Posted: Wed. Oct 8, 2008 1:23 PM
So I just saw that you already have it up, that's cool. If it's not a total pain in the ass, could you change it to this version. Thanks a lot, if it's too complicated, fuck it, but this version's better. Cheers! LB
Hello... Hello... It's me Fish. How is it going? I just wanted to drop in and say hello. Is this really V.F.? You guys are still to this day, my absolute favorite band! I have seen you guys like at least 20 times or more back in the early 90's. Mostly the Phoenix Theater in Petaluma Ca. and I met you guys when you played at my school once. (S.R.J.C.) You were changing the strings a blue electric, in the quad for a lunch time performance. And it f**ckin' rocked! I guess I would like to know more about your guys history, and what is the exact connection between V.F. and Alternative Tentacles, and how come that isn't even on you tube? Basically, I guess I am just trying to have a working dialect with you guys. Would you guy's mind doing a short interview? I might post it on a few webpages as well. I.E. My Myspace, my Mohawk Radio, Here if I can. I guess I would just like to know a little more on who The Victims Family really is? (Feel free to be as outlandish and as long winded as need be.)
1) What year did you become Victims Family?
2) How and where did all you guys meet?
3) Who were some of the bands you guys listened to before V.F.?
4) Who were some of your influences that helped shape the trade mark sound of JazzCore?
5) What type of musical training do you have? Who were your teachers?
6) What relationship do you guys have with Buckethead?
7) Has Buckethead really been over to your house for a Bar-B-Que?
8) What kind of equipment did you guys use back then?
9) What kind of equipment do you guys perfer now? Has the change in technology affected or influenced your sound any now?
10) What were your guys favorite memories together?
11) Is there still V.F. merchandise availabe to the fans on the net or else where?
12) What are your favorite songs from your guys legacy? Mine is probably Zoo, Nazi inside of my head, or Caged bird.
13) Who was V.F. made up of? Did all the members stay the same?
14) Did you think Hillary Clinton had a chance? Do you think Sarah Palin is Hot or Not?
15) How many albums have you guys put out? What other recordings can we find V.F. members playing on?
16) What other bands have stemed off from the Victims Family? Who went where? Who went where after that?
17) I'm sorry guys, and I hope this is not a sore subject. What happened to the Victims Family? Maybe I can submit this to VH1's where are they now. Again, I am just getting near the end, and we all wondered...
18) What bands do you think you have influenced as the pioneers of JazzCore?
19) What was the craziest thing that happened while you guys were together?
20) Have you guys done anything together or seperate on film? Are there real Victims Family music videos? Has any member done any cameo appearances in movies, or telivision? Did you guys ever do a sound track?
Thank you so much for your time. I appriciate all your patience. Please feel free to fill this out at your leisure. If possible, could you include a picture of the entire band for the posting? Take it easy, and keep on rockin'! I just got 4Great thrash songs off itunes! It rocks too! Awesome hard octave-driving sound on the bass! Catch ya later, Fish...
Hey Fish! This is Larry, the bass player for VF, thanks for your letter. I will do my best to answer your questions, roughly in the order asked. Victims Family became a band right after the summer of '84 as a result of three Santa Rosa bands breaking up about the same time. There weren’t many underground bands in town at the time, so everyone knew each other. Which is how I knew Devon and Ralph. Devon was also a classmate at Santa Rosa High School in '82. We had a music appreciation class together, and played together briefly in a band. Ralph was a student at Santa Rosa Junior College. He played guitar in the school jazz band and was also one of the guitarists for Idiot Savants, one of the more established punk bands in SR at the time. As you know, SRHS and SRJC have adjoining campuses, so I spent as much time as I could, cutting class and hanging out on the JC campus getting to know the older musical misfits, which included Ralph, Matt and Andrew of Idiot Savants, plus Nathan and Charlie from Urban Accessories, and Ron and Chris of The Tearaways, who later became Sea Hags. (Chris also played bass for Idiot Savants for some time.) Idiot Savants were great songwriters and musicians who would blend punk, surf, pop and anything else that fit the song, into their fun filled, smart-ass shows. Devon was really into Bauhaus, The Cramps and Birthday Party, stuff like that. He played in Fire Mission, a really powerful dark and brooding, tribal band that played really catchy poppy-tinged rock. Meanwhile, I'd been playing in the Skirt Boys, the local anarchist party rockers. (The name came from the fluffy white skirts the peace punk girls wore at the time.) United, and