|
20 Miles |
 | NME: Live Review (MAGAZINE, UK)
20 MILES UPSTAIRS AT THE GARAGE LIVE REVIEW: "JUDAH BAUER HAS A VISION. IN it, he steps out of Jon Spencer's shadow (his 'day job' is playing guitar for the mighty Blues Explosion) into the spotlight."
| 1998.01.17 |
|
Boss Hog |
 | Whiteout (A4 SHEET, UK)
WHITEOUT INFORMATION SHEET: The sound is an evolution of the
punky sexploitation of the old, toward something a little more slinky and subversive.
The old influences are there to be heard but this time round loops and programming
have enhanced the sound to create a benchmark album to herald in the 21st Century." | 2000.02.12 |
 |
Bikini: Article (MAGAZINE, US)
INTERVIEW (SCAN): "Boss Hog singer Cristina Martinez walks
into an East Village coffee shop on a bright Saturday afternoon looking, for all
the world, like the chick from Friends on the way to her day job as a dominatrix" |
0000.05.00 |
 |
Bust: Cover/Feature (MAGAZINE, US)
INTERVIEW (SCAN - although first two paragraphs are not clear):
"Did you fear the sex would change with a bambino in the
house?
Jon: We don't keep any drugs in the house. What are you talking about? Cristina:
We got rid of the bambino when the baby was born." |
1998.12.00 |
 |
Magnet: Cover/Feature (MAGAZINE, US)
COMPLETE SCAN: "When Cristina Martinez strides out of her
New York City apartment building, you can't help but think. "So this is what they
mean by glamour."" |
1995.10.00 |
 | NME: Album Review (MAGAZINE, UK)
BOSS HOG (SCAN/TEXT): "THE TRUTH is out. Cristina Martinez, all
catwoman curves and guile and spikey high heels, is the female Jon Spencer. Or perhaps
that should be: Jon Spencer is the male Cristina Martinez."
| 1995.09.30 |
 |
Rockerilla: Cover/Feature (MAGAZINE, US)
COVER ONLY |
2000.02.00 |
|
Butter 08 |
 | VOX: Review (MAGAZINE, UK)
BUTTER 08 (SCAN/TEXT): "Butter is a baffling scree of lounge hip-hop,
nuclear age TV themes, punk attitude and filthy rock 'n' roll, One minute they're
barreling through the crazed spy-theme samba of 'Dick-Serious' (complete with Dragnet-style
sample)" | 1998.01.00 |
|
Cat Power |
 |
NME: Shepherds Bush Empire (MAGAZINE, UK)
LIVE REVIEW (TEXT): "The legendary fragile Cat Power, she of the onstage
freak-outs and intoxicated, incoherent mid-song ramblings, is no longer with us.
The clouds have cleared both over Shepherds Bush and onstage tonight, as a sober
Ms Chan amazes all..."
|
2008.02.09 |
|
Childballads |
 |
The Stool Pigeon (MAGAZINE, UK)
INTERVIEW/ARTICLE (TEXT): "After a decade in the wilderness, during
which time it was suspected he may have been claimed by his heroin addiction, Jonathan
Fire*Eater's extraordinary frontman Stewart Lupton is back with a new band, Childballads.
But he remains unsure whether he's got it in him to find the success he always craved."
|
2007.07.00 |
|
Gibson Bros. |
 | Howl!: Review (MAGAZINE, GERMANY)
THE MAN WHO LOVED COUCH DANCING (SCAN): Very brief German-language review. | 1991.06.00 |
|
Honeymoon Killers |
 | Howl!: Article (MAGAZINE, GERMANY)
INTERVIEW/ARTICLE (SCAN): German-language article titled "You Are What
You Eat" includes band photo featuring Russell Simins. | 1991.06.00 |
|
Heavy Trash |
 |
NME: 100 Club Review (MAGAZINE, UK)
LIVE REVIEW (TEXT): "It's as if Elvis Presley's stillborn twin was cryogenically frozen and later resuscitated as Jon Spencer.
