Tag Archives: Greg Shaw

He Put The BOMP…

No statue? This will have to do.

No statue? This will have to do.

I’m often asked what makes Bomp different. One answer is that where most labels concentrate on a small roster, I’ve always preferred to give a lot of bands the chance to be heard…I guess I’d most like Bomp to be remembered as a label utterly dedicated to the people who care most about music: the fans and collectors.”

Five years ago we lost one of our greatest soldiers, Greg Shaw. Most pop music writers have read him if not been influenced by him; many saw an opportunity to take the leap from fan to participant because of his magazine and his labels. Shaw began by writing fan letters to magazines and was soon writing reviews for everyone from Rolling Stone to Creem.  Along the way his journey led to managing bands, working at major labels (assembling compilations, of course) and running a record shop, but legions of powerpop fans point to a 1978 issue of Bomp Magazine as the rallying cry that launched a movement.

“Punk had already had its day by 1978, when Bomp Magazine ran a cover story proposing Powerpop: a hybrid style with the power and guts of punk, but drawing on a pop song tradition with wider popular appeal. I had in mind bands like The Who and The Easybeats, (hell, even The Sex Pistols fit my definition!) but much to my chagrin, the term was snapped up by legions of limp, second-rate bands hoping the majors would see them as a safe alternative to punk. I took a lot of heat for starting the whole business…”

Bomp Powerpop cover

But he should also get credit for what did go right. Many great bands rose from the masses of skinny tie wannabes, and some (including Shoes, 20/20, Paul Collins, The Plimsouls, and The Romantics) started at Bomp before landing at major labels. Writers including Lester Bangs, Greil Marcus, Dave Marsh, Mike Saunders and R. Meltzer passed through his masthead. That Bomp didn’t become a haven for great bands like Sire Records is a shame, but Shaw was unwilling to compromise his vision just to play on a bigger stage.

In the ’80s retro-garage was bursting out thanks to bands like The Fuzztones, The Lyres and The Chesterfield Kings; Shaw’s Voxx label attracted a ton of groups. He launched a series of compilations called Pebbles (inspired by Nuggets) featuring some of the rarest original ’60s punk records from his personal collection. He picked up Iggy Pop’s first solo album, Kill City (“when nobody else would touch it”) and issued a series of Stooges outtakes under the title of The Iguana Chronicles. In the ’90s he aligned with Alive Naturalsound Records which brought great bands like Black Keys, Bloody Hollies and Soledad Brothers into the fold, and he continued to discover and nurture new bands that tweaked his antennae until his death from heart failure. He was only 55.

I think the essence of Greg Shaw can be found in this quote:

“I think it comes down to the fact that Bomp is an outgrowth of my love for music. Where many would view it as a marginal business that barely breaks even, I prefer to see it as a hobby that’s profitable enough to allow me to build my life around it.

Contemplating the impact Greg Shaw had upon the industry, it just makes me sadder when I think about politics and greed making charlatans wealthy and famous, while true visionaries are sometimes just cult heroes. But fame is cheap commodity and wealth dissipates. Legacy is the coin that matters, and Shaw’s legacy continues to inspire. 

The BOMP website

Tributes from other writers

The bookSaving The World One Record at a Time

The date of October 19th also claimed guitarist Glen Buxton of the original Alice Cooper Band, who died in 1997; he was only 49.

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Filed under Editorials, Music

New Album! The Flashcubes

We want YOU...to want US!

We want YOU...to want US!

Let me get the caveat out of the way right up front. I know all four of the guys in the band, I watched their career happen right before my eyes, I wrote about them at the time, and I even booked them to play at a couple of clubs I was managing. So I’m not exactly impartial.

That said, I’d recuse myself in a heartbeat if I had written the liner notes, recorded the music, remastered the tracks or was any way involved with the release of their material. My only advantage coming in to A Cellar Full Of Boys is the anticipation based upon knowing the material. But if you aren’t familiar with The Flashcubes, I’m not feeling superior – I’m feeling a bit envious. Because you get to hear one of the great lost pop bands of the 70s fresh and new.

In brief, The Flashcubes were a punk and power pop band from Syracuse, New York who almost grabbed the brass ring. Despite wowing the local community, opening shows for virtually every famous name who came through town and having heavyweights like Greg Shaw and The Ramones among their advocates, it just didn’t happen. Well…until twenty-five years later when half a planet away, the Japanese pop community determined that a band this good deserved better. What had been a couple of reunions and the occasional tribute album track exploded into a full-blown renaissance.

Gary was always taping, thankfully. Now these Basement Tapes breathe new fire into the Flashcube legend. You can read my full review of the new album at BLURT.

Flashcube button

The Flashcube Story in 3 1/2 minutes.

Listen for yourself at their MySpace site.

Bright Lights (the anthology)

Brilliant (the new material)

Air Mail Recordings.

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Filed under Features and Interviews, Music, Reviews