heavily influenced by our interests in Crass and LSD, we sounded like an amalgamation of our disparate membership, a 14 year old hippie lyricist and drum prodigy, a guitarist from LA, who had been immersed in the early punk scene from '79-'82, an alpha-male singer who was a little too macho to be comfortable with our liberal politics, but enjoyed being the front man, and me, a guy who grew up on progressive classic rock, playing bass. I left home in ’82 when I was 16 because I knew that there was something exciting going on in music and was determined not to miss out on anymore of it. The Skirt Boys all lived within a few blocks of each other and joined forces in early ’83. Our bands all played together, mostly at parties at people’s houses, because there were no clubs in town, and most of us were too young anyway. We did make regular trips to the city on Golden Gate Transit, sometimes two or three times a week, to catch shows at Mabuhay Gardens and On Broadway. The first time I ever played a show in San Francisco it was Fire Mission and Skirt Boys at The Mab, summer of '84. Shortly after that, things started to fall apart. I'm not sure what happened with the other bands, but at one point 3 out of 4 Skirt Boys were in jail, (one for possession of LSD, the other two for demonstrations at the Democratic National Convention). We were also finally getting evicted from our squat above the soup kitchen in Railroad Square. The drummer was getting heavily spiritual and lost interest in the aggressiveness of punk rock. Then the guitarist dad died and he had to move back to LA. That was pretty much it for Skirt Boys. Not long after that I encountered Ralph in Anarchy Alley, the local punk hang out, and I give him some shit for drinking a Coke and supporting an evil corporation. He fired back a snide comment about how my skateboard wheels were probably made in a sweatshop, we both laughed and went about our days, but later that day or maybe the next day, I got a knock on my door. Much to my relief, it wasn't the Sheriff, but Ralph Spight and he'd decided that we should be in a band together. I think he even had the name already. As soon as we heard that Fire Mission had also called it quits, we recruited Devon and immediately felt like there was chemistry between us. We were listening to all of the stuff coming out on SST, Alternative Tentacles, Touch & Go, Dischord, tons of punk, underground and college rock bands as well as Eno, King Crimson, Tom Waits, Pink Floyd, Run DMC, The Police, David Bowie, Metallica, Lou Reed, Steely Dan, Stevie Ray Vaughn, tons of stuff… even some jazz. Not to mention that we were all brought up listening to our parents music like country, vocal pop and 50s music. Saturated with radio music of the 60s, 70s, and 80s, played in school bands, and spent years listening to heavy doses of classic rock, prog, and metal. Our collective musical awareness was ever growing, and I think we definitely had a strong sense that we weren't going to be playing straight punk rock. But we never set out to fuse punk and jazz, and that isn’t how I would describe our sound. But the term Jazzcore stuck, and once the gist of the meaning was understood, it didn’t matter that the word was technically inaccurate. Ralph was in the JC jazz band and learned a lot about chord progressions and music theory that stuck with him. He also took piano and guitar lessons as a kid, so he's pretty well schooled on that shit. I was disciplined when I first started playing. I would practice for 6 to 8 hours a day playing along to Rush and Led Zeppelin records. The few lessons I took were from a drummer, who taught me the basics of reading music and emphasized the importance of practicing scales. I also played trombone as a kid and drums just before bass. Devon took drum lessons as a kid, played in the Marching Band, and loved John Bonham. Devon's style was very influential to our sound. He had amazing power as well as finesse, and an incredible sense of rhythm. Plus he had a Gretsch kit with a floor tom on either side of him, a pair of timbales and no cymbals, except hi hats. Ralph played a Gibson Les Paul gold top for a while and a Gibson Melody Maker. He's had a lot of amps over the years I forget what he had in the beginning. I think it was a Music Man 2x12 combo. I played a funky, home made explorer bass that was covered in stickers, through an utter piece of shit amp. It was originally a Peavey 1x15 combo, but I blew the head up and just had this tiny little Radio Shack amp sitting in there! I experimented with lots of different brands and speaker configurations throughout the ‘80s. I finally found the sound that I wanted with Mesa Boogie. I use an old Mesa Boogie 400 amplifier (not a 400+), and two 15-inch speakers cabinets. Oh yeah, and two Jim Surles custom made basses. The only relationship we had with Buckethead was when we use to play with the Deli Creeps in the early '90s. I don't recall ever having him over for Bar-B-Que, but I’m not saying it didn’t happen. I just remember him preparing to play by staring