Blacktop was the first post-Gories project for Mick Collins. While similar to the legendary garage punk three-piece, Blacktop is a clear progression, in terms of musicianship and songwriting skill, for Collins and is also the beginning of his movement towards noisier material. The band's sound was fuller and more sophisticated, due in no small part to the addition of a bass line and the songwriting input of Darin Lin Wood (Fireworks, '68 Comeback) and Alex Cuervo. While still drawing from a wealth of blues, soul, and mod influences, Blacktop crossed into seemingly new territory, even going so far as to cover Captain Beefheart's "Here I Am, I Always Am."I Got a Baaad Feeling About This, their first album, was recorded on an eight track at a friend's house in Dallas and was released in 1995. Half of the album's tracks, and several other unreleased ones, were assembled and released in Australia as Up All Night. As with all of Collins' other projects, Blacktop released several 7" singles throughout it's brief career. The band never made it back into the studio, although Collins and Cuervo went on to form King Sound Quartet with Tim Kerr.
1. No Fun - The Sex Pistols 2. Shake Appeal - Lucy Knight 3. Gimme Some Skin - 69 Eyes 4. Search and Destroy - The Remains 5. Dirt - Loco Lizard 6. New Values - Twisted Roots 7. I Wanna Be Your Dog - Ladd Foundation 8. I'm Sick of You - Johnny Black 9. No Fun - Joe Alcohol 10. Raw Power - The Phantom Fliers 11. Hard to Beat No Fun - Rocket Reducer 62 12. No Fun - Doctor Mix and the Remix 13. Living the Night - Jeff Crane 14. Lust For Life - Blind Pineapple Philips 15. Search N' Destroy - Surreal MC Coys 16. Not Right - Deniz Tek 17. I Wanna Be Your Dog - Richard Hell 18. 1970 - The Damned 19. Gimme Danger - Jeff Dahl 20. Kill City - Johnny Kannis
"Victor and Pedro (late of the Parkinsons) have hooked up with Mr Stix (drummer of the mighty Black Time) and the fabulous Charlie Fink (of the late lamented Penthouse) to make a sound like the Gun Club on a speedball, loaded with silver dum dum bullets hunting for MEAT…"
"We play needle-down, rocket powered rock & soul from outer space to your dancing feet via your inner ear.We play with a fierce right side of the brain and are all about keeping it below the belt.We're from 500 years in your future and we've been here since 2000.We've played live with Blues Explosion, the Dirtbombs, Heavy Trash, the Soledad Brothers, Weird War, Bob Log III, Kid Congo Powers, Dan Sartain and many, many more of our favourite bands.We've recorded 4 albums you can listen to, the first one was recorded in New York by legendary producer Matt Verta-Ray and featured James Chance of the Contortions.We have a 3d comic book biography.We've played in art galleries.We've played in strip joints.We've played in front of 5 people and we've played in front of 1500.Sometimes we have a robot with us, sometimes we don't.But we always, always, have soul."
Formed in Ohio by Peter Aaron (vocals, guitar) and William Weber in 1988, the band more or less plodded indistinguishably until relocating to New York City in the early '90s. In 1992, the Cranks were joined by former Honeymoon Killers' bassist Jerry Teel. Drummer Dan Willis signed on at the same time. At that juncture, the band was given a sense of purpose and a definite aesthetic. Where early recordings certainly reflect an interest in garage rock and noisy indie bands like the Jesus and Mary Chain, it wasn't until Teel joined that the Chrome Cranks' sound solidified itself. From that point, the band picked up where the Honeymoon Killers left off, churning out a stripped down, deconstructive bastardization of garage rock tradition, retooling everything from the Stooges to Kim Salmon. The new lineup inaugurated their recording career with the debut EP Eight-Track Mind on PCP in 1992, thus establishing their Cramps-meets-Pussy Galore aesthetic -- sleaze-rock, essentially. A heap of other singles followed in the successive years.In 1994, PCP released the quartet's self-titled debut album, quite possibly their best. Dead Cool followed in 1995, with Bob Bert, previously of Sonic Youth, Pussy Galore, and many other bands of note, on drums. The album lacked the visceral rawness of its predecessor. The Chrome Cranks' final studio album, Love in Exile, appeared in 1996. Although the band folded that year, sporadic singles followed, as well as the album of outtakes and demos, Oily Cranks, and the potent live document, Live in Exile, both in 1997.
The sonic conglomerate known as Gallery of Mites came into being in the year 2001, when Monster Magnet drummer Jon Kleiman, together with original Magnet vocalist and longtime visual propaganda specialist Tim Cronin, decided they needed a few extra hands in the studio. Also deeming a new set of songs far too aggressive for use by their garage rock outfit the Ribeye Brothers and realizing neither of them could play lead guitar all that well, they began inviting fellow veterans of New Jersey's prolific stoner rock community to collaborate on the ten-man project that would become Gallery of Mites. Participating in the sporadic, year-long sessions for what eventually became the ensemble's Bugs on the Bluefish debut were such scene luminaries as guitarists Ed Mundell (Atomic Bitchwax, Monster Magnet), Phil Caivano (Monster Magnet, Blitzpeer), Tommy Southard (Solace, Godspeed), Stu Gollin (Halfway to Gone), and Mike Schweigert (Lord Sterling); bassists Joe Calandra (Monster Magnet) and Jim Bagliano (Lord Sterling); and harp player Duane Hutter (Black Nasa). A final but very special cameo was provided by Unida and ex-Kyuss vocalist John Garcia, lending his inimitable pipes to one of the band's high-energy, Stooges- and Stones-inspired stone rockers.