Greasy
Pop Records
This article originally appeared in NFH #18 in
the winter of 1990
THE BEGINNING -
THE DAGOES
Although Greasy Pop
is Adelaide's best known indie label, it's hardly the sort of corporate empire that you
might expect when you think about a record label. It consists of one man, Doug Thomas, who
has been single mindedly pursuing his goal of making Adelaide noise available on record
for ten years now. Listening to Doug talk about the bands he releases gives you a sense of
total commitment...this is a man who has put everything he has into his label. He's
passionate about his bands, maybe even more than the bands are about themselves: "I
guess I look for a spark of originality. And if there's no originality there, at least
fucking enthusiasm; belief in what they're doing. Because if they don't believe in it, I
can't believe in it." Asked if there were any records he'd just as soon have not
done, he pauses and thinks for a while, then replies: "Nah, fuck that, I liked it
all! I guess I've learned from every record I've released, so I can't dismiss any of
them."
As you'd expect from
the name Doug has chosen for his label, pop is a key element that he looks for in bands,
"the sense of melody...if there's melody there. If there's a tune I remember, I want
to go back and listen to that band again. The Lizard Train certainly do that to me. The
Screaming Believers affect me that way. The Mice affect me that way. Philisteins, Twenty
Second Sect. Every song Ian List has ever written."
"I seem to have
a strong liking for power pop...sure I do. I guess those two Big Star albums would still
be a couple of my favorite records. Fleshtones, Roman Gods especially. Dwight
Twilley's Sincerely album. And all that wild Aussie shit that I was hearing in the
60s; the Easybeats, The Master's Apprentices. Not forgetting the Stones, the Kinks, the
Pretty Things. Beach Boys. More power to them. That's all melodic stuff. That's what I
listen for. Tunes with intelligent lyrics played by people that have no respect for
guitars. The mention of guitars sends my left hand into a claw...it's probably been three
months since I've picked up my Les Paul Jr. I miss playing. I've just used that one guitar
now for quite a few years. I think I bought it in 1981, and it's probably been used on
every guitar part I've played except acoustic stuff on every record since then. A 1959
Gibson Les Paul Junior. My very favorite instrument."
"I guess the
last time I've used it probably would have been for the round of U.V.'s gigs. The band
played twelve gigs from just before Christmas 88 through till May this year. Ian List is
presently back in London, but they're still talking about coming out here in summer. Maybe
December or January, and starting up another U.V.s. Whether it happens or not, I don't
know. It's up to him. Be he's a man I enjoy playing with. I like playing his songs. He's
got a sense of melody. And he likes rock and roll. Hard and fast."
Greasy Pop started in
1980 as an outlet for records by the Dagoes, a band that featured Thomas and Ian List on
guitar. Thomas had been playing guitar for two years at this point, and was just getting
to where he felt like he knew what he was doing and the band split up. But before they
cashed it in for good, they wanted to leave some kind of a legacy to show that the Dagoes
had been there, so they went into a studio and spent a day recording the "We Sell
Soul" single, which cost them about six hundred dollars. "It was pretty
rough", says Doug. "I still grimace when I listen to that one, but it's a nice
first try."
So Greasy Pop Records
came about through Doug Thomas's efforts to document the Dagoes. He had been holding a day
job working in second hand record shops for about ten years, and had saved enough money to
be able to finance the record. The single came out in May 1980 and it sold about six or
seven hundred very quickly, mainly in Adelaide, because the Dagoes were starting to draw
an audience before they'd fallen apart.
It was about three
months after the band had split that the single was recorded, and it seemed that everyone
involved had really missed playing, even though the Dagoes were never a regular gigging
band; they'd play in spurts and then take two or three months off. So the band reformed
and began gigging once again, and once the money from "We Sell Soul" had been
recovered, it was just poured straight into more recording for the Dagoes, along with the
gig money that the Dagoes were making.
The reformed Dagoes
sported a new lineup, adding a new bass player, two female singers, moving the drummer to
keyboards and shifting another member to drums full time, resulting in a nine piece band.
This aggregation spent a long, long time and quite a bit of money trying to record what
eventually became the double ep "It's You". It was meant to be simply for the
Adelaide people who had supported the band. There were only 300 copies made, and only
about 50 of these ever got out of Adelaide.