directly into a light bulb for a few minutes, with it shining an inch from his eyes. As far as favorite memories go, it would be impossible to choose just one. Ralph and I put out 10 albums, played together for over 20 years, played in almost 30 countries and around 40 states. Played with tons of great bands from the Butthole Surfers, Dead Kennedys, and Scratch Acid to Primus, Mr. Bungle and Nirvana. Toured with Nomeansno, Alice Donut, Snuff and Coffin Break, to name a few. Took acid at Graceland and the Grand Canyon, helped to break down the Berlin Wall, got kicked out of Canada for a year, sold our blood to get beer money in Michigan, got strip searched in Norway, and wrote and recorded nearly 200 songs together. Our relationship with Alternative Tentacles has been a long one, and a fairly good one. I first met Jello at the On Broadway in '83 at a DKs show. I was trying to get Skirt Boys a show with them. That didn't happen but two years later when VF played with the DKs, Jello took a likin' to us, but I guess he didn't think we were ready to sign. The following year at a show at the Farm, his partner at Maximum Rock-n-Roll Radio, Ruth Schwartz did approach us about being on her new label Mordam Records. She had just put out Faith No More and the Rhythm Pigs' first albums. They were some of the more unusual bands playing around at the time and soon the term Schwartzcore was being thrown around. The first album Voltage & Violets was released in ’86 followed by Things I Hate to Admit in ’88. Mordam was right across the hall from AT for a long time. After our third album, White Bread Blues came out in ’90, when Ruth decided to focus on Black List Distribution and not do Mordam Records anymore, she simply handed us over to AT right across the hall, knowing that Jello had been patiently waiting. He has put out all of the subsequent VF records, as well as the Saturn’s Flea Collar and Hellworms records with Ralph and I together. Ralph’s current band is the Freak Accident, their first album is on AT. My current band is called Triclops!, and our first album is also on AT. Some of my favorite songs that Ralph has written are World War IX, Naïve Children, Song X, Mondo Freudo, and Creepy People but the list is endless. My favorite song that I wrote is probably Worthy Adversary off Apocalicious. As we continued to experiment and expand our sound we occasionally had two friends join us on stage for part of the set. One was Joe Slime, the sax player; the other was Eric Strand, a drummer who played in Vertical Urge, Moto Still Birth and many other Santa Rosa bands. He built an elaborate percussion set-up to play with us. He and Joe also both played on Things I Hate to Admit. The members did not stay the same the whole time. In ’88 Devon informed us that he was going to be a father and quit the band. The first replacement was Eric who was a long time friend and also the first drummer we ever played with. He stepped in right in time to go with us on our first European tour in ’89. Also on the tour was our new roadie Tim Solyan who was also a great drummer. After the tour we knew that, as much as we loved him, it wasn’t gonna work out with Eric. Tim replaced him in ’90 and this became the classic line up for the bulk of our touring and recording. Also to join the line up during this time was Fozzy, our roadie, tech, and all around guy, who we knew from Ukiah and Santa Cruz. We put out White Bread Blues that year. The album was the first of two recorded in Vancouver, BC at Profile Studios with John Wright of Nomeansno. Everything fell into place, we had a great batch of songs with recurring themes throughout, as well as an album cover that was eye catching and tied the album’s themes together nicely. Ralph had the idea to make the cover out of cigarettes, meat, sugar cubes and junk food; the three of us went shopping and built it one afternoon at Tim’s mom’s house. It proved to be our most commercially successful album, selling over 20,000 copies. Our crew was completed when Josh Ray, a classmate of Tim’s jumped on as soundman. We did two full-length tours of the U.S. and three European tours between ’90 and ’91. In ’92 we returned to Vancouver to record The Germ, the first release on A.T. When we got to Germany we found out that a lot of Germans misinterpreted the album title to be a reference to German people. This had a lot to do with the fact that the man in the painting on the cover has a small “Hitler-like” moustache. We took a hiatus for the rest of ’92 and I moved to Austin TX to be with a girl. We started playing together again in ’93, touring heavily and releasing Headache Remedy in ‘94. The band was getting to be well known and seemed to be on the verge of reaching a wider audience, but on the inside we were growing apart. It was beginning to feel like a business obligation, which was absolutely the furthest thing from what the band stood for. After Nirvana exploded, everything changed. All of a sudden, not only was underground music mainstream, but it had become a viable career. The bar was set