| Origin | Montreal, Quebec, Canada |
| Genres | Garage punk |
| Years active | 1985–1990, 1999–present |
| Labels | Primitive, OG, Ricochet Sound, Tyrant |
| Members | Bobby Beaton Gerry Alvarez John Davis John Knoll Eric Davis |
| Website | The Gruesomes myspace site |
The Gruesomes are a Canadian garage punk band from Montreal, Quebec, Canada, that formed in 1985.
The band gained recognition following the 1986 release of their debut album, Tyrants of Teen Trash (Og Music), which led to an "underground" following in Europe, the United States (US) and Canada. Subsequent releases increased their fan base and, after periods of touring, the band established itself within the global garage music scene. [1]
With no previous musical experience, Bobby Beaton (guitar and vocals), Gerry Alvarez (guitar and vocals), John Davis (bass) and Davis' brother, Eric Davis (drums), were all between the ages of 16 and 19 when they began playing music together. The four teenagers were primarily inspired by long nights spent in their parents' basement watching TV and listening to obscure mid-60s records. Taking their name from the scary neighbours on TV's The Flintstones , the Gruesomes developed an image of matching black turtlenecks, Beatle boots and bowl haircuts, combining it with a "snotty" punk musical style. Early live shows relied more on the group's energy and humour than actual musical ability; however, the Gruesomes proceeded to become a popular club act, despite their inexperience. [2]
Within a year of forming, the Gruesomes recorded their debut LP for Og Records, an independent music label based in Montreal. In 1986, Tyrants of Teen Trash, a collection of primitive teen anthems, was released and fared well in the European and North American markets. In their home country of Canada, the album was often in the number one position on alternative playlists. The band's follow-up releases, also on Og, 1987's Gruesomania and 1988's Hey!, were also well-received and established the band as one of Canada's biggest selling underground acts. [1]
Famous for their wild stage presence, the Gruesomes toured Canada and the US accompanied by a reputation for legendary live shows. [3] Always taking an irreverent approach to music, the Gruesomes were known for their humor and goofy stage antics. Their famous Halloween shows were schlock tributes to horror themes, incorporating camp props such as coffins and Dracula capes. [4] In 1987, following the release of Gruesomania, Ottawa's John Knoll replaced Eric Davis on drums and the band subsequently developed a harder, more polished Garage Punk sound. [5]
The Gruesomes released two music videos: 1987's "Way Down Below" and 1988's Monkees-inspired, "Hey!". Both clips received heavy rotation on Canada's video station MuchMusic. [1]
The Gruesomes ceased operation as a band in 1990 and it is reported that the members believed that they had achieved the highest level of success that was possible for an underground musical act. [2]
In late 1999, the Gruesomes reformed to coincide with the release of a new album, Cave-In!. A 14-track CD was released in Canada, whilst the album was sold as a 12" vinyl record in Germany. The tour to support Cave-In! was primarily driven by popular demand and resulted in the band playing shows in Germany, Italy, Switzerland and Belgium. [6]
The Gruesomes have since played many shows including Cavestomp in New York City (2000), [7] The Funtastic Dracula Carnival in Benidorm, Spain(2017), Wild O'Fest in Mexico City (2018), and the Spider Monkey Festival in San José, Costa Rica in 2019. The Gruesomes are still active performing around the world [8]
The Music Machine was an American rock band formed in Los Angeles, California in 1966. Fronted by chief songwriter and lead vocalist Sean Bonniwell, the band cultivated a characteristically dark and rebellious image reflected in an untamed musical approach. Sometimes it made use of distorted guitar lines and hallucinogenic organ parts, punctuated by Bonniwell's distinctively throaty vocals. Although they managed to attain national chart success only briefly with two singles, the Music Machine is today considered by many critics to be one of the groundbreaking acts of the 1960s. Their style is now recognized as a pioneering force in proto-punk; yet within a relatively short period of time, they began to employ more complex lyrical and instrumental arrangements that went beyond the typical garage band format.
Sundazed Music is an American independent record label founded in Coxsackie, New York and currently based in Hillsborough, North Carolina. It was initially known as a 60's centric Surf, Garage, and Psych label, over time with the additions of imprints such as Modern Harmonic, Americana Anthropology, Beat Rocket, Dot Matrix Recordings, and Liberty Spike Recordings, their reach spans most genres and many decades while still firmly rooted as an archival label.
The Brogues were an American garage rock band formed in Merced, California, in 1964. Much of the group's brief recording career was marked by distorted-guitar melodies and R&B-influenced vocals. They released two regionally successful singles in their brief existence, most notably the Annette Tucker and Nancie Mantz-penned "I Ain't No Miracle Worker", which is now considered a classic of the garage rock genre. The song has also appeared on several compilation albums and has been covered by other music artists.
Deja Voodoo was a Canadian garage rock band, formed by Gerard van Herk and Tony Dewald (drums), who combined 1950s horror imagery with rockabilly and country musical influences. Van Herk's guitar only had the top four strings and he sang in a deep voice, whilst Dewald's drum kit had no cymbals, which resulted in a low-treble rock style they termed "sludgeabilly." The band toured in Canada, the United States, and even Europe.
Og Music was a small but influential independent record label based in Montreal, Quebec, Canada.