Doug picks up from
here: "So quite a bit of money was lost on the Dagoes double ep, but most of it
Dagoes money, so I just carried on like nothing happened as the Dagoes collapsed in
turmoil around what had become Greasy Pop Records, which was certainly no great output,
only looking at Dagoes at the time. And the third release was another entirely different
lineup of the Dagoes. The only common thread in the Dagoes was Tony Ryan, Johnny Tomato,
myself and the Turk."
"So Greasy Pop
put out one record in 1980, one in 1981 and one in 1982. As I said, it was formed, and was
an apt description, of the Dagoes music. Greasy Pop. They were a pop band; Tony Ryan was
writing pop songs. And I don't know about you, but I was brought up listening to pop
music. Call it what you like, rock and roll, rockabilly...all that shit, it's all rock and
roll to me, but it's all pop. I kind of get lost with a bit of the extreme noise music. To
me there's a tune there, you know? If there's not a tune there, it's not really rock and
roll. So a lot of this new experimental stuff leaves me cold. I think if there is a
regular thread through all the records I've released, it's that they've got a tune. Pop
music, you know."
FINANCIAL
CONSIDERATIONS
Greasy Pop used to
put out piles of singles, but that's changing now, as Doug has been painfully exposed to
the fact that singles don't make money any more, and to remain viable as a label he has to
pay attention to the bottom line, painful though it may be. That last single he released
directly through Greasy Pop was the Coneheads' "Chewy Chewy", which sold about
1,200 copies. Break even point is about 5,000 for Greasy Pop, so although Thomas likes
singles, it's hard for him to afford them now. Fortunately several Greasy Pop bands are
licensed through Festival, one of Australia's major labels, and Festival has put out
several singles by bands like the Exploding White Mice or Mad Turks. The arrangement is a
pressing, promotion, and distribution deal within Australia only, so Greasy Pop retains
rights to license overseas, and of course to ensure these records are exported.
"Where the hell they get to in America beats me", says Doug. "I'm damn sure
there's not many copies of my releases going to America. But the Germans seem to love this
shit. Germans, Dutch, French, Greeks, Scandinavians. So I'm almost surviving on
that."
"For 1988 I got
so far behind that I got day jobs and I'm actually working for Festival Records part time,
and working again in a bloody retail record store one day a week, to pay the bills. So
Greasy Pop is not making me a living. For a couple of years it sent me further and further
into debt. So now I'm trying to get out of that debt and keep releasing records and
unfortunately it's going to be very difficult for me to put out seven inch singles. I'd
like to do one for the new Twenty Second Sect album. There's a couple of great songs on
it, and if I find the spare five or six hundred dollars I'd like to remix a song called
"Hey Baby" that's come out on Sympathy for the Record Industry. I'd like to
remix that and put it out as the single off the Unexploded album, which should be
out in about four weeks. I won't tell you the date today, or you'll catch on that I
haven't got a clue when it's coming out. My four weeks seem to stretch for months, but I
do hope to get this record out before Christmas."
ADELAIDE -
FESTIVAL CITY
"I only release
Adelaide music. There's so much talent in this little city that I'll just keep going on
Adelaide bands. They're keeping me busy all the time and keeping me in debt. I do get
demos from all over the place, but I'm sticking with Adelaide. I believe in the noise
that's coming out of this city. There's an incredible number of bands here with a very,
very limited venue output for them; there's very few places they can play here. So to be
in a band stranded here in Adelaide is really frustrating for any musician who's trying to
make a go of it. The only way I could really look at living and playing in Adelaide is for
my own enjoyment. I can't see any chance of financial success unless you turn into a
covers band and play the beer barns in the suburban venues that are in every city in
Australia. But I don't want to play Beatles songs. I always thought Abba was a better pop
group. But last week I saw probably the greatest pop group in the universe. The Ramones
came to Adelaide for their second visit, supported by the Exploding White Mice, and it was
a wonderful night’s entertainment. CJ fits like a glove. He counts to four just like
Dee Dee did."
"I don't know
what it is about Adelaide that it has almost a concentration of talent. There's a shitload
of artists working in this city. It's called "The Festival City" for some
reason; there's an Adelaide festival which gets gloated about being similar to the
Edinborough arts festival. So it's a kind of arty city. A couple of universities are here
and a whole lot of artists. An incredible diversification of musical noise."