impossibly high, what once felt like community became a market place, and the market was saturated. Sleazy agents and scouts stinkin’ up the clubs everywhere, lookin’ for the next big thing. If that sounds stupid and cliché, it was, but the climate had definitely changed. (There were some personal problems too; it wasn’t all Grunge’s fault.) We decided to stop again in ’94, recording and releasing our last show in Amsterdam for the live album Four Great Thrash Songs. The title is a reference to a hate letter I received after our first album came out. The guy was at our record release party at Club Foot and was disappointed that we weren’t as punk as he’d expected us to be. He wrote; “Aside from four great thrash songs, you guys suck cock!” There are 35 songs on the record, as well as the hate letter in its entirety. When we got home I called up Jason Christian who I had been playing with in Texas. Before I knew Jason, he was the outrageous front man for a band called Squat Thrust. I met him when I went into a bakery to apply for a job. He was behind the counter and immediately recognized me because he’s a huge VF fan. We ended up fast friends, working together sometimes, but mostly jamming and going to shows. He loaded up his station wagon with his belongings and drove from Austin to Petaluma. We got a place right across the street from the Phoenix Theater and began scheming up a new band. The original idea was to be trading instruments all the time. That’s what we did in Austin; switch off on bass, drums and guitar. But then we decided that we wouldn’t even have a guitar in our new band. We wanted to do something whimsical, and lighthearted but confrontational and smart. Tom Gaffey let us practice at the Phoenix, sometimes on the stage and sometimes down in the basement. It was decided that I would just play drums and he would play bass and sing. We tried out a couple of multi-instrumentalists but nobody seemed right. We were going through the tedious process of coming up with a name. It had to be ridiculous, and it should reflect our obsessions with cats and outer space. One night we brought home a miniature marquis type thing like you’d find outside a doctor’s office, a big glass box and plastic letters with tabs that you could arrange into velvety grooves. We agreed that our name could come from only the letters within it. We finally decided on Saturn’s Flea Collar, which met all of the above criteria if you spelled Collar with an 11, which was just icing on the cake. During this time I would see Ralph at shows and we’d ask each other what we’d been up to, it was always this kind of awkward comedy where he’d be like; Oh just been looking for a band, and I’d be like; yeah we’re just looking for a third member. And it was seriously like three or four times of this before we finally said: let’s try playing together. I was somewhat reluctant to have Ralph join, only because I was really trying to distance myself from the past. Not trying to escape it, but more in an effort to avoid (inevitable) comparisons. That was a big part of my decision to play drums and for us to not have a guitarist. Not to make a statement against guitars, we just wanted to go somewhere new. But once we started playing with Ralph, we knew it was a good fit. He was able to come up with parts to our songs that made them better and weirder. He got to get a lot freakier with effects and also enjoyed not being the front man all the time. In ’95, Jason and I moved to San Francisco where Ralph had already been living. We all wrote music and lyrics and we all sang and played all kinds of shit on the record, Monosyllabic, which came out on AT in ‘96. The title was a spoof on the current trend of naming albums with one-syllable words, like a lot of Sub Pop’s bands were doing, as well as Jesus Lizard and many others. We chose a five-syllable word meaning to have one syllable. We really felt like people were getting to be way too serious and withdrawn at shows. In an attempt to break down the coolness barrier and create a more fun atmosphere at our shows, we wore fake fur, powdered wigs, and masks, and had songs about midgets, hunchbacks, and rubbin’ ointment on your granny. We were met with reluctance at times, but usually we could win’em over, which was satisfying. We played in SF a lot, toured the States and then came home and decided to break up. Jason wanted to return to Texas, Ralph was tired of the all the shenanigans, and I wanted to play bass again. Actually Ralph and I had also been playing in Plainfield during this time with me on bass. We recorded an album with Plainfield too but that’s a whole ‘nuther bucket of rednecks. After breaking up, we were informed that a European tour had been booked for us. Happily, we went on the tour, had a great time, played our last show in Amsterdam and broke up. We got back and dutifully began looking for a drummer. God what a pain in the ass!! We had some really bad players show up. One guy even confessed that he wasn’t even a drummer; he just wanted Ralph to book his band a tour! Luckily