The Chesterfield Kings were a rock band from Rochester, New York, who began as a retro-1960s garage band, and who have heavily mined 1960s music, including some borrowing from the 1960s recordings of The Rolling Stones. Core members were former Distorted Level singer, underground music journalist and avid record collector Greg Prevost, and Andy Babiuk ; others have come and gone. The band, named after a defunct brand of unfiltered cigarette, was instrumental in sparking the 1980s garage band revival that launched such groups as the Unclaimed, Marshmallow Overcoat, The Fuzztones, The Pandoras, The Malarians, Mystic Eyes, The Cynics, The Optic Nerve, the Secret Service, and the Stomachmouths.
Mega City Four were an English indie rock band formed in Farnborough, Hampshire, who obtained popularity throughout the late 1980s and 1990s.
Stay with the Hollies, also known by its American release title Here I Go Again, is the debut album by the British rock band the Hollies and was released in January 1964 on Parlophone Records. In Canada, it was released on Capitol in July 1964, with a different track listing. In the US, Imperial Records issued the album under the title Here I Go Again in June 1964 to capitalize on the moderate success of the singles "Here I Go Again" and "Just One Look". It also features covers of well-known R&B songs, not unusual for Beat groups of the day.
Jerry Jerry and the Sons of Rhythm Orchestra is a Canadian alternative rock band whose musical style blends elements of surf music, gospel music, rockabilly, garage, and punk. The band also experimented with jazz on their third album Don't Mind If I Do.
The Choir was a garage rock band largely active in the greater Cleveland area from the mid-1960s into the early 1970s. Originally called The Mods, their largest commercial success came with the release of their first single "It's Cold Outside" in December 1966. The song, considered to be a classic of the garage rock era, was featured on Pebbles, Volume 2, one of the earlier garage rock compilation LPs. The flipside, "I'm Going Home" was included as a bonus track when the Pebbles album was reissued as a CD, and it can also be found on a garage rock compilation LP on Ohio bands, Highs in the Mid-Sixties, Volume 9. The Choir is well known for containing three of the four original members of Raspberries.
The Ugly Ducklings were a Canadian five-piece garage rock group based in Toronto, Ontario, Canada, most notable during the mid-1960s.
The Rising Storm is an American rock group that was active at Phillips Academy in Andover, Massachusetts, United States, between 1965 and 1967. Their music is considered to belong in the folk rock and garage rock genres. The original members of the group were Bob Cohan (guitar), Todd Cohen (bass), Charlie Rockwell (keyboards), Tom Scheft (drums), Tony Thompson, and Rich Weinberg.
The High Dials are a Canadian indie rock band from Montreal, Quebec, Canada. The band started out playing a brand of pop music strongly influenced by 1960s British mod styles, but their sound has broadened to incorporate power pop, psychedelic music, shoegaze and folk rock.
Parallelograms is an album by American psychedelic folk singer Linda Perhacs. It was produced by Leonard Rosenman. Her first and only album until the release of The Soul of All Natural Things in 2014, it was all but completely ignored when originally released on Kapp Records in 1970. Discouraged by the lack of commercial attention and the label's reluctance to promote the album, Perhacs returned to her career as a dental hygienist. In the 30 or so years that followed, the album gradually developed a cult following.
The Asexuals is a hardcore punk band from Beaconsfield that was a mainstay of the Montreal punk scene in the 1980s before changing into an alternative band following the departure of singer John Kastner. Kastner left to form the Doughboys and later, All Systems Go!.
"The Little Black Egg" is a song first performed by Daytona Beach, Florida garage band The Nightcrawlers in 1965. It was a minor hit in both the US and Canada, reaching number 85 on the US Billboard charts in 1967, while doing slightly better in Canada, where it hit number 74. The song has been since covered by multiple artists including Inner City Unit, The Lemonheads, Neighb'rhood Childr'n, Tarnation, The Primitives and The Cars. It was The Nightcrawlers' only hit.
The Rip Chords were an early-1960s American vocal group, originally known as the Opposites, composed of Ernie Bringas and Phil Stewart. The group eventually expanded into four primary voices, adding Columbia producer Terry Melcher and co-producer Bruce Johnston. This group came to be associated with the hot-rod and surf genres of that day, although their first single did not reflect those styles. They recorded for Columbia Records in Hollywood from 1962 to 1965. The group placed five singles on the Billboard Hot 100. They are best known for their number-four single: "Hey Little Cobra".
The Driving Stupid was an American garage rock band formed in New Jersey in 1966. The group issued one cult favorite single called "Horror Asparagus Stories" that is most known for its absurd lyrics and psychedelic instrumentals. Though short-lived, the band's sole release has been included on numerous compilation albums. Previously unreleased material by the band was also issued in 2002.
"Action Woman" is a song by the American garage rock band the Litter, written by their record producer Warren Kendrick, and first released as the group's debut single on Scotty Records in January 1967. The song also appeared on the band's first album Distortions. Although "Action Woman" never broke out on the national charts, it is now revered as a classic piece of the musical genre of garage rock. Accordingly, the composition has appeared on several compilation albums – most famously as the opening track on Pebbles, Volume 1, incorporating a skip in the recording – and has been the subject of cover versions.
Raw 'n' Alive at the Cellar, Chicago 1966! is a live album by the American garage rock band the Shadows of Knight, and was released on Sundazed Records in 1992. The album consists of recordings from the band's appearance at the Cellar in Arlington Heights, Illinois in December 1966. Although the tapes were never anticipated to be released publicly, Raw 'n' Alive at the Cellar is commended for its good sound quality, and represents one of the better live concert recordings to emerge from the garage rock era.
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