THE SPIKES, THE
ASSASSINS, THE U.V.s AND IAN LIST
"The records
that I'm most proud of through my involvement with have been the production jobs I've done
on both The Spikes' Color In A Black Forest and Get That Charge by the
Twenty Second Sect. I reckon they're the best sounding records that I've released. Of all
the records I've played on, Color In A Black Forest is the one that annoys me the
least. it's not really painful for me to listen to that one. I like it...I think it's a
well balanced record, and it's a damn good sound that I got out of a shitty little studio.
And I think it was a creative peak for that band, and probably myself...I wrote four songs
on it, felt like I knew what I was doing in the studio, and survived the ordeal in two
days. I think it was recorded on one day and mixed on the next. So it was done incredibly
quickly by four weirdos who worked really well together. As soon as they picked up their
instruments it worked. That was the wonderful thing about that band...I enjoyed the couple
of years that the Spikes existed."
"I've been
playing with Ian List for a while. I think he first came into the Dagoes in 1981, so he
was bass player in the Dagoes through 1981 and then came back in 82, or at the end of 81,
as the lead guitarist, when the Dagoes turned into a monstrous touring circus, three
singers, three guitarists and as many other people as we could cram on stage without
rehearsing. So Ian and myself have played together for a long time. I picked him as the
singer from the Dagoes and asked him to sing "Kill The Prime Minister", the
Assassins single. Which really in a way was the Spikes. I could see the Spikes coming from
that. And I was invited to join the Spikes while I was still in the Dagoes, but the Dagoes
were falling apart, really, at the end of...god knows...the end of 82 I guess."
"The
Spikes...four weirdos that somehow clicked when they started playing music together. We
hardly even socialized together...we led our own lives, yet somehow it worked when we
played. And I think the inspiration was Ian's songs. He's a very good song writer with a
sense of melody and power. And I think that me and him play guitar together quite well;
bounce stuff off of each other. We're always moving ahead I think. Ian never likes to look
back, and I'm quite happy to go along with that. With the U.V.s I don't think we played
any of Ian's old songs. I don't think there were any Spikes songs in there...maybe a few
old covers...like "Ain't No Friend Of Mine" and a couple of Lou Reed songs. But
Ian keeps looking forward and that's a damn good way of looking at things."
THE PRIMEVILS
"Primevils was
kind of the same follow up from the Acid Drops. Very psychotic. They played some of the
most fantastic, outrageous gigs that I've ever had the pleasure to witness. Psychotic
noise...that kind of sums it up pretty well. Harry Butler said something like
"psychedelic pop"...no..."classic Stooges rock with dangerous psychotic
influences". Well, even if he didn't say that, that sums 'em up pretty well."
"Primevils...first
disco song I released, right..."Whipping Tree" is on Chicken Factory.
Have a listen to that one again, Steve, it's a ball tearer. Disco...I'm pretty loose with
my musical adjectives. It's all pop to me, remember."
THE EXPLODING
WHITE MICE
"I think the
highest paid unsigned band in Australia would be the Zep Boys from Adelaide. They're a Led
Zep cover band, and they're just note perfect. And as sad as it is, they're a very huge
drawing band that's making a shitload of money. Whereas the Exploding White Mice, even
though they get adoring crowds out of Adelaide, are lucky to draw two hundred people to a
gig here."
"Exploding White
Mice I caught early on as well. I think I caught their first or second pub gig. The Spikes
were gigging at the time...I saw the Mice and immediately invited them to play with us,
and asked them for a song for Oasis In A Desert Of Noise. And they went in to
record that one song and it turned into seven. "Down On The Street" and the six
tracks that ended up on Nest Of Vipers. So I'm glad that I asked them for a song.
They were called "The Ramones Jukebox" when they first started up. A party band.
A fucking wonderful party band."
"They've just
changed guitarists again...they're ready to get serious; they’re ready to record
their next album, which is going to happen in two parts. They're off to Sydney, up to the
Gold Coast and Brisbane in a couple of weeks, and they're touring through until mid
December, and then they'll start recording. That string of gigs, two weeks up the east
coast, that'll all be recorded on mobile, and we're hoping that half a dozen tracks can be
used as one live side for the next album, and they've got six or maybe seven new originals
that will be studio recorded in December. I hope it happens at Sound Track Studios where Brute
Force and Ignorance was recorded."