our old friend Joaquin Spengemann from Bluchunks and Walrus saved us. Ralph had a bunch of songs backed up that wouldn’t work in Saturn. I also had some ideas so it wasn’t long before we had a full set of new music. The stuff was a lot more similar to VF, and even though we weren’t into playing any old material, everyone told us it should be called VF. But no, we had to call it Hellworms, after another archaic inside reference about coming down from a psychedelic evening in front of a camp fire, the sun’s coming up and the embers look like worms. Crowd Repellent was released in ’98. We did the whole cycle; toured our asses off in the States, chalking up around 25,000 miles, and then heading off to Europe for a 7-week tour with just the three of us doing everything. All the driving, loading, selling merch, rocking, everything. So it wasn’t too much of a surprise when Joaquin quit after we got home. Yes, the last show was in Amsterdam. This time we called another old friend, David Gleza from My Name, a band from Tacoma, WA on CZ Records whom we had toured with. He agreed to move down to the Bay Area to drum for us. We already had the name. We weren’t gonna fuck around this time, we called it Victims Family. David learned a whole bunch of classic VF tunes, and we wrote a new album. The release date for Apocalicious was September 11th 2001. Needless to say, the record release party with Mike Watt at The Bottom of the Hill was cancelled. We flew to Europe exactly one month later, amidst the height of National Security paranoia and airport paranoia and patriotic freak out. When we got to Europe, we found out that most bands had cancelled their tours. We were happy to get away from all of the flag waving and bloodlust. The new line up was well received and the tour went well although it was clear that rock bands were taking a backseat to DJs. We did a big tour of the U.S. and went back to Europe for our 10th time before David told us he couldn’t do it anymore. This time we didn’t make plans to play together. We didn’t have any issues with each other, but we did have different musical ambitions. He started The Freak Accident. He had horn players and keyboardists, in addition to a trio. They play his songs, which are stylistically all over the map, like you might expect but a little more smooth and accessible. The songs had tight structures but then he’d let the musicians go off and solo, adding a unique element to each show. He spent a lot of time recording the album at his home studio as well as at Prairie Sun Studios where he’d been interning. There are 7 different drummers on the album; I got to play on a song called Never Going Back to Petaluma. I started playing with a bunch of bands that I knew. I played bass and drums for Fluff Grrl, which led to me joining Mongoloid, an awesome DEVO tribute band, and also the house band at the Bayview Boat Club, who played material as diverse as ABBA, Johnny Cash, Motorhead, the theme from Underdog and lots and lots of Zappa. The first serious thing I did again was Meowmeow & the Meowmeows. I met Mary Elizabeth Yarborough at a Willie Nelson show at the Fillmore and then again at a Fucking Champs show at Bottom of the Hill. She told me to come see her band, M & the Ms, which was just her, but she was looking for a drummer. I volunteered to be the Meowmeows and we wrote some songs and played a bunch of shows at the local clubs as well as warehouse parties, an art school, a bookstore and, my favorite; a women’s prison. She has an amazing voice and was classically trained on piano, but was brand new on bass. It was fitting because I had lots of experience on another instrument but still wasn’t entirely comfortable on the drums. We recorded an EP that has never been released. During this time, Ralph and I realized that our 20th anniversary was approaching in ’04 and we wanted to do something to celebrate. We decided to have two big shows, one at the Phoenix Theater and one at Bottom of the Hill. We reunited all of our bands together. We got Tim Solyan on drums for Victims Family, Joaquin Spengemann on drums for Hellworms, and Jason Christian on bass for Saturn’s Flea Collar. In addition Meowmeow & the Meowmeows and Freak Accident played sets, so Ralph and I played four sets each, two nights in a row. These shows sparked subsequent dates not only with Victims Family with Tim back on drums, but Hellworms also. In fact Hellworms started to write a whole new album, but everyone’s busy schedules kept us from seeing it through. Also during this time I started playing bass with Gene and Neil from Kai Kln from Sacramento, in a band called The Ricky & Del Connection, and in a Zeppelin tribute band called Heavy Hindenburg, with Richard Marshall from Alice Donut. Another one of my all time favorite local bands the Bar Feeders called me up when their drummer took an extended tour of Germany leaving them with shows to play. They play incredibly fast music with lots of intricate arrangements and starts and stops, so it was like boot camp learning their songs. Our first