For more than a decade, Peter Richards has been a fixture in Lansing’s arts and music community. He once ran the (SCENE) Metrospace gallery in East Lansing and still runs It Takes A Village to Make Records, a local imprint. Of course, he’s also long recorded and performed as Stargrazer, a bass-and-vocals-centered solo musical project. Here, Richards gushes over fIREHOSE’s “Ragin’, Full On,” a 1986 classic album pressed up by SST Records. It was 1990 or 1991 when Richards stumbled upon the disc, back when he was 16 or 17.
How would you describe this album?
It’s funky skate-punk with a heaping spoonful of folk rock. R.E.M. meets The Big Boys.
Where did you first discover this fIREHOSE LP?
I was a regular at Full Moon Records in downtown Traverse City. I first started buying tons of metal on cassette before eventually making the transition to CDs and punk rock. I was already a fan of the SST records roster — Hüsker Dü, Sonic Youth and Screaming Trees were all staples of my teen listening. I saw this album cover, a house engulfed in flames, and was drawn to it for some reason. One day, I took the plunge and bought it and also the CD single for their song “Sometimes, Almost Always.” Within a few weeks, fIREHOSE replaced Iron Maiden as my favorite band.
There was that whole “shock of the new” effect with “Ragin’, Full On.” At first, it sounded tinny and confusing — that thin sound SST releases are infamous for. After a few spins, the jaw-dropping syncopation of the rhythm section and the clean, clanky guitar began to sound righteous to me. You just have to crank it and let it wash over.
What other aspects of the album drew you in?
The album has a full palette of moods, from hyper-caffeinated to downright pretty. I would learn more about Mike Watt’s “jam econo” philosophy later, but at first listen fIREHOSE came off as a band that wasn’t content to stand still. Every song was different. Many of them were complex, short and energetic in a way that seems looser and freer than a lot of the commercial rock I was raised on. They did not indulge in long solos or noodling, but raised the roof anyway from the second the needle dropped. I liked that spirit of adventure and I liked the humility in their presentation: blue collar aesthetic, self-designed album covers and lack of pretense.
Beyond that, Mike Watt is one busy musician. He’s constantly touring or recording with new bands — everything from The Stooges to a psych band called Anywhere, which features Cedric Bixler-Zavala from At The Drive-In. Watt has his own slang and can maybe take a little getting used to as a vocalist/lyricist, but I can’t think of another bassist who throws down quite like he does.
In what ways has this album directly affected your life?
I wanted to be a drummer in junior high. fIREHOSE made me switch to bass. Which is a good thing, because I was an absolutely terrible drummer.
What’s up with your own music? Plan to revive Stargrazer anytime soon?
I’ve had a long fallow period, but I am getting back on the horse. Stargrazer has a couple things in the works, slowly inching their way to completion. There are two sci-fi inspired instrumental albums, as well as an EP and a full-length.
I haven’t played a live show in years, but I’m starting to feel that itch. I may do some busking or hit some open mics to get my feet wet. I had a long creative slump tied to some life changes that I’m beginning to pull myself out of. It’s been hard to rediscover my discipline, but it’s worth it.
Aside from “Ragin’, Full On,” what are some other honorable mentions?
The mid-to-late ’80s SST catalog is a lot more than just West Coast hardcore. There are some phenomenal records on that label. Try these:
Minutemen “Double Nickels On The Dime”
Hüsker Dü “New Day Rising”
Dinosaur Jr. “You’re Living All Over Me”
To hear Peter Richards’ music, visit bandcamp.com/stargrazer or itavrecords.blogspot.com.
Support City Pulse - Donate Today!
Comments
No comments on this item Please log in to comment by clicking here