01. One Way Spit
02. Female Tracks
06. Leisurely Waiting
07. New Smooth Lunch
09. Flight Taken
10. Tell Me
11. Blue Girls
12. Zebra Ranch
13. Other Things
14. New Smooth Lunch
16. Real Cool Time
17. One Way Spit
19. Hospital Boys
20. Flight Taken
21. Tell Me
Previously issued LP tracks 1 to 11 are taken from the original 1/4" 15 ips mixdown master tape and were recorded on December 10 and 16, 1975 at Benson Sound Studio, Oklahoma City, Oklahoma, and mixed at Benson's on January 20, 1976.
Tracks 12 to 21 were transferred to DAT from the original source tapes, April 1999.
Mastered at Fantasy Studios, Berkeley (CA), May 1999.
Tracks 12 & 13 are previously unissued mono cassette recordings and were recorded at Static Disposal Subterranean Office in Chickasha, Oklahoma, November 1975.
Tracks 14 to 21 are previously unissued stereo quarter-track 3 3/4 ips reel to reel recordings, performed in one session in the spring of 1976 at the Static Disposal Subterranean Office.
Original "Static Disposal" LP released in April 1976 (1000 pressed)
CD reissue on Anopheles, November 1999, (2000 pressed)
CD second pressing on Anopheles, July 2007
In Loving Memory of Oliver Bennett Powers (March 6, 1953 - June 23, 2001)
Charles "Chuck Poison" Ivey - Low frequency modulators. synthesizers, detonic guitar on B3, sequential screams and marvelous moans
Johnny Gregg - Drum, drums, visceral vocals and gorgeous grunts
O. Powers (Rectomo) - Vibraharp, variable multi-stringed electronic exasperator coupled with various electronic special operations devices, b-flat coronet, vericose verbalizations and gruesome groans
Richard Davis - Sax, organ and 8" circular saw
Dirk E. Rowntree - Percussion and `Lizard King` on B3
deanna `D` - Sensuous mouthings B3
Debris ' Static Disposal is the pivotal mid-70s behemoth to emerge from the American private press underworld, a record which went on to inspire everyone from the Screamers to Nurse With Wound (NWW). A legendary reissue hailed in Ugly Things, The Acid Archives, and Mojo.
Recorded in December 10 and 16, 1975 at Benson Sound Studio, Oklahoma City, Oklahoma, and released on January 20, 1976, before the first Ramones LP, and leading off with a song called One Way Spit", Debris' can now be seen as the most important proto-punk band, too often snubbed by "punk historians" who don't want to admit to having to rewrite their historical templates. The LP sounds almost contemporary today, with its aggression, angst, wild analog synthesizers, guitars and vocal experimentation, and a supercharged, avant-psychedelic recording quality.
Well ... soar a little in the realm of fairy tales now and let's get to Debris American group for the matter of the amount of energy will receive puts the dead on their feet.
The band was formed in the summer of 1975 in Chickasaw, a small, provincial town in the state of Oklahoma. The leader was Charles Ivey, who played earlier in local bands such as the Misfits and airless Regime, who founded The queit. To join Olivier Charles Ivey and Johnny Gregg Powers, creating Debris formation. In this composition, although they played only four shows, but in a spectacular setting, which made even more so than music, a negative impression on the specific, indiscriminate audience with which they were dealing. They have performed such in evening dress, diving suits, the hats with Mickey Mouse ears, ski goggles or only his underwear covered in powdered infant formula. Performances are most often improvised, both in the music and text, had a dark, noisy and chaotic in nature, you can also say that the media has (images displayed on TV screens). One of the performances took place in the local competition "Battle of the Bands" where Debris, although the latter showed up, took the first place among the 50 teams and won a modern sound equipment. In 1975, the team took advantage of a promotional package worth $ 1,590, which includes 10 hours of studio recording and pressing of 1000 copies LPs. It was recorded in two sessions in mid-December in Benson Sound Studios with the help of friends, Richard Davis, Dirk E. Rowntree and Deanna "D". The recording session took part Robb Hayes. That granted release in 1000 copies entered the local market a few months later, in 1976. Recorded in such a short time the album was raw sound, not fully meeting the vision of the musicians, who soon began to seek a new recording contract by sending your material to record labels and music press. In view of the terrible reviews, or the lack of any support or response, and less than a half year of existence, the team has been resolved, but soon there were more good reviews and an invitation to perform in New York's CBGB's.