So inevitably Heavy Trash's demented rockabilly blues - equal parts Spencer (of Blues Explosion infamy) and Matt Verta-Ray (from Speedball Baby) - is very '50s rockabilly as if it was created by MC5 and James Brown in the 1960s. The duelling guitars..."
|
2008.02.09 |
 |
Alarm: Cover/Feature (MAGAZINE, US)
INTERVIEW/ARTICLE (TEXT): "Collapsed on ratty couches in their basement recording studio on the Lower East Side, Spencer and Verta-Ray are answering a few questions in their down time. They've finished with the recording and mixing of their sophomore album, Going Way Out with Heavy Trash, and are trying to find time to breathe before the accompanying tour."
|
2007.11.12 |
 |
Rockabilly Monthly: Cover/Feature (MAG, US)
COVER ONLY |
2005.06.00 |
 |
Keep Cool, Stay Crunchy (FLYER, DENMARK)
SHORT BIOGRAPHY (SCAN/TEXT): Jon Spencer and Matt Verta-Ray are the NOW sound of rockabilly! Heavy Trash is the perfect soundtrack for boozy all-night throw downs, pettin’ parties and psychedelic fright shows. Mr. Spencer, of course, is the most exciting performer in rock 'n' roll today. |
2005.00.00 |
|
John Spencer |
 |
Underground Film Bulletin 6: The Most Hated Filmaker In
The World (PRESS, US)
FULL TEXT: "When they were completed originally, I guess
in '84 or '85, I showed 'em around in like five places in New York City. I was real
excited because I had to come to New York after finishing a semester and seen a
show and I read the UNDERGROUND FILM BULLETIN, so I got really excited and I really
wanted to show the stuff and I did and nobody really came. Then I got more interested
in other stuff." |
1987.00.00 |
|
Jon Spencer Blues Explosion/Blues Explosion |
 |
NME: Jukebox Explosion Rockin'... (REVIEW, UK)
FULL TEXT: "The Blues Explosion have spent the past 16
years blazing their own trail through old-school rhythm and booze. This is
punk rock as God intended it: shouty, bloody loud and sounding like it was recorded
live in a seedy back street bar full of narcotics. 8/10" |
2007.10.27 |
 |
93 Feet East (PREVIEW, UK)
SCAN: It must rankle a little. Jon Spencer has been wrangling
with his brand of the blues - extrovert, down-and-dirt, pinched by punk and acknowledging
a debt to Little Richard and Carl perkins as much as Hasil Adkins and Son House
- for around 14 years now. |
2004.08.00 |
 |
Guitar Player: Cover/Feature (MAGAZINE, US)
COVER ONLY |
2002.06.00 |
 |
Rock & Folk: Cover/Feature (MAGAZINE, CANADA)
COVER ONLY |
2002.04.00 |
 |
Record Collector: Article/Discography (PRESS,
UK)
EXTENSIVE ARTICLE (TEXT) "I think people get confused by the word 'blues' in
the name of the band. I intended the name to be something flippant or crude - a
crazy name for a band y'know, and like I said, some people get tripped up by the
word blues, and others get confused by the different influences in the music. The
old music particularly, like blues, rockabilly, country, rhythm and blues or soul
music. Everybody in the Blues Explosion listens to a lot of music. That comes through
in what we write." |
2000.04.00 |
![Seven Years Of Plenty [Red] (BOOK, UK)](images/777x.jpg) | Seven Years Of Plenty [Red] (BOOK, UK)
CHAPTER ON JON SPENCER BLUES EXPLOSION (TEXT): "Step forward Jon Spencer, the most unlikely candidate
for a Nobel peace price since Henry Kissinger. Spencer’s rejection of the destructive
impulses that were the very lifeblood of his legendary New York guitar hate-posse
Pussy Galore in favour of an evangelical new traditionalism is dealt with at greater
length later."
| 1999.10.31 |
 |
Xtra Acme USA [Press Release] (PRESS, UK)
(TEXT): "XTRA ACME USA consists of outtakes and remixes
from the most recent BLUES EXPLOSION studio album, Acme. This set of stripped-down
funk, blues, and rock 'n' roll is more diverse than the tracks chosen for the album,
with more excursions into scratches, beats and samples, and featuring a wide array
of sidemen and producers."
|
1999.09.00 |
 |
The Drum Media: Cover/Feature (PRESS, AUS)
COVER/ARTICLE (TEXT): "To Spencer’s mind the best music
has always governed by instinct, mad grace and honesty to the point of crudity it necessary.