"I say that in
years to come Brute Force and Ignorance is going to be recognized for the mean
mother of a rock and roll album that it is. I understand that it was recorded too loud;
everything that went onto tape was distorted, so mixing it was like a salvage job. But
it's a fucking nasty sounding record. Played individually each track stands in its own
right, but played together as an album its almost a blur. And people have called it
monotonous. I call it a classic. I'm very, very proud of it. I wish I had a bigger
involvement in it to ensure that the fucker wasn't recorded too loud and we could have had
a cleaner sounding record. Not that I don't mind dirt being in there."
"I think if
there's to be a best record I've released, I dunno... Nest Of Vipers, maybe. That's
a great record. First time in the studio and they slapped that down...what a great effort.
Nest Of Vipers, yeah. Color In A Black Forest, that stands the test of time.
And like I said, Brute Force And Ignorance, a lot of people are going to realize in
time to come that that's a hell of a record. Call the production lousy, but I reckon it's
a beauty."
"Anyway, this
new guitarist, Dave Mason, who recorded just the single with them, has been with the band
for twelve months, recorded just the last single "Make It" and "Ain't It
Sad", but he's in no position to tour; he's holding a day job that he likes, and the
Mice are ready to go. The new guitarist is Jack Jacomos. He was in a sort of weird heavy
metal glam thrash band called The Lick, and they were most entertaining. Jack plays a
Rickenbacker guitar also. And he's kind of a fan, knew all the Mice songs anyway. I think
he used to practice them in his bedroom. So he's in. And hopefully if all goes well he
records with them on the east coast tour and in the studio. And then he goes to Europe
with them through March, April, May of 1990. That's the master plan for the Mice, and I
fucking hope it works, because they're not really surviving in Australia, either. They've
been doing it for five years and wondering where the reward is, I guess."
"You know, with
Dave Mason being in the Mice for the last year or so, maybe less than a year...his guitar
sound reminded me so much of the Primevils, and it was very different, it gave the Mice a
different feel altogether. As you can probably pick from the single, yeah, there is some
pretty weird guitar stuff on that single. One review I read of it said if this record was
to be compared to clothing then "Make It' would be a battered black leather jacket. I
thought it was a very nice analogy. The same review said they had the good taste to leave
all the out of tune bits in. Both Mason and myself said "What!?" when we read
that...there's no out of tune bits in there."
THE LIZARD TRAIN
"Way back in 82,
the Dagoes were struggling along on their last legs, and there was this band called
Crawling Eye with Chris Willard in it, Martin Bland, could have even been Dave Mason, and
I invited them to play as a support band at a Dagoes gig, and they were just wonderful. So
we invited them straight back the next week, and over time that turned into the Acid
Drops, and I guess I just followed the talent through from there. Chris Willard into the
Lizard Train, and Liz eventually getting her own stuff together, with a lot of help from
the Lizard Train."
"I'd have to
mention the Lizard Train for most satisfaction. These guys are the three most talented
people that I've ever come across. They're currently recording The Ride. I believe
that you've heard some demos from it...in fact, Sympathy released three demos from it. One
of their songs, I couldn't believe the intricate timing they have. I believe the drummer
was playing a 6/4 beat, the bass player was doing something else, and Chris was playing
4/4 on the guitar, and somehow singing over the top of that. I'm impressed. I love their
songs. Those guys have got a sense of melody, dynamics...they deserve to be huge. I guess The
Ride will come out early to mid next year. The earlier the better."
THE TWENTY SECOND
SECT
"The Twenty
Second Sect, that's a very, very powerful sounding record. I'm pleased with that. I love
the drumming on it. Liz's voice is very well recorded. She proved to me on that one that
she could actually hold a tune. I'd actually thought that, forgive me, Liz, I thought that
Liz was just a screamer. On Get That Charge she proved that she could sing, and
during the recording I recall giving her a hug and a kiss on the cheek a couple of times.
She just sang so well that day."
"And I like the
new record, too. It was recorded exactly one year to the day after Get That Charge
was recorded, the 31st of July. The new one somehow seems more rushed; I guess it was
recorded in much the same time as Get That Charge, and there's twice as many
tracks, so it is a little more rushed. It almost sounds like a good quality live
recording. Still powerful, still pretty nasty, and again, Liz is in fine voice."