Kind of the end of an indefinite and somewhat eclectic nature of the music Debris best reflect the diverse stylistic determination - species that may be encountered in a few statements about it. These include a "proto-punk", "psych-punk", "proto-punk psychotic," "psych-avant-punk", "proto-art-punk", "dada-punk-psych" "idiosyncratic marriage of punk and Psychedelia". Debris Music combines the features of these trends in a brutal way, adding to the extraordinary amount of energy from an aggressive form of expression and a new quality. Garage, heavy, dirty, and often accompanied by a multitude of riffs chaotcznym electronic sounds generated from various synthesizers and modulators, high-pitched bursts of saxophone, as well as psychedelic, fuzzy and catching loops cacophonous guitars. All this is background for the screaming voices of all musicians.
DEBRIS': After the first re-edition of "Static Disposal" CD,21 tracks and over 76 minutes of 1975-76 recordings by this legendary trio from Chickasha, Oklahoma This reissue includes a 28 page booklet with liner notes penned by all three members, song lyrics, photos and more. We've used the original LP master tapes and added 10 previously unheard and stunning rehearsal recordings as bonus tracks it turned out that the Debris is a phenomenon unique and quite isolated, "the missing link" in an unusual way ahead of its time, despite complete isolation and separation from the musical ferment of lesions, non-existent in practice, because almost anyone unknown " inspiration "for many future musical projects, a team of" proto-punk ", which ironically came to what much later reached the circle teams of" post-punk ". It's the perfect combination of music of the 70's and 80's. Of the original in his time so that you can compare it properly with only two, the same odkrywczymi what and provincial teams, and even older Simply Saucer Canadian and American MX-80 Sound.
Thank you so much Adam for that effort
From Static Disposal 1976
The town of Chickasa, OK, might seem an unlikely birthplace of a seminal experimental proto-art-punk band set on pushing the boundaries of rock. In the face of indifference, and even redneck hostility, and lasting only a year, Debris' forged a small legacy with its D.I.Y. ethic and improvised playing style. Charles Ivey and Oliver Powers played various instruments in various bands for several years before the summer of 1975, when they approached drummer Johnny Gregg for a new band. Debris' was quickly launched and by September, they had the first of the four live gigs of their short existence. Their chaotic performance style and dark, quirky sound — influenced by the Velvet Underground, the Stooges, Captain Beefheart, as well as English glam rock — did not endear them to their Oklahoma City-area audiences. At one such show, a Battle of the Bands competition where 50 bands vied for a new sound system, Debris' came in dead last while a cover band took home the prize. At the same time, they took advantage of a 1,590-dollar promotional package from a sound studio, which provided ten hours of recording time and a 1,000 LP pressing. With the lofty ambition to "cut the ultimate record of the decade," they recorded material in two sessions in mid-December and the record was pressed several months later (since released on CD as Static Disposal with much bonus material). The band started to mail it out to various record labels and rock magazines as a demo in hopes of getting a record deal and to more fully realize their project. With early negative reviews and no local support, Debris' disbanded, ahead of their time and in the wrong place. Within a year, more favorable press appeared and CBGB even offered them a gig and a chance to cash in on the burgeoning New York punk scene, but it was already too late.
