Bruce Cole-Oh, Lou Lost The Elvis Tapes CS
2012-Rerun Records (RERUN #018)
A solo release by Bruce of The Screamin' Mee-Mees! Almost a full hour of just Bruce singing songs with his guitar.
Side A is Bruce's solo cassette release from 1989 titled The Lost Elvis Tapes. It's just Bruce and his trusty electric guitar. The originally cassettes were mostly mailed for review or distributed to the patrons of a couple of Bruce's neighborhood bars in Ferguson, MO. Very few, if any were sold to the public. The material was reissued on CDR by Slippytown almost a decade ago, but even that was a tiny edition of 50 CDRs. Side B is a collection of acoustic songs compiled from Bruce's various basement tapes. About half was recorded in the early to mid '90s and the rest going back to the early '70s. Bruce does original material along with a few covers (Capt. Beefheart, Kevin Ayers, etc) in the Dog Face style.
Shrink-wrapped, pro-made, chrome cassette with full color cover. CS is limited to 100 copies. (CDR format also available)
100 cassettes manufactured
M.O.T.O.-E Pluribus M.O.T.O. LP
2012-Rerun Records (RERUN #015)
Paul Caporino (as M.O.T.O.) released more than fifteen cassette albums from 1985-1999. Virtually all were fuzzy 4-track cassette recordings with Paul layering guitar, bass and vocals over a crude drum machine. The lyrics are filled with dick jokes, love themes and social commentary. The music is lo-fi, hook laden pop...well, except for fun, yet warped distractions like "Cancer In My Dick" and "Transformoto," like on this album.
E Pluribus M.O.T.O. was originally released in 1993, while Paul was living in Chicago. It was one of the first cassettes of what would be a very productive period for M.O.T.O. in the '90s. A slightly abbreviated version (due to time restrictions) was released as an obscenely small vinyl pressing by a German label in the mid '90s. Copies of that vinyl have been known to fetch over $100!
Rerun is pleased to bring you a special 19th Anniversary Edition reissue of E PLuribus M.O.T.O.! We've even been able to add a couple tracks the German vinyl from the '90s didn't have, and it's been remastered by M.O.T.O.'s head producer Garret Hammond from Paul's original master tapes for maximum fuzziness! Pressed on thick black vinyl, in an edition of 500 copies.
500 copies on black vinyl. There is also a test press edition of 16 hand numbered copies with alternate art.
Peer Pressure-Sounds (aka Music) 2x7"EP
2013-Rerun Records (RERUN #020)
It was just a couple of guys from Connecticut, not a "proper" band in any sense of the word. One had great chops and songs while the other had lyrics and an endless supply of brilliant ideas. Even if they were never a functioning live band, the two recorded some of the most amazing homemade Punk Rock between 1979-1980.
A four song 7"EP was released on Mother's Day in 1980 (in celebration of "That's Why They Call 'Em Moms") on their own Resistance Records. They intended the EP to look like something from the generic food/household products line. It was issued with appropriately designed labels and no picture sleeve. The band imploded soon after its release. With no live gigs in people's minds, no real distribution and no cover screaming PUNK ROCK; the record and band quickly faded into obscurity.
The obvious hit of the EP ("Sound Of The '80s") was included on a Killed By Death bootleg compilation in the mid '90s, but it wasn't until a medal-worthy search in 1999 by world champion record hounds Ryan Richardson and Jason Litchfield that the band and their story was discovered. That contact also resulted in Ryan issuing the unreleased Eve of Destruction EP as a limited 7" titled 1979/1980.
This deluxe reissue includes remastered versions of both the Sounds of the '80s EP and the 1979/1980 EP. The vinyl is packaged in a heavy, folder style pocket cover and comes with a 5"x7" postcard and a 7"x14" insert including liner notes and other Peer Pressure evidence.
500 copies on black vinyl. There is also a test press edition of 10 hand numbered copies with slightly alternate art.
The Screamin' Mee-Mees-Comedy Hour CS
2012-Recrun Records (RERUN #017)
Although the Screamin' Mee-Mees are best known for their 1977 EP, the D.I.Y. Punk masterpiece "Live From The Basement", the boys had been making tapes since the late '60s. They recorded goofball rock n' folk songs on guitar and homemade drums, Kraut Rock-n'-pot fueled white noise jams and the odd bit of comedy, organ music and other experimentations.