THE PHILISTEINS
"The Philisteins
I kind of feel drew themselves to me. They came here from Tasmania. And a friend of mine
told me that they'd come here to record a record to be released on Greasy Pop, so I think
that they'd probably come across my brick wall of "I only release Adelaide
music". And they played here for maybe a year or eighteen months, and I saw them a
few times and said, yeah, let's go."
"I like the
sound of the Philisteins' records, too, and those guys are a pleasure to work with in the
studio. They know what they're doing and they're very well rehearsed. A pair of very good
guitar players, and Guy's got a great voice. Very easy to record the singer of that
band."
THE MAD TURKS FROM
ISTANBUL
"Mad Turks are
power pop man, you picked it. They started out with this kind of psychotic edge, almost
rockabilly at first. I saw them within their first couple of months of playing and I was
suitably impressed. A very good band. And I tried to help them through. I guess I did.
Released a couple of their records anyway. But I had to pass on them when they wanted a
lot of money to record the new album, which is called Toast and will be out early
next year. And they needed money to record it properly. They're looking for commercial
success in this country, and I wish them the best of luck. With the songs, the
arrangements, and the voice of Chuck Scatt they might just get there if they've got the
financial back up to promote them and radio to play them. I wish you luck, Turks, you
deserve it."
CONTRAPUNCTUS
"Contrapunctus...they
gave me a demo tape before I'd seen them live. And one of the songs from that demo ended
up on Oasis 2. And I still hear Paul Gilchrist in that song. Chris sounds so much
like Paul singing. "Two Legs". And Paul was in there, suggesting which knobs to
push. So anyway, they invited me to produce their second one, and I jumped at it."
"I think the
most painful one was the studio work I did with Contrapunctus. I learned from it and I
don't regret it. I know the end result could have been better. But there's some really
nice raw stuff on that record. It was a real challenge in the studio. I guess the band
just wasn't quite ready to record, and I felt like I had to teach them things. Guitar
parts that I didn't know. It was enjoyable. Stressful, but enjoyable. And I think the end
result is worthwhile. That record will be ignored in Australia, which is unfortunate. They
deserve some kind of recognition."
"But in a way, I
could look at...I choose not to...but Contrapunctus could almost be seen as going back to
when I was releasing a lot of singles through 86 and 87, even going back to 84 and 85.
Doing such short runs I have bare hope of covering costs of manufacture and royalties. So
it's almost like a charity. It was to start with, because I was holding a day job. My
attitude was if I could get the records out, and get other people to hear this fucking
noise, because it was so damn good! And for a while Australia didn't seem to want to know.
Commercial radio here is pretty damn flat, and there's no room for anything that is not of
acceptable "quality". It's like the "industry quality", "the
acceptable standard for radio play". Which sucks. And there's no room for
advancement, there's no room for experimentation. There's formula music. You know, like I
said earlier, I loved Abba, but it annoys me that it's formula, you know. Everything
sounds the fucking same."
"You have your
college radio network, we have the public radio stations, and the wonderful JJJ, which is
about to go network in Australia, which should help the independent labels, and we're all
struggling at the moment. Waterfront's looking pretty good. AuGoGo just released the
Mudhoney album, so more power to them."
BIGTIME RECORDS
AND OTHER LICENSES
"I don't want to
talk about Big Time Records. That's a painful subject. They're just fucking thieves. They
released Six Sharp Cuts, Communist Mutants From Space, Nest Of Vipers
and Blaze Of Glory, the single GPR128...they put that on a compilation album, and
never even fucking sent me a copy. I would like a copy of that record...the Big Time
compilation album. I don't even know what it was called. It came out in 87 or early 88. I
think it was only released in the states. It's got Blaze Of Glory on it. They never
gave me a cent for that."
"Other licenses
I have are Zinger Records, based in London, which has released the Spikes Color In A
Black Forest and both Lizard Train, Thirteen Hour Daydream and Slippery.
And they're also licensed through Germany, Spain and Sweden...sub-license deals. Megadisc
in Holland released Screaming Believers Refugees, Twenty Second Sect Get That
Charge...now you have to track down a copy of that one, because Megadisc actually paid
for me to remix the 86 ep, "The Wailing House" ep, so that was remixed about
this time...no August or September last year, solely to make the Megadisc version of Get
That Charge a full length album. So it's almost like an exclusive remix they got. And
that makes the Megadisc release of Get That Charge well worth tracking down."
