Anybody who's anybody knows mp3s are just bad style. It's convenient to stream music on the internet, but where's that beautiful intersection between art and commerce that is rock'n'roll? It's in the physical product, baby. Something that ain't too expensive but doesn't come for free. Something I can hold on to.
Cassettes are on the rise in the underground, but what about everyone's favorite classic format? It's compact, concise, and large enough to provide ample space for cover art. In this edition of Make Total Destroy, we're just feeling nosy. MTD asks DC music-makers: What's your favorite 7 inch record? As always, please write Make Total Destroy.
[Ed's Note: This is Pt.2 of a three part series. Go here for Pt.1]
Jason Barnett of Troll Tax and Coup Sauvage & The Snips:
Kenickie – Catsuit City (Slampt)
“I love long 7″s, and at 8 songs this plays like a mini-album. Teenagers from Sunderland UK doing the punk meets '60s girl group thing. So many rad riffs, harmonies, hooks and ideas crammed onto one tiny record. I was a teenager when I bought this, but it remains my gold standard for 7″s.”
lan Marshall of Give:
Ink & Dagger – Drive this seven inch wooden stake through my Philadelphia heart (Initial)
Jon Rose of Troll Tax:
Naked Raygun – Vanilla Blue (Sandpounder)
“”Vanilla Blue” is a perfect song. It captures each member of the band at his best and showcases the great songwriting talent of Pierre Kezdy. Never underestimate the songwriting ability of a bass player!”
Erin Smith of Cold Cold Hearts and Bratmobile:
Beat Happening – “Our Secret” B/W “What's Important” (K)
Ross Kerr of Surgery Dot Com:
Death Chants – Death Chants (S/R)
“It was released in 2005. It's experimental, folky, and psychedelic. A friend of mine at the time was in Death Chants, and though they used amplification, they were one of the few bands that played really quietly together.”
Hugh McElroy of Cephalopods, Black Eyes, and Ruffian Records:
Lee and Junior (Lee Perry and Junior Byles) – “Dreader Locks” B/W “Militant Rock” (Black Art)
“This is an incredible reversioning of “Curly Locks” into a deejay vocal over the most minimal dub. It kills me every time.”
Elizabeth Antonette of Coup Sauvage & Troll Tax:
Contropotere – Solo Selvaggi (Skuld)
“What were these Italians crust punks saying? I didn't know and it didn't matter. All I knew was that it was the sound of chaos – if chaos had a catchy melody. I want to smash! Destroy! Dance! Nap!”
David Combs of Spoonboy and Max Levine Ensemble:
Zegota – Zegota (CrimethInc)
“Zegota was one of those punk bands that came out amidst the anti-globalization protest movement of the late '90s who really made you feel like it was a time of revolutionary possibility. Their live shows were incredibly cathartic, and I remember totally losing myself in a sea of dirty anarchists and crust punks. I personally found their LPs to be a little too jammy, but their last release, a self-titled 7”, captured their energy perfectly. Two epic five minute punk songs, packaged beautifully in a hand made cover with a beautifully printed lyrics sheet. The A side was their incredible interpretation of the Nina Simone song “Sinnerman,” but the song that really put that needle back to the edge again and again was the B side, a Black Flag-inspired raging punk anthem, “The Anarchist Cheerleader Song.” when Zegota screamed 'A, GIVE ME AN A, MOTHERFUCKER!' it recalls brilliantly the feeling of charging lines of riot police, knowing full well you're about to get a face full of pepper spray, and just not giving a fuck. I wish there were more records that made me feel this way.”
Francy Graham of Girlstabs and Shitstains:
Hysterics – Hysterics (M'Lady's)
MTD: “Why is this your favorite?” Francy: “Lyrics and breakdowns.”
Ian Svenonius of Chain & The Gang and DJ Name Names:
O.V. Wright – “Ace of Spades“ B/W “Afflicted” (Back Beat)
“O.V. Wright is my favorite singer, called “king of the ad libbers” for his ability to make up rhymes and lyrics extemporaneously, and give songs an unmatched, poignant drama. “Ace of Spades” is his classic anthemic rocker and the B side “Afflicted” is a a heart-rending story of love in the face of adversity. This is a Willie Mitchell production from Royal Recording Studios in Memphis, Tennessee. The band is comprised of the Hi Rhythm Section; Charles Hodges, Leroy Hodges and Mabon “Teenie” Hodges, with Al Jackson on drums and possibly the Memphis Horns. The record is on Back Beat, a subsidiary of Houston label, Duke Records. The songs are credited to “D. Malone” ( Deadric Malone) which was the pen name for Duke Records owner Don Robey, who used the pseudonym to disguise the roles of the actual writers of the songs on his labels.”
Carni Klirs of Fell Types:
Union of Uranus – Disaster by Design (Great American Steak Religion)
Matt Morgan of Troll Tax:
Heroin – All About Heroin (Vinyl Communications/Down Side)
“Reminds me of the time when I was the only one who knew about good music.”