(~ AMG) by YTB
The pre-history of punk rock is usually based around hip, cosmopolitan urban areas. The Velvet Underground, the New York Dolls, and The Dictators were based out of New York City; the MC5 and The Stooges in Ann Arbor, Michigan (just outside of Detroit); Pere Ubu, Devo, and Rocket from the Tombs out of Cleveland; and The Modern Lovers in Boston. These groups, who were far from popular during their own time (with the exception of Devo), have subsequently been elevated into the realm of the legendary thanks to a perceptive group of rock historians and cultural critics who were heavily influenced by these vibrant, perceptive, and prophetic artists. Thanks in part to texts like Lester Bangs' posthumously published anthology Psychotic Reactions and Carburetor Dung (1988) and Legs McNeil and Gillian McCain's Please Kill Me (1997), these otherwise obscure groups have been unwittingly canonized and are now casually mentioned by some rock n' roll aficionados in the same company as The Beatles, Led Zeppelin, and Black Sabbath. One group, however, that you will not read about in these histories is Chickasha, Oklahoma's Debris' (yes, there is an intentional apostrophe after the "s" in their name). Their self-titled debut, released in a private pressing of 1,000 copies in 1976, makes the argument that they should.
For those that don't know, Chickasha, Oklahoma is a small city located about forty miles southwest of Oklahoma City. Prior to the success of The Flaming Lips, the pride of Oklahoma City, in the early 1990s, the city was not exactly known for its punk rock bona fides. With this in mind, the mere existence of a group like Debris' should seem like some sort of proto-punk rock miracle. Helping advance this thesis is the relatively high quality of the music and just how many similarities it shares with the more legendary acts of that time period. Consisting of Charles ("Chuck Poison") Ivey, O. (Oliver) Powers (both assuming various duties on guitar, bass, and synthesizer), and drummer Johnny Gregg, the trio--with help from a session saxophonist, drummer, and female background vocalist--reportedly, as per the boast on the album's back cover, pumped out this well-rehearsed material in "Six hours and 59 minutes." In this relatively short period of time, spread across two different sessions in December 1975 and January 1976, they incorporate their influences (which the group notes on their myspace page include "The Velvet Underground, The Stooges, Captain Beefheart, and English glam rock") and produce sounds vocal yelps comparable to Richard Hell and the Voidoids, Alan Vega of Suicide (both of whom had yet to release anything), and David Thomas of Pere Ubu. The stuttering rhythms of their guitar playing, the free jazz textures of session musician Richard Davis's saxophone, and the sharp bursts of noise that emanate from their synthesizers draw immediate comparisons to the aforementioned Pere Ubu, Robert Quine of the Voidoids, early "hardcore" Devo, and The Silver Apples. Thanks to record collector Karl Ikola, the founder of Anopheles Records, Debris' was re-issued (and re-christened Static Disposal, the name of the group's short-lived record label) for the first time in 1999 on CD (with numerous bonus tracks) and again on vinyl in 2008.
As exciting as this all sounds, let us not confuse the historical importance of this album's anomalous existence with the quality of the material on it. As an album, it is more often than not good, sometimes great. It often meanders, especially on the longer tracks. Similarly, some of the material is just not that strong ("Witness" and "Boy Friend," for instance). That being said, there is plenty to like here. The opener, "One Way Spit," begins with Charles Ivey retching into the microphone as he counts off the track. This is a fitting introduction to the album, foreshadowing the spastic sounds that would follow, insuring their obscurity, especially as an Oklahoman rock act, in 1976. Another highlight is the sludgy "Tricia," as desperate a love song one is likely to hear, complete with a power tool to create added texture (and long before Eddie Van Halen, it's worth noting!). Side One ends with another favorite, "Leisurely Waiting," which features a pulsating two chord sequence that is rendered all the more unsettling by Ivey's vocals. Side Two begins with the most accessible track on the album in "New Smooth Lunch/Manhattan," a fun romp that foreshadows something like "Gut Feeling" from Devo's debut LP, and manages to stay surprisingly catchy despite spazz-skronk guitar runs worthy of inclusion on Captain Beefheart's Trout Mask Replica. After two decent cuts in "Tell Me" and "Flight Taken," the album unfortunately ends with its weakest number in "Blue Girls," which is also, not surprisingly, the slowest number on the album. Ultimately, Debris' may come across as a novelty to those listeners with an inflexible conception of proto-punk. However, it is more than just a curio. It is an interesting piece of outside-outsider music that is refreshingly relevant, far more so than it was for the Oklahomans who were (un-)lucky enough to hear it back in '76.
(~rateyourmusic) by yerblues