Give him Bo Diddley in his Black Gladiator guise, the spirit woven through the Crypt
label's Sin Alley or Desperate Rock n' Roll series of filthy arsed garage R and
B or Iggy Pop with those flame jewel eyes in the Stooges' Funhouse era."
|
1999.03.30 |
 |
Guitarist [Interview] (PRESS, UK)
COVER ONLY |
1999.03.01 |
 |
Guitar Player: Ear Candy (PRESS, US)
TEXT: "Spencer's lo-fi sound begins with a no-name Japanese
solid-body his wife picked up a few years ago for $17, and a 100-watt Sunn 2x12
combo. While recording one of the album trackis with producer Steve Albini, however,
Spencer fell in with the scruffy glory of a custom CMI 2x10 combo." |
1999.02.00 |
 |
Spin: Dial 'D' For Drum Machine [700 Word Article] (PRESS,
US)
TEXT: "Doing a record in this manner is ordinarily something
I'd have no interest in, but I have a lot of respect for the way the Blues Explosion
do things. My fundamental perspective is that if something sounds good and is representative
of what the band is about, you need a pretty compelling reason to fuck around with
it. Records I've recorded have been remixed by others, and the results are always
unflattering." |
1998.12.00 |
 |
CMJ New Music Monthly: Acme Blues
Explosives, INC [1130 Word Article] (PRESS, US)
TEXT: "The group recorded slowly, trying to involve lots
of different people, to recapture the diverse feel of the Experimental Remixes EP
that followed Orange. The trio recorded the basic tracks with Steve Albini (and
a couple with Calvin Johnson at Dub Narcotic), figuring Albini's minimalist style
would capture strong songs no remixer could completely ruin. " |
1998.12.00 |
 |
NME: Shepherds Bush Empire - Live Review (PRESS, UK)
"Judah Bauer is on top of a speaker, trailing a riff
as rude and sinuous as a torn-cat. Russell Simins is stooped like a deranged hunchback,
battering out his pithy three-drum tattoo. Jon Spencer, meanwhile is running up
and down the stage with his arms in the air, yelling, "YEEEEAAUH!"..."
|
1998.12.12 |
 |
Alternative Press: Building A Better Explosion [500 Word
Article] (PRESS, US)
(TEXT): "Alec Empire and [the Automator] Dan Nakamura
worked together on the song "Attack." Judah and Russell described it as a real battle.
They were doing things simultaneously, and the volume was ear-splitting and neither
of them would pause to five the other a chance to check out what the other had done."
|
1998.11.00 |
 |
Alternative Press [500 Word Acme Review/Interview] (PRESS,
US)
(TEXT): "For Acme, Spencer - who's been producing his
bands' music since the days of Pussy Galore - wanted to open up the recording process
to see how giving others free reign would affect his songs."
|
1998.11.00 |
 |
Acme [Press Release] (PRESS, US)
(TEXT): "Acme was recorded and mixed by a multi-hued
assortment of characters at six different studios throughout the early part of 1998,
and boasts legendary rapper/rocker Andre Williams as executive producer. The sheer
variety of participants shoehorned into its freaky grooves is mindboggling."
|
1998.10.00 |
 |
Rolling Stone [800 Word Interview] (PRESS, US)
(TEXT): "I didn't play guitar until college. My first guitar
- I think I traded something for it. I don't remember what, but I got it off a friend
of mine in college, freshman or sophomore year. I had a banjo when I was growing
up." |
1998.05.28 |
![Seven Years Of Plenty [White] (BOOK, UK)](images/778x.jpg) | Seven Years Of Plenty [White] (BOOK, UK)
CHAPTER ON JON SPENCER BLUES EXPLOSION (TEXT): "Step forward Jon Spencer, the most unlikely candidate
for a Nobel peace price since Henry Kissinger. Spencer’s rejection of the destructive
impulses that were the very lifeblood of his legendary New York guitar hate-posse
Pussy Galore in favour of an evangelical new traditionalism is dealt with at greater
length later."