This cassette is a real gem I'm proud to have re-discovered during one of our many excavations of Bruce Cole's basement. Recorded around '69 or '70, the tape was long thought lost and not heard for a couple decades. The first side is Bruce and Jon of the Mee-Mees putting on a production of "TV shows" with songs and bits, including a variety show with the boys posing as a couple rock bands. The second side starts with Bruce and Jon recording their observations as they drove around Ferguson in Jon's Javelin station wagon. After that trek, the boys head back home to play a handful of original songs. Vocals by both, with Bruce on acoustic guitar and Jon on coffee can drums. About a full hour glimpse into the mind's of the Mee-Mees, a very, very scary place.
Shrink-wrapped, pro-made, chrome cassette with full color cover. CS is limited to 100 copies. (CDR format also available.)
100 cassettes manufactured
2014-Rerun Records (RERUN #016)
Formed in the late 70’s, Ama-dots pushed the Punk ethos to a decidedly irreverent, twisted and experimental sound. At times leaning into Pop (“Hit Girls”) and others decidedly angry and mean (“Strange Brute”) Ama-dots had a way of surprising the listener without being aimless or “weird-for-weird's sake”.
Releasing “Hit Girls” on their own Hunky Recs in 1980 the song became a battle cry, striking a chord with female Punk patrons. At this time Punk and anything close to feminist empowerment had only been uttered by The Raincoats and The Slits. The major reason most listeners heard of the later is that they were based out of London and, as much as Milwaukee had a vibrant Punk scene, it was not known as a musical mecca.
Touring extensively through the Midwest and the South they hit the legendary clubs in NYC before reaching into Canada. They opened for the likes of Captain Beefheart, Sun Ra, Gang Of Four, Talking Heads and several other diverse and noteworthy acts.
Striking a deal with Chicago’s Autistic Records they were produced by Iain Burgess, regarded as instrumental in shaping the Chicago Post-Punk sound with Big Black, Ministry, Effigies and more. Burgess brought the dark, aggressiveness out while not limiting the quirks, kinks and perverse sense of humor.
Autistic imploded and so sat their work with Burgess making the self released single highly sought after within collector circles.
This is the first time their work with Burgess as well as other local notables, including the late Dennis Flemion (The Frogs) has been publicly available. This limited edition is pressed on gold marbled vinyl and includes an 11” X 17” insert with rare photos and written accounts by writers, fans and critics including a first person account of a harrowing gig in Toronto.
1000 copies on marbled gold vinyl. There is also a test press edition of 10 hand numbered copies with alternate art. The test edition has two 12"s included. A 2-sided test pressing with an audio flaw on the track "Dobermans", and a re-cut 1-sided test press with the audio flaw corrected, as the final release reflects.**
2012-Rerun Records (RERUN #014)
No matter who he's on stage or recording with at the moment, Paul Caporino alone has always been New Orleans based legends M.O.T.O., aka Masters of the Obvious. He formed the band in 1981, and has been playing an infectious blend of garage, '70s punk rock and Brill Building worthy pop ever since.
When the band didn't record or play as much as Paul would have liked those first few years, he turned to his 4-track. He put down all vocals, guitar and bass tracks over a toy, Mattel Synsonics drum machine. Initially, these recordings were only planned as demos of new songs, but Paul was so satisfied with the results, he decided to release them to the public. M.O.T.O. would go on to release more than fifteen cassette albums from 1985-1999. Each one filled with an abundance of dick jokes and social commentary alike. They were met with rave reviews from indie 'zines, which helped Paul build a rabid, worldwide fan base.
BOLT! was released as the second M.O.T.O. cassette. The tracks were recorded on Lent in 1986, and the final edit was "The Best of Lent Tapes" or simply BOLT! The lead off track "Dick About It" is a fan favorite and is still played regularly in live sets to this day. A vinyl pressing of BOLT! was released in Germany as a very limited vinyl pressing in the mid-'90s, but that's been tough to find since. When we decided to put BOLT! back in print 27 years after its original release, we had M.O.T.O.'s head producer Garret Hammond remaster the album from Paul's original master tapes for maximum (minimum?) lo-fi bliss! That's 20 songs in about 47minutes of classic M.O.T.O. pressed on thick black vinyl, in an edition of 500 copies.