show was a wedding at the Great American Music Hall; we also did a small tour of the Northwest to benefit Protect, a child protection agency. It was during this time that the bass player told me about a band that was forming with the singer from Fleshies and the guitarist from Bottles & Skulls. They had asked him to join but he couldn’t do it, but he suggested me. I told him no thanks, that I was involved in too many things to join another band. But then I realized that I wasn’t doing anything that serious, and maybe I was passing up a great experience. I went to their space to watch them play and was blown away. I immediately quit all the other bands and joined them. We called ourselves Triclops!, and have been going full steam ahead ever since. We flew to Chicago to play shows around Touch and Go’s 25th Anniversary, flew to New York for the CMJ Festival and to Florida for The Fest in Gainesville, and toured with Qui and 400 Blows out to Texas for SXSW, last year. Just finished a tour of the Northwest and Midwest last month and we’re just about to embark on another tour through the Southwest, back to Gainesville for Fest, and up the East Coast. A tour of Europe is being booked for April next year, almost exactly 20 years from VF’s ’89 tour. We also have plans to re-release the first three VF albums as a box set on AT sometime in the near future. Ralph is now in Jello’s new band which just debuted on Jello’s 50th birthday at the Great American Music Hall with Triclops!, the Melvins and a bunch of other bands. They are called Jello Biafra and His Axis of Merry Evil-Doers. I suspect that will change. So that’s basically what happened to us… It’s hard to say whom we’ve influenced, we’ve definitely been influential over the years to a certain degree, and been credited with creating a sound. I really don’t think we pioneered anything, I do think we had a unique sound, but that was because we were willing to step outside the conventions of songwriting, and try something new. When you look at it that way, we’re just part of a long line of bands and composers experimenting with genre-bending, and messing around with time signatures and stuff. I guess not many were doing it at punk shows, but of course there was The Minutemen way before us. Nobody ever refers to The Minutemen as Jazzcore, but all the elements were there. We didn’t sound like them, nor did the bands that we inspired sound like us. None of the bands that were considered Jazzcore really sounded alike. It was more of a philosophical connection amongst the bands, and we didn’t even necessarily share a philosophy! So it’s difficult to attribute a line of influence when it’s not so much a sound, but an approach. Sometimes people will tell us that we heavily influenced them, and the music that they make is so complicated and cold and precise that it hurts to listen to, and that wasn’t what we were about at all, although I can see how it might be interpreted that way. There were a number of bands in The Netherlands directly inspired by us, like Jam Jar, BEP and Mauser FK, and I’d like to think that we inspirational to the likes of Schlong, Plaid Retina and My Name, but they were equally inspiring to us. The craziest thing that ever happened to us would also be hard to pinpoint, but for the sake of the interview, I’ll pick one. One year, we were in the north of Italy, I think Torino or Milan. We get to the venue and the place is humongous, and the first thing we learn is that the building used to be the largest meat freezer in Europe. The next thing we find out, is that the show is a benefit. It turns out that one of the women from the organization putting on the show brought home a band member from a Russian band a few weeks prior to our arrival. The guy was taking a shower at her place and a gas leak killed him. In Italy it is the tenants responsibility to maintain the gas lines so she was liable. So, so far you’ve got, the Victims Family, playing a meat freezer, to raise money to send a corpse back to Russia, but it gets even better. Our over-stoked friend Sandro was also there and at one point he does a stage dive off of the five foot high stage, breaking a girls arm and his head wide open. He showed up the next night in Pisa with a bunch of stitches and kept right on dancing. I’m sure I could do better, but that’s the kind of stuff you get with us, no trashed hotels or hookers or anything like that. Sarah Palin is decidedly NOT hot, but Tina Fey is hot, which goes to show it’s all in the brain! None of us have really been in any movies. I think Ralph did a scene once in a small indie film. Joaquin was on Nash Bridges when he was in Walrus. We’ve been on the soundtrack to a couple BMX and skateboard videos. VF did have a video made but it was terrible and never completed. I guess that about covers it, hope you’ve enjoyed this barrage of information; it’s been fun to remember all of this stuff, so thank you. I’m also going to attempt to attach a copy of my complete discography. (It may get out of format when it gets sent.) Cheers! Larry B.