| 1998.00.00 |
 |
NME: Mean Fiddler Review (PRESS, UK)
"Tonight, however, the pleasure is in the immediacy
of the moment. It's in the manic energy, in the feverish enthusiasm, in the provocative,
pulsating rhythm. Right now there is no choice other than to succumb and, rather
embarrassingly, start shouting, 'Yayuh!'. Because Jon Spencer, baybuh, he feels
sooooo good. And by now, so does everybody else." |
1997.09.06 |
 |
NME: Reading Festival Review (PRESS, UK)
"tha' bahloooozily bedevilled threesome JON SPENCER
BLUES EXPLOSION churn out the kind of commited show reminiscent of say, Beck at
Glastonbury. Big shouting. Big guitar. Very Big balls." |
1997.08.30 |
 |
Melody Maker: Reading Festival Review (PRESS, UK)
"...as Jon shrieks: "I'm a man" while actually looking
for far more like a monkey, it strikes me that The Blues Explosion are basically
just Reef with badly tuned guitars." |
1997.08.30 |
 |
Magnet: Cover (MAGAZINE, US)
COVER ONLY |
1997.07.00 |
 |
Alternative Press: Cover/Feature (MAGAZINE, US)
COVER ONLY |
1996.12.00 |
 |
NME: Idol Fret [NIGW Review] (PRESS, UK)
"Jon Spencer may well still be the hellzapoppin' king of
the Euro-festival live circuit, perspiring his way through two-hour sets of righteous
blues redemption, but here, minus the glitz'n'guts presentation, these graveyard
smashes sound not a little lost."
|
1996.09.28 |
 |
Gravy: Cover/Interview (FANZINE, UK)
COVER ONLY (although links to a scan of the article hosted online at the
official Gravy Zine website) |
1994.09.00 |
 |
Thicker: Cover/Interview (PRESS, US)
INTERVIEW/ARTICLE (TEXT/PHOTOS): "When the smoke from the break-up of Pussy Galore cleared to reveal Jon Spencer’s new project, the Blues Explosion, a lot of people didn’t quite know what to think. Blues? What could these city kids possibly know about blues? Well, after a couple of years on the live circuit, the Explosion have left many a believer in their wake."
| 1994.08.00 |
 |
FILPSIDE: Cover/Feature (MAGAZINE, US)
COVER ONLY |
1993.02.00 |
|
Money Mark |
 | Select: Push The Button Sampler (MAGAZINE, UK)
SHORT ARTICLE (TEXT): "Russell Simins plays the drums and Sean
Lennon plays bass. There was no logic to the video. This man was telling me a war
story. He was supposed to cross the channel and he didn't really wanna go, so he
tied the wheel up to make the boat go in a big circle. So I did the same with my
car."
| 1998.06.00 |
|
Pussy Galore |
|
|
Record Collector: Pussy Galore (PRESS, UK)
EXTENSIVE ARTICLE (TEXT) "In the post-Nirvana era, it's hard to imagine the
revolutionary nature of bands like Pussy Galore, but at the time American audiences
(and later English ones, too) were wooed by Spencer's new take on blues and rock,
and more importantly were blown away by the pure eneergy and ferociousness of the
band when they performed live." |
2000.04.00 |
 |
Mute Press Release: Biog From August 1987 (PRESS, UK)
TWO PAGE PRESS RELEASE (TEXT): "Pussy Galore formed in
Washington DC in September '85. Jon Spencer (vocals and guitar), is the primary
songwriter and claims as his musical influences, 60's garage bands and industrial
music. Julia Cafritz (guitar and vocals) is originally from DC and met Jon at university
which they both ultimately left to pursue fame and fortune."
|
1998.03.00 |
 |
Mute Press Release: Dial 'M' For Motherfucker (PRESS,
UK)
ONE PAGE PRESS RELEASE (TEXT): "Why Dial 'M' for Motherfucker?