"There's also an
up and coming Screaming Believers compilation called Stories From The Other Side
which looks like coming out so far only on Megadisc. I hope to put that record out next
year after I've released their next studio recording, which is finished and should come
out in February of next year."
"I'm currently
negotiating with a German label for the next Mice recording, and that's involved around
their tour as well. Nest Of Vipers was also released in England as a sub-lease
through Making Waves, which I think folded very quickly and conveniently before paying any
royalties. And the Spikes Six Sharp Cuts was sublicensed by Big Time to Hybrid, an
offshoot of Statis records in London. And I believe that was also sub-leased around the
place...Germany, Sweden. Never saw those copies, though."
"And then the
wonderful Sympathy For The Record Industry. My friend John...and Liz's friend John. I met
John through Liz Dealey. They'd been writing to each other for a while and Liz had met him
on an 86 or 85 trip to America, and introduced me to him. I wrote to him and said I'm
coming on over, and he said "Come and stay with me". That was the end of 87, I
stayed with John for a couple of weeks in LA. And he was thinking of setting up Sympathy
then, and, with his first batch of twelve inch releases, he released the Philisteins Bloody
Convicts, and Get That Charge by the Twenty Second Sect. But he's encountered
the same problems as I have. Distributors. it's very hard to cover costs anywhere in the
world. Exporting and licensing is probably the only way I can survive. It's almost like I
can't see the merit in spending thousands of dollars advertising in Australia as I would
have to to let people properly know that each record is available. It would be ten or
twenty thousand dollars to promote it throughout this country, and I just can't see the
merit. So I survive working for other people, and licensing, and exporting. At the moment
most of the stuff is going to Germany. I'm hoping that Twenty Second Sect will be picked
up by Megadisc for Dutch release, and of course the Lizard Train album next year."
NEW DEVELOPMENTS
"There's a whole
lot of stuff going on at the moment. You can see from the catalog that there's a couple of
things coming up. The new Philisteins record, which you just heard as background music,
probably won't make it this year. It was recorded quite a while ago, at the end of May
this year, but artwork held it up for a while, and it's just been cut now, so it might not
make it out until January."
"The Where's The
Pope album is kind of skate-thrash...something like that. Massappeal kind of territory;
Gang Green kind of noise. DRI. Kind of thrashy stuff. The Twenty Second Sect album still
may come out this year. And a solo album from Greg Williams, one half of the Every
Brothers, that's being licensed to Greasy Record Company/Festival. That'll come out in
January also. That was to be GPR148. That's bedroom demos. Cassette recorded four track.
Which I think is pretty nice, coming out on a major label in this country."
"The next thing
I'm producing is kind of interesting. They're called The Artisans. I guess they come from
the other side of town, you know. They certainly are playing a different style. Almost
English. In fact they are playing English influenced music. Reminds me of say Joy Division
or something. Though not as heavy. More New Order than Joy Division are. More dance than
doom. Whereas Mark Of Cain...I trust you've heard the Mark Of Cain album...it's a
knockout...released by Dominator, the other Adelaide label, which I would certainly not
call opposition. More power to them, another label releasing some more of this noise from
this little city. There should be more of them. Because I'm only releasing a very small
part of the creative output of Adelaide. I'm just going for the noisy and melodic stuff.
There's whole bunches of thrash, mainstream pop, jazz, country, experimental, all that
shit going on here, and very little output for it. And very little audience for it."