Band Title Label Format Year
Victims Family Voltage & Violets Mordam Records C, LP, CD 1986 Victims Family Things I Hate To Admit Mordam Records C, LP, CD 1988 Victims Family Son of Churchcard Mordam Records 7”+V&VCD 1988 Victims Family White Bread Blues Mordam Records C, LP, CD 1990 Victims Family The Germ Alternative Tentacles C, LP, CD 1992 Victims Family Maybe If I... Alternative Tentacles 7”, CD 1993 Victims Family Headache Remedy Alternative Tentacles C, LP, CD 1994 Victims Family Four Great Thrash Songs Alternative Tentacles LP, CD 1994 Saturn’s Flea Collar Stretch To Activate Alternative Tentacles 7” 1996 Saturn’s Flea Collar Monosyllabic Alternative Tentacles LP, CD 1996 Plainfield Smear The Queer Crippled Dick Hotwax (Germany)LP, CD 1997 Hellworms Crowd Repellent Alternative Tentacles LP, CD 1998 Hellworms Best Laid Plans Very Small Records 7” 1999 Saturn’s Flea Collar Final Transmission Subverziek (Belgium) 7” 2001 Victims Family Apocalicious Alternative Tentacles LP, CD 2001 Triclops! Cafeteria Brutalia Sickroom Records CD 2006 Triclops! Cafeteria Brutalia Missing Finger Records 12”Pic Disc 2007 Triclops! Too Many Humans Gold Standard Laboratories 7”Pic Disc 2007 Triclops! Out Of Africa Alternative Tentacles LP, CD 2008
Compilations
Victims Family Viva Umkhonto! Mordam Records LP 1987 Victims Family/Coffin Break Evil Twin Rave Records Split 7” 1990 Victims Family The Big One Flipside Records LP, CD 1990 Victims Family Sasquatch Kirbdog Records 2x7”, CD 1991 Victims Family Virus 100 Alternative Tentacles C, LP, CD 1992 Victims Family Project Fake- A Tribute To The Minutemen Easy Money (Germany) 7” 1996 Saturn’s Flea Collar The Day The Needle Stood Still Alternative Tentacles CD 1996 Hellworms Songs About Drinking-Episode III Very Small Records 2x10” 1999 Hellworms San Francisco ’99 Revenge Records CD 1999 Hellworms Unscrubbed Toy Gun Murder Records CD 1999 Victims Family The Ecstasy Of The Agony Alternative Tentacles CD 2000 Hellworms Nearvana Tinnitus Records CD 2001 Victims Family/Fleshies Calling Dr. Schlessinger Alternative Tentacles Split 7” 2001 Meowmeow & The Meowmeows New Sounds In Bay Area Genres Let’s Be Active LP 2004 Cliché Faux Pas/Schaffer The Darklord John 3:16 Brink Of Extinction Records Split 7” 2005
Collaborations
Band Title Label Format Year
Midvale School For The Gifted “Why Are People Stupid/ Are Humans Made Of Meat?” Ed Furniture Co. CD 2001
Victims Family w/ The Jayroon Lovers Bonjour, Gutentag, Hallo Strike Records (Netherlands) CD 2002
Freak Accident Self Titled Alternative Tentacles CD 2004
The Ricky & Del Connection Stream 0f Unconsciousness Rondo Excelsior Records CD 2005
Sir Millard Mulch How To Sell The Whole F#@!*ing Universe To Everybody Once And For All Web Of Mimicry Records 3xCD 2005
Ed Mudshi Mudshissimo Acratos (France) CD 2007
Most Victims Family, Saturn’s Flea Collar & Hellworms recordings were licensed to Konkurrel in Amsterdam for European distribution through Konkurrent.
Thanks to Larry of the Victims Family for the interview... And don't forget to check out the other bands these guys have played in! Check the web for more on Victims Family... Catch ya later, Fish...