What's up with this new "high-tech, can-do", accessible Pussy Galore? Accessible
my ass! This is one of the hardest records ever made! People have listened to it
and gone blind! This is the record that broke up the band!"
|
1998.03.00 |
|
|
Mute Press Release: Re-Issues (PRESS, UK)
ONE PAGE PRESS RELEASE (TEXT): "The fact that the band consisted
of future members of the Jon Spencer Blues Explosion, Boss Hog, Royal Trux and Free
Kitten amongst others, shouldn't matter to you unless you are obsessing over that
stuff. We don't encourage such behaviour, thank you very much."
|
1998.03.00 |
 | Interview: Dirt (PRESS, US)
COVER ONLY - LINKS TO ARTICLE | 1990.05.00 |
 |
NME: Paw Boys [1600 Word Article] (PRESS, UK)
ARTICLE/INTERVIEW (TEXT): "They're New York City's
most mean and ,lowdown dirty grunge rockers and everything they do has to be bigger,
bolder and more gut-wrenching than all that's gone before. Forget about lineat progression
- leave that to lesser gods like Live Skull, Lunachicks et al - these cartoon nihilits
give new meaning to the term haphazard, positively drippig with sexual frenzy and
asshole imagery." |
1989.06.17 |
 |
NME: Shag Frenzy [Dial 'M'... Review] (PRESS, UK)
REVIEW (TEXT) "What's most impressive however
is 'Dial M's' lack of any genuine feeling. One can draw comparisons with Kraftwek
in its allegiance to mechanised emotion: synthesised ghosts without the aid of keyboards.
Everyone's always talking about passion and commitment in rock (and this is resolutely
rock, even if unhinged) but PG just erase all that guff..." |
1989.05.13 |
 |
Record Mirror: Dial M ['Dial 'M'... Review] (PRESS, UK)
REVIEW (TEXT) "Dischordant chords, fuzzy guitars, industrial
beats on bits of metal, groans, miscellaneous loud noises and growly, gruff vocals;
the singer scounding like a man with his guitar stuck in his mouth and, understandably,
rather annoyed about it." |
1989.05.13 |
 |
Party Line [Dial 'M'... Review] (PRESS, UK)
REVIEW (TEXT) "CACOPHONOUS. Look, I realise
this will come as no suprise or problem to anyone who has stumbled across Pussy
Galore's subsonic primal thurst, but that's what it is. Cacophonus. From the anguished
bored-rich-kids yowling in the playground..." |
1989.05.00 |
 |
Pulsebeat: Right Now!. (PRESS, US)
REVIEW (SCAN): The band, that industrialists and pig fuckers
can agree on, and trash vampires and feedback fiends and lowlife scum and Metal
studs and puncks and druncks and Spoonie Gee fans. |
1989.04.00 |
 |
NME: Mean Fiddler review (PRESS, UK)
REVIEW (TEXT): "FORGET THE convor-belt mentality and
face up to the facts: using the latest fancy gadgets and acoutrements doesn't automatically
make you contemporary or a late '80s innovator. It's a question of attitudes and
your relationship with the past." |
1988.12.03 |
 |
Sounds: Mean Fiddler review (PRESS, UK)
REVIEW (TEXT): "Chief garage mechanic, Jon Spencer,
is still wearing the flesh-coloured lame shirt featured on the album cover that
should long-since have been banished to the laundrette. He and sulky Juicy Cafritz
scream and swear like animated graffiti and, with only Bob Bert's petrol tank rattling
to offset the guitars..." |
1988.12.03 |
 |
NME: Chart (PRESS, UK)
[Photocopy of Chart] |
1988.12.03 |
 |
Melody Maker: Chart (PRESS, UK)
[Photocopy of Chart] |
1988.12.03 |
 |
Observer: John Peel Purrs Over The Scratch and Bit of
Pussy Galore (PRESS, UK)
REVIEW (TEXT) "Pussy Galore played a vicious street
brawl of a set, leaving the impression that the band pursue a musical scorched-earth
policy in the hope that the traditions on which they base their impressive music
can never be used again." |
1988.11.27 |
 |
Sounds: Six Ways To Skin A Cat [FEATURE/INTERVIEW] (PRESS, UK)
REVIEW (TEXT) "Pussy Galore recently returned from
a triumphant outing to Japan, a minor miracle of an achievement for the avowed noise
terrorists. Getting your boney rock ass into Japan is a tricky business and Pussy
Galore are the first of the current US loft noise brigade to sling their guitars
around in the land of the rising yen." |
1988.11.26 |
 |
Splayed Alive [Live review of Mean Fiddler show] (PRESS,
UK)
REVIEW (TEXT) "Jon's guttural vocals, mixed six times
under the PA system, have a perfect counterfoil in the other two guitarists and
Julia's traumatic presence. And, just when you think its all too much, in comes
Julia with a thrusting microphone welter, Jon throws his guitar off, and we start
all over again." |
1988.11.00 |
 |
Sounds: One lump or two? [Sugarshit Sharp Review] (PRESS,
UK)
REVIEW (TEXT) "Drums stampede in all directions; guitars
fuzz Cramps-style and are castrated mercilessly and the vocals sound like they've
been dragged backwards through a loudhailer. And yet, Pussy Galore are steeped in
rock 'n' roll tradition; they have just chosen to disfigure their heritage. " |
1988.11.19 |
 |
Sugarshit Sharp Review (PRESS, UK)
REVIEW (TEXT) "DIG THIS garage trash groove. Pussy
Galore have been rummaging around the dustbins of all their idols: New York Dolls.
