The Telephone Man:Complete Studio Recordings: Difference between revisions
From Louisville Punk/Hardcore History
mNo edit summary |
mNo edit summary |
||
| Line 19: | Line 19: | ||
From [http://www.slamdek.com Slamdek]: | From [http://www.slamdek.com Slamdek]: | ||
Over the course of 1993, The Telephone Man evolved from a drum machine project into a full-fledged band. The recording of this self-titled cassette (often referred to as “No. 35�?) was the band’s first visit to the studio. It not only preserved Matt Ronay’s quickly evolving songwriting abilities, but also expressed an emphasis on a return to earlier Slamdek ideals. As mentioned in the discussion of Matt’s previous band, Ennui, earlier in the book, the group of kids he came from grew up on Slamdek. The label was now to the age where it was a part of the old scene and The Telephone Man’s cassette has a decidedly retro-Slamdek look and sound, coupled with an all new approach. Matt and I were logging a lot of hours together doing the never-ending Slamdek chores of cutting, folding, mailing, and all that. | |||
The tape came into existence during a unique timespan. The T-Man recorded these four songs in mid-September 1993, and the tape was in stores about three weeks later, a classic old-Slamdek-style turnaround. Sunspring had recorded a Rick Springfield cover in July 1993 for a second split seven inch with Endpoint (SDK-33). Endpoint hadn’t recorded yet and Sunspring was on its deathbed, so that record didn’t come out until December. Francy Yingling and I were also in the process of working on a seven inch under her name (SDK-34). Francy’s record was eventually cancelled about six months later, before it was completed (see page 155). The Telephone Man’s SDK-35 was recorded and released in a short three week time period, quickly and seemingly effortlessly, while the label’s other projects crawled toward completion at a sleepy pace. Because of The Telephone Man’s expedient progress, their cassette bridged a gap of seven months between the releases of the Sunspring CD and the second Endpoint/Sunspring split 7". And as a result, it slipped into the fortunate position of being the only new Slamdek release for the fall, and reaching far more people than it otherwise would have. Had the other records come out on schedule, The Telephone Man, the underdog as a new band, would have been sharing advertising space with heavyweights Endpoint and Sunspring, as well as the other new entry, Francy Yingling. | The tape came into existence during a unique timespan. The T-Man recorded these four songs in mid-September 1993, and the tape was in stores about three weeks later, a classic old-Slamdek-style turnaround. Sunspring had recorded a Rick Springfield cover in July 1993 for a second split seven inch with Endpoint (SDK-33). Endpoint hadn’t recorded yet and Sunspring was on its deathbed, so that record didn’t come out until December. Francy Yingling and I were also in the process of working on a seven inch under her name (SDK-34). Francy’s record was eventually cancelled about six months later, before it was completed (see page 155). The Telephone Man’s SDK-35 was recorded and released in a short three week time period, quickly and seemingly effortlessly, while the label’s other projects crawled toward completion at a sleepy pace. Because of The Telephone Man’s expedient progress, their cassette bridged a gap of seven months between the releases of the Sunspring CD and the second Endpoint/Sunspring split 7". And as a result, it slipped into the fortunate position of being the only new Slamdek release for the fall, and reaching far more people than it otherwise would have. Had the other records come out on schedule, The Telephone Man, the underdog as a new band, would have been sharing advertising space with heavyweights Endpoint and Sunspring, as well as the other new entry, Francy Yingling. | ||