The Greasy Pop Discography
DAG001 - THE DAGOES -
We Sell Soul/Little Blackie/Let's Liquidate
DAG002/003 - THE DAGOES - It's You double ep
DAG004 - THE DAGOES - Daunting/Blood On My Face
GPR100 - THE ASSASSINS - Kill The Prime Minister/Suicide
GPR101 - not released...allocated to GUNCONTROL 4 track 7"
GPR102 - DEL WEBB EXPLOSION - Gardening As Finer Art/Too Late The Hero
GPR103 - THE SPIKES - She's Melting/Theme From Acid Beach
GPR104 - SCREAMING BELIEVERS - My Eyes/Unprofessional
GPR105 - THE SPIKES - 6 Sharp Cuts mini lp (released as BTB 908)
GPR106 - THE PURPLE GANG - Rocks In My Mouth 7"
GPR107 - THE ACID DROPS - Surfin Prostitute Beat 7"
GPR108 - FOOLS APART - On The Beach/Ruins
GPR109 - THE DAGOES - Hey Man/Heartbeat
GPR110 - JULY 14th - Me And My Gun 7"
GPR111 - SCREAMING BELIEVERS - Communist Mutants From Space lp
GPR112 - THE SPIKES - A Bloody Mess 7"
GPR113 - AN OASIS IN A DESERT OF NOISE - Compilation lp
GPR114 - JULY 14th - The Australian Bite lp
GPR115 - EXPLODING WHITE MICE - A Nest Of Vipers 12"
GPR116 - PLAY LOUD - Write It Down In Stone 7"
GPR117 - LIZARD TRAIN - Thirteen Hour Daydream 12"
GPR118 - THE SPIKES - River Of Love 7"
GPR119 - THE GARDEN PATH - lp
GPR120 - THE SPIKES - Colour In A Black Forest lp
GPR121 - PRIMEVILS - I Saw My Name 7"
GPR122 - MAD TURKS FROM ISTANBUL - Lolene 7"
GPR123 - THE EVERY BROTHERS - Picks and Pens mini lp
GPR124 - CONEHEADS - Burned Again 7"
GPR125 - DUST COLLECTION - 10 Til 13 O'Clock 7"
GPR126 - LIZ DEALEY AND THE TWENTY SECOND SECT - The Wailing House 7"
GPR127 - PRIMEVILS - Chicken Factory lp
GPR128 - EXPLODING WHITE MICE - Blaze Of Glory 7"
GPR129 - SCREAMING BELIEVERS - Sandra/Is Vic There 7"
GPR130 - THE GARDEN PATH - Blue lp
GPR131 - LIZARD TRAIN - Beauty Underground 7"
GPR132 - LIZARD TRAIN - Slippery lp
GPR133 - MAD TURKS FROM ISTANBUL - Cafe Istanbul lp, released through Festival (L38830)
GPR134 - JULY 14th - Til We Meet Again lp
GPR135 - SCREAMING BELIEVERS - Refugees From The Love Generation lp
GPR136 - THE -ISTS - Rose mini lp
GPR137 - CONEHEADS - Chewy Chewy 7"
GPR138 - BLOODLOSS - Human Skin Suit lp
GPR139 - IRON SHEIKS - Do You Sell Beer Here? 12"
GPR140 - HANDMEDOWNS - Back To Yourself 12"
GPR141 - MORNING GLORY - First Light lp
GPR142 - PHILISTEINS - Bloody Convicts lp
GPR143 - OASIS 2 - Compilation lp
GPR144 - THE TWENTY SECOND SECT - Get That Charge mini lp
GPR145 - UV's - The 89 EP 12"
GPR146 - CONTRAPUNCTUS - Gone lp
GPR147 - THE PHILISTEINS - Some Kind Of Philisteins mini lp
GPR148 - GREG WILLIAMS - Here and Now lp to be released through Festival
GPR149 - WHERE'S THE POPE - Sunday Afternoon Barbecues lp
GPR150 - THE TWENTY SECOND SECT - Unexploded lp
GPR TAPE 1 - A GREASY SELECTION 1985 12 track compilation
GPR TAPE 2 - Bloodloss 9 track cassette lp
GPR TAPE 3 JULY 14th - Cut It Live
GPRF#1 - THE FLEXI POP SHOW - 4 track flexi
GPRF#2 - SCREAMING BELIEVERS - I Want To Have You/FOOLS APART - Within An Inch
K450 - MAD TURKS FROM ISTANBUL - Holding My Breath 7"
K549 - MAD TURKS FROM ISTANBUL - Looking Forward To Destroy 7"
K539 - EXPLODING WHITE MICE - Fear 7"
K651 - EXPLODING WHITE MICE - Breakdown Number Two 7"
K864 - EXPLODING WHITE MICE - Make It 7"
L38830 - MAD TURKS FROM ISTANBUL - Cafe Istanbul lp
L38912 - EXPLODING WHITE MICE - Brute Force And Ignorance lp