Scientists, 'Sister Ray', and more musty unreleased basement tapes than I'd like
to contemplate. The result is 'Sugarshit Sharp', an abominable conglomeration of
gutter level references and second-hand scumball styling. This, I want you to know,
is a Good Thing" |
1988.11.00 |
 |
Buttrag: Right Now! (PRESS, US)
REVIEW (SCAN): "Although Pussy Galore aren't a novelty
anymore (i.e. they've been famous for more than a year), they still need to be heralded
for being the only real rock-n-roll band kicking today." |
1988.11.00 |
 |
Forced Exposure: Right Now! (PRESS, US)
REVIEW (SCAN): "After the stench and blood had been rinsed
w/Southern Comfort, Pussy Galore found themselves born and immediately started crawling
toward NYC. Let Freedom ring." |
1988.11.00 |
 |
Melody Maker: Sugarshit Sharp (PRESS, UK)
REVIEW (SCAN). "Pussy Galore are a critics' band. In a
very specific sense: I've always thought of them as a kind of Lester Bangs..." |
1988.11.05 |
 |
Melody Maker: News (PRESS, UK)
VERY SHORT NEWS ITEM ABOUT TOUR DATES (SCAN):
Pussy Galore are in Britain for a series of dates to follow the release of a new
mini-album "Sugarshit Sharp" |
1988.10.29 |
 |
Daily News (ARTICLE, US)
VERY SHORT NEWS ITEM ABOUT ARTWORK (SCAN): "With its blaring,
non-rhythmic barrage of noise, the lower East Site band Pussy Galore has offended
plenty of folks. But now it has had to hold up the release of the six-song EP "Sugarshit
Sharp"..." |
1988.10.17 |
 |
New York Times (PRESS, US)
ARTICLE ON A FESTIVAL FEATURING A MENTION OF PUSSY GALORE
(LARGE SCAN)
"The Galore group, which will be performing tomorrow at Big Kahuna, has been playing
together for three years and is one of the New York Scene's main attractions. It's
latest album, "Right Now"" |
1988.09.00 |
 |
Artforum: Speaker to Speaker (ARTICLE, US)
ARTICLE (SCAN): "What do you do?! a 60ish businessman asked
me 'I'm a rock critic," I said "My son's in a punk band." he said, throwing his
arms wide: "'Fuckfuckfuckfuckfuckfuck'" And that's what Pussy Galore say. By now
such spew ought to be a..." |
1988.00.00 |
 |
London Student: Mean Fiddler (PRESS, UK)
LIVE REVIEW (TEXT):"Even harsher and more grating live
than on vinyl, a host of two-minute guitar blasts fly out from the stage like sheet
metal, as dangerous and essential as any of their influences."
