DEALERS
ONLY
Ocean Avenue Distribution
MAJOR BRAND NAMES
Venture
Santa Cruz Cell Blocks Road Rider
Walker
Madrid
Motobil
이
Action
NSI Video
2Dac Video
JFA
ODI
ACS
NMB
Gull Wing
Blockhead
Hosoi
Flyaway
Rector
GMN
Elephant Brand
Smith
Independent Magnusson
Transworld Thunder Chopsticks
Lake Skates Bullet
Thrasher
Kryptonics Alva
Skull Skates Brand-X
Tracker Dogtown
Zorlac
Suicidal
Flex-Tread Supercush
Santa Monica
Airlines
Airboume Slimeballs And More
Ocean Avenue
Ocean
Static Racing Systems
OCEAN AVENUE DISTRIBUTION
P.O. Box 1331 Cocoa Beach, FL 32931 (305) 799-2158
ALIFORNIA
-QUIN-CAPS
LIFE'S A BEACH
$9.95
caps
WEAR
ASST. VISION BERET
JIMMYZ
$9.95
HOSOI
$5.95
INDY
15.96
ZORLAC $5.95
ASST. JIMMY Z BERET $11.95
ASST. FINGERBOARDS!
RASTA
BRACELETS 2 for $5
VISION TRACKER HOSOI $4.95
TO ORDER: List Choices on a sheet of paper along with your name and
address. Send price listed +12 shipping/handling.
MAIL TO: CALIFORNIA QUIK CAPS
BOX 5595, FRESNO, CA 93755 (OFFICE: 4829 N. Blythe, Fresno, CA 9371)
HIGH PERFORMANCE PIVOT BUSHINGS
SuperPivot
From the people who brought you SuperCush-manufacturer
of the highest quality "Hot Pour" urethane (we're talking the
best)-now comes the ultimate pivot bushing. SuperPivot im-
proves truck turning, lasts longer and gives you a more fluid ride.
SPECIAL OFFER: One package of SuperPivot (two). Send check or money order
of $1.50 (includes shipping) to P.O. Box 884234, S.F. CA 94188
Now available for Independent Thunder and Venture Trucks. Coming Soon, SuperPivot for Tracker Trucks.
EXODUS
(Continued from page 97) drink Mountain
Castle wine and have a good time.
Back then, Tom was singing and
playing drums. It was a real carefree
time back when we would play par-
ties for the beer. We were playing
stuff more like early Iron Maiden/
Priest material. We played a lot of
covers as well"
The band hired a new bass player,
Rob McKillop, recorded a three-track
demo and signed a record deal with
the New Jersey based Torrid records.
Their vinyl debut, "Bonded by
Blood," appeared in mid-1985 and
quickly took its place beside such
crossover thrash classics as
Metallica's "Kill 'Em All" and
Anthrax's "Fist Full of Metal" as a
bright new entry on the growing
speed metal front.
Exodus' one-dimensional "words
of wisdom" deal exclusively with vio-
lence. For example, from Exodus
"Get in our way and we're going to
take your life/Kick in you face and
rape and murder you wife/Plunder
your homes they'll burn to the
ground/You won't hear a sound un-
til my knife's in your back/The Ex-
odus attack." Sensitive stuff.
"The lyrics have gone the same
way as our partying situation,"
muses Rick. "We're getting older
and we think a bit differently. When
we write lyrics, maybe we're not as
stoned or drunk as we used to be."
"I still dig the whole violence
aspect," argues Holt. "I think our
third album will be more realistic but
a lot more violent than either of our
previous albums. "Violence in
history, is the way we look at it, and
that's a lot more scary."
Well, how do you define violence?
"Any act of agression that causes
pain," chuckles Gary.
"It's something that you live with
every single day." adds Rick.
"And it's better than singing about
Satan," finishes Gary.
Dissatisfied with Torrid, the band
worked themselves out of their con-
tract. When this process was over.
they signed with the independent
metal label Combat Records.
"We were negotiating a few con-
tracts before Combat, but labels like
Def Jam, who wanted to sign us,
would only give us a nine-year
contract with shitty money," says
Gary. "Combat gave us a two-album
deal, and the money is every bit what
a major could have done. No sooner
than we signed the deal with Combat
did Capitol take a lot of interest in us
and put in some very strong bids.
The charming Mr. Baloff parted
ways with the Bay Area bashers in
late '85. The split was atributed to
growing musical differences between
Paul, who was somewhat older than
the other members of Exodus, and
a general inability to keep time while
performing live. Baloft was known as
a chief troublemaker among the
Exodus entourage but his ability to
relate to fans image-wise, (many of
whom could identify with "normal
metal fan looks) made Paul a hero.
"We came to a mutual agreement
that a change was needed," remem-
bers Holt. "Paul wanted something
different, we wanted a new singer
and everything worked out for the
best. Paul's got a new band called
Piranha, which is totally different than
Exodus, and that shows he was look-
ing for something different. They're
a slower, Metallica-like outfit and
they're totally heavy. Watch out for
them. We still love him a lot."
"He's a fun-lovin' dude," says Rick
Former Legacy frontman Steve
Sousa, a long-time fan of Exodus,
was quick to take what he felt was
an offer he couldn't refuse.
"I was playing in Legacy," recalls
Steve, "and Exodus approached me
to audition. After two rehearsals
where everything totally clicked, and
since I always wanted to play in this
band, I figured I better take the offer.
