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LP
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SCR 011LP
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"Two classic Big Boys EP reissued on one 12" LP. Recut and remastered for vinyl, with matte jackets, two-sided insert, 12"x18" two-sided poster (including a collage of Pat Blashill photos) and a sticker. Limited edition of 1,000 copies on colored vinyl. Big Boys music, artwork, and defying attitude have resonated for decades from their inception in 1979 until their demise in 1984. To be able to blend punk, hardcore punk, post-punk, Oi!, avante-garde jazz, and funk just sounds like a mess but Big Boys did this flawlessly and with perfection. Their love of skateboarding also shined through and melted all of this together. At some point Thrasher Magazine caught notice and every skater in the 1980s knew about Big Boys through their coverage in the magazine and their Skate Rock compilations. Most bands are, long forgotten with such a short lifespan. Putting out numerous LP's and EPs while touring the US cemented their legacy that has left a ripple into even modern music. They were at the forefront of do it yourself culture that paved the way for so many."
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LP
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MCR 908LP
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"Originally released on the Wasted Talent label and reissued last year by Modern Classics Recordings, 1981's debut album Where's My Towel was inspired by the group's growing dissatisfaction with their part in the release of Live at Raul's. Returning with Lullabies Help the Brain Grow two years later, they were still striking out at situations around them. The opening track, 'We Got Your Money' is a sort of rally cry to the misunderstandings of their scene , and to the fraternity boys and girls that came to gawk or cause trouble: 'And to all you frat boys/We got your money in our hands!' they shouted, gleefully. Song titles include 'We're Not in It to Lose,' 'Fight Back,' and 'Assault' proved that the gloves were off. Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam -- the fourth person to occupy the stool for vocalist Randy 'Biscuit' Turner, guitarist Tim Kerr and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like 'Lesson' and double-funky jams like 'Funk Off' (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on 'Sound On Sound' they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus. Original album art expanded to a gatefold tip-on jacket. Interior gatefold jacket features an unpublished 1984 photo of the band by photographer Pat Blashill. Includes a download card."
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LP
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MCR 909LP
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"Released at the time of their split in 1985 and now reissued by Modern Classics Recordings, the group's final album, No Matter How Long the Line Is At the Cafeteria, There's Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on 'Common Beat,' a sound rarely heard outside of hip-hop at the time. Songs like 'Which Way to Go' and 'Narrow View' echo their boredom and anger with the changing hardcore scene, while 'I Do Care' and 'What's the Word' illustrate the band's positive outlook for things to come. Just as the album flirts between expressions of boredom and anger and funk jams that declare 'Life is just a party' ('What's the Word'), Big Boys were a mess of contradictions. On stage, openness was key and they became famous for encouraging the audience to get involved: 'We're the band, you're the band,' they would say. But as a four-piece, their relationships began to fray as is not uncommon with many bands on long tours. After five short years and many recordings, the Big Boys went separate ways. Original album art expanded to a gatefold tip-on jacket. Interior gatefold jacket features an unpublished 1984 photo of the band's last concert by photographer Pat Blashill. Includes download card."
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