|
1988.01.23 |
 |
NME (PRESS, UK)
ARTICLE (LARGE SCAN): "Last night we were onstage, and
it was like people were screaming and stuff, thrashing around - I don't know, it's
like my initial reaction is that a gut-level indifference kicks in. Just like we're
trying to act blase or something." |
1988.01.30 |
 |
Cashbox: Talent on Stage (PRESS, US)
LIVE REVIEW (SCAN): "Both the Gibson Bros. and Pussy
Galore play brutish, plug-ugly, and pathetically ploddy grunge-noise as offensive
celebration, or celebration of the offensive." |
1988.01.30 |
 |
City Paper: Right Now! (PRESS, US)
REVIEW (SCAN): "NYC's Pussy Galore does just that, with
fanged frontman Jon Spencer chainsawing 19 no-tech, brain damaging stompes which
plumb Cro-Magnonman's primal urges"
|
1988.01.29 |
 |
Sounds (PRESS, UK)
ARTICLE ON PUSSY GALORE (LARGE SCAN): "On my way
to interview Pussy Galore I'm listening to their inimitable version of 'Exile On
Main Street' (yup, the whole of it) on my Walkman. As it all begins to get a bit
too hairy I remove the headphones. It's then I notice a little trickle of pus dribbling
out of my right ear..." |
1988.01.23 |
 |
NME: Mean Fiddler (PRESS, UK)
LIVE REVIEW (LARGE SCAN):"Groovy News: Last summer I called
up this American guy, deaf in his left ear, and asked "What's goin' on?" He said
"Pussy Galore". |
1988.01.23 |
 |
NME: News/Gossip Mention (PRESS, UK)
VERY SHORT MENTION ON THE NME NEWS/GOSSIP PAGE (TEXT):
"Pussy Galore were delighted to be canned off by an otherwise ecstatic crowd at
London's Mean Fiddler venue last week, for only playing a 15 second encore.".
|
1988.01.23 |
 |
Melody Maker: Mean Fiddler, Harlesden... (PRESS, UK)
LIVE REVIEW (LARGE SCAN): "Pussy Galore are a mutation
of R&B (their customary metal percussive device is, in fact, borrowed from The
Mutoid Waste Company)." |
1988.01.23 |
 |
Village View: Locked In The Garage (PRESS, US)
PROFILE OF PUSSY GALORE (LARGE SCAN): "Take Pussy Galore,
for instance. Critic Greil Marcus raved about them last summer in no less a publication
than Artform, hailing them as "an attack on self-criticism with the crudest tools." |
1988.01.22 |
 |
City Limits (PRESS, UK)
SHORT MENTION (TEXT): "'You Look Like A Jew' is a pretty
average example of the wit and wisdom of Washington DC Thrash band Pussy Galore.
In the twiglet zone between art and the arsehole, PG are the polite(r) younger cousins
of GG Allin."
|
1987.12.29 |
 |
Voice: Right Now! (PRESS, UK)
RIGHT NOW! REVIEW (SCAN): "And they say young people have
no ideals. I mean, all these postdadaists want is to provide the forbidden visceral
thrill of rock and roll at the moment they snatch it away as an impossible fake..."
|
1987.12.29 |
 |
Observer: Releases [Right Now! Review] (PRESS, UK)
REVIEW; VERY BRIEF MENTION (TEXT): "Fellow New Yorkers
Pussy Galore deliver a comprehensive collage of the last 20 years of garage music
in 20 'Uptight' fragments that take pleasure and power from railing at the mainstream.
" |
1987.11.08 |
 |
Mapp: F*ck Groovy Hate (PRESS, US)
ARTICLE (SCAN): "I was trying to draw a bead on how I felt
about these records from Pussy Galore and Big Black when i came upon the following
quote from the late rock critic Lester Bangs..." |
1987.11.00 |
 |
The Rocket: Right Now! (PRESS, US)
REVIEW (SCAN): In the early '60s, parents were confronted
with the challenge: Would you let your daughter marry a Rolling Stone? The Beatles,
of course, were the good boys and the Stones were the bad bays. |
1987.11.00 |
 |
Conflict #45: Right Now! (PRESS, US)
REVIEW (SCAN): "Some records just batter you from cut to
cut to the point where you can't begin to imagine how any of the songs..."
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1987.11.00 |
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Phfudd!: Right Now! (PRESS, US)
REVIEW (SCAN): "Most people who don't know better seem
to dismiss PG and all those NYC hard-gunch groups"
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1987.11.00 |
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Sunday NY Times: Rock: Sonic Youth At Cat Club (PRESS, US)
BRIEF MENTION IN LIVE REVIEW (SCAN) Pussy Galore uses three
guitars, each contributing a different range of textures and a distinctive rhythm
attack, along with Bob Bert's unusual drumming, which combines trashcan sounds with
swing and precision.
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1987.10.25 |
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Village Voice: Rip This Joint (PRESS, US)
ARTICLE (SCAN): "Now Pussy Galore, you could make a c |