500 copies on black vinyl. There is also a test press edition of 17 hand numbered copies with alternate art.
Gruberger Brothers-Greetings From Reading, PA LP
2011-Rerun Records (RERUN #012)
Jay and Solomon Gruberger were born to play music. They formed the legendary proto-punk/living room band O.Rex in 1973, when younger brother Jay was a mere 12 years old. Future Gizmos’ lead singer Kenne Highland joined the band for sporadic jam sessions in the Gruberger's Brooklyn home. Beating most punks to the punch, O.Rex managed to release a three song maxi-single on their own Oral Records in late 1976. By that time, Kenne was a member of the Gizmos as well as a full time Marine! Within a few months, Kenne and the Grubergers would meet Kim Kane of the Slickee Boys, and it was this meeting of the minds that would form the Afrika Korps. They immediately set about recording what would become their monster, 22 song debut LP. Music To Kill By was released to great critical acclaim in late 1977, but the Grubergers would soon part ways with the rest of the Korps. Those who stuck around would drop the Afrika and release a second album. Meanwhile, Solomon and Jay relocated from Brooklyn to Reading, PA and tried to form a new band. Having trouble finding a drummer but determined to keep things moving, in early 1978 they recorded an eight song EP under the name Spike. They took photos for the cover and even titled the EP "90 Miles Per Hour", but the record never made it to press. The Grubergers would continue to record at the same studio over the next couple years but nothing was released from those sessions. Jay would go on to work as a bass player for hire until his tragic death in 1993, and although Solomon continued to play for enjoyment, they never did play their own material for the public after moving to Reading.
It was during the production of Gulcher’s O.Rex double CD collection in 2009 that we learned of these recordings. We knew they shouldn’t remain unheard, so we collected the Spike EP and the other, unreleased studio sessions from 1978-1980 for an LP that hints at what a second Afrika Korps LP could have sounded like if the Grubergers had stuck around. Mastered from the original tapes, and we even got Kenne Highland to give us his reactions to these recordings! Pressed in an edition of 500 on black vinyl, with full color cover and insert with liner notes.
500 copies on black vinyl. There is also a test press edition of 15 hand numbered copies with alternate art.
The Ninnies-Why Not? CD
2012-Rerun/Stupid Records (RERUN #019/STD 002)
The Ninnies were a bouncy powerpop/ROCK band from the far Northwest Chicago suburb of Mundelein, IL. They weren't trying to be the next Cheap Trick like so many others around that area in those days. Instead they were just a group of drinking buddies playing music for fun. The Ninnies never even really tried to be part of the Chicago scene. Instead, they stayed in Mundelein and ruled backyard parties and the local bowling alley from 1978-1981.
They released one 45 in 1980 on their own Stupid Records. It didn't have a flashy picture sleeve and was mostly unknown to Punk and powerpop collectors until a member of the band launched a Ninnies website with a bit of info and a few pictures. When three members of the band were featured on the St. Louis based Scene of the Crime radio show in 2008, the renewed interest in the band sparked an idea to collect the band's recordings before the tapes rotted completely.
The Why Not? CD collects the entire seven song studio session that produced the original 45, rehearsal demos, live tracks and more! All original material recorded 1979-1980. Classic photos of the band are included along with new liner notes by bass player John Azzato (aka Johnny A). The source tapes were far from perfect, but we've done everything possible to enhance their audio quality. Mid-to-lo fi fun is to be expected! Produced and distributed by Rerun Records for Johnny A and Stupid Records.
1000 CDs manufactured, with the bulk going to the band.
2012-Rerun Records (RERUN #011)
Prefecture started in late 2006 and for a brief moment anyway, was a punk house favorite in St. Louis. They played snarling Punk-core. Not fast enough for the thrash-only crowd but certainly too abrasive for the hipster/un-punk set.
The band recorded this EP themselves, in their practice space. It's loud. It's raw. It's what Prefecture is. The record has three mid-tempo wall-o-punk-fuzz tunes and one Discharge-y blast. Three of the songs were originally intended for release as a 7" on Sack O' Shit Records in 2008.
Pressed on thick, black vinyl and packaged in a foldover sleeve with lyrics and pictures. Featuring members of SYNTAX ERROR, Medical Tourists, The Adult Toys, Civic Progress and Manipulation.
500 copies on black vinyl. There is also a test press edition of 10 hand numbered copies with alternate art.