I won't try to do anything that Paul
did. He had a legendary, unique
vocal style that was pure violence
and ferocity. I do things that the band
wanted to achieve, but for the first
album, his style was perfect and I
honestly don't know if I could have
pulled off what he did."
Pleasures of the Flesh (Combat).
their latest effort features a more fully
developed Exodus, playing faster,
heavier and with far more complexity.
Sousa's vocal approach is reminis
cent of Udo Dirkschneider's (Accept)
or Bon Scott's (AC/DC) in terms of
range and ability.
"The title of our new record is
about cannibalism, which is some-
thing that has been going on for
thousands of years, but no one's ever
really talked about it," says Steve.
While intensely ambitious, these
San Franciscans keep a sense of
humor. The cover of their latest effort
shows them kicking back in some
deep-jungle bar, with the ominous
"Cannibal Joe" acting as maitre d'
"We wanted the cover to originally
be this painting of us that has been
used in the album's advertising a lot."
reveals Steve. "We changed our
minds after seeing that too many
bands use paintings of themselves
on their covers, so we opted for a
humorous photograph of us at a bar.
We had to do something acceptable
so that record distributors all over the
country, especially in the very con-
servative Mid-West would pick up the
record. Our stage manager, Mike, is
the cannibal on the back and I swear
to God, people are more interested
in meeting the cannibal than any of
us! Heck, he signs way more
autographs than I do!"
It's four years later, and Exodus
seems to have gotten slightly more
gracious. Perhaps it has to do with
Baloff's departure, perhaps ex-
perience has taught them to be less
openly asinine or perhaps they've
actually grown up a little. In any case,
they've still got a long way to go.
SCREAM
(From page 96) heyday, Scream shared
bills with the Bad Brains and the
Slinkies (an early version of the Teen
Idles) during '79-80, before the
emergence of hardcore heavy-
weights Minor Threat, SOA or
Government Issue. Their 1983 debut,
Still Screaming separated them from
the loud/fast pack by its injection of
70's rock, reggae and dub into the
band's pumped-up adrenalin drive.
1985's This Side Up showcased the
introduction of Davidson on second
guitar in a subtler, more powerful and
moodier aproach. Scream rates as
one of the top live American rock out-
fits. Bounding about the stage, they
have a lot more in common with U2
or the Who than any random
thrash-o-mat.
"When you start a band, you want
to change things, usually on a radical
level," says Skeeter. "You tend to
lash out and attack. After a while you
realize that if you really want to
change things, you've got to get your
goals straight and I think that we've
done that."
Banging the Drum is the band's
most developed effort to date.
Numerous studio sessions have
created a wealth of still unreleased
material. Influenced by The Who,
Generation X, Led Zepplin and the
Buzzcocks, Scream has a hard-
rocking and melodic approach.
"There's no reason to accuse a
band of selling out if they're cross-
ing into different sounds," says
Skeeter. "All that is happening is that
people that have something in com-
mon are pitted against each other.
Oppressors usually do that. We
played a show in Philly a little while
ago which was in a real poor area.
Four years earlier there was a riot be-
tween the locals and the punks dur-
ing an SOA gig. They have too much
in common to be fighting."
In mid-1986 Scream brought their
message of human understanding to
the European continent, playing
shows in a number of countries with
various political philosophies.
Hampered by language and political
barriers, the power of music spoke
for them.
"It was a chance to test our ability
to communicate and get our
message across," remembers
Skeeter. "At first, I was scared
because of the issues in the world
at that time. It was during the time
Reagan was saying he wasn't going
to deal with terrorists when he hadn't
shown himself to be much more than
a terrorist himself. It gave us a
chance to really explain ourselves."
"It gave us a different perspective."
says Kent. "Over here we seem to
be very afraid of the communists,
while over there they are afraid of
democracy. We look at them in a
strange light and they look at us in
a strange light and we both seem to
be rather similar. It makes you realize
how small the world really is."
Their trip to Europe gave Scream
an opportunity to put the anti-
government feelings they've long.
been espousing to the test. They
were no longer singing to apathetic
American crowds but to more
politically conscious Europeans.
"We've found how free we really
are," reminisces Kent, "and from
what I see, we aren't all that free. To
say this country is free and stands
for liberty is a bunch of shit. There
are too many walls being built up
around us.""
"Just look around and you see
violations of the freedom of speech,
assembly or ideas," says Peter.
Scream doesn't rage against
political targets exclusively. The emo-
tional impact of politics on the in-
dividual is equally important to the
band.
"Most of our songs aren't very
political," says Peter. "We are per-
sonal, dealing with the standpoint
of the individual. A song like 'Choke
word" (from the new album)
describes the feeling you have when
you want to scream. We sing about
release."
"Besides, all politics relate on a
personal level, interjects Skeeter.
The DC stalwarts are planning to
release the first of a multi-record deal
on Ras Records, home of reggae
notables Black Uhuru and Michael
Enkruhma. Given bigger distribution,
Scream will have a better means of
relating their message of unity and
love.
"We talk a lot about changing
things," says Stax, "but you realize
as you get older that you can't really
change things unless everyone
comes together. We'll always be a
thom in the side of conformity"
SCREAM DISCOGRAPHY
"Walking by Myself" / "Choke Word"
(Jungle Hop) Single
"Still Screaming"
(Dischord) Lp
"This Side Up"
(Dischord/Rough Trade) Lp
"Banging the Drum'
(Dischord) Lp
"Bouncing Babies"
Compilation
"Flipside Vol. 1"
Compilation
"Another Shot for Bracken"
Compilation
"Viva Umkhonto!"
Compilation
"FVR"
Compilation