August 19th, 2013 by Tim


Here it is, the fourth and final entry of the Lukie Luke interview. Luke was in the process of moving from Texas to Vermont, so we put this on pause for a little bit, but now that he’s settled in, he wrapped it up as promised. Thanks to Luke for keeping in touch and making this happen, this has definitely been a good one and he’s been a pleasure to communicate with. Now dig in, Bidip Bo! -Tim DCXX

How, in your mind, had GB changed or developed by the time the LP came out?  Did it feel like a more developed band?  What was the reaction, as you recall, to Start Today as an album?
I think developed is a good way to put it. Prior to “Start Today”, GB often existed in the margins of our other bands and so our evolution was inconsistent. After Youth of Today broke up though, Walter honed in on GB and things shifted into a higher gear. We began rehearsing on a somewhat regular basis – at least for us – and everything became more intentional.

Civ also stepped it up during that period and assumed a lot more control on stage. A lot of our earlier shows were sort of like practices with an audience. I remember playing a benefit in Albany when Wally stopped in the middle of “Big Mouth” to tune his guitar – by ear mind you – while everybody else just waited around. Then when he was ready we just picked up in the middle of the song and finished it out as if that was a perfectly reasonable thing to do. There was a unique lack of professionalism that was endearing, but was also somewhat limiting. By “Start Today” though, our sound and performances had gotten more refined, yet not at the expense of our decidedly casual attitude.

For some reason, the release of the record had gotten delayed and wasn’t out by the time we’d left for tour in the summer of ’89. Everyone around NY and California seemed to know a lot of the newer stuff, but for the most part there were a lot more kids singing along to the 7” wherever we went. Then with just about a week of shows left the record came out the day we played Chicago. The show was at some run-down club called Dreamerz, which was a second floor venue in what was likely a condemned building. I’m pretty sure that every single person who showed up that night must have bought the record that morning and spent the whole day memorizing the lyrics. It was absolutely insane. The entire building was shaking and I remember thinking that if the floor gave way I could probably make it to a concrete sill behind the stage and not get killed. The reception of “Start Today” was overwhelming from day one and has been ever since.



By 1989 you were solely focused on GB despite having juggled a few bands at once previously.  Was this intended?  Was there anything you were trying to do that never got off the ground?
I think playing in GB exclusively was just how everything worked out rather than being planned. I wasn’t going out of my way to play in anything else and GB toured all summer and fall anyway. Even if I’d still been in Judge at that point I don’t see how I would have been able to manage playing in more than one band. I did do Moondog that year but time-wise it was a minor commitment.

Despite all my musical activity in 1989 my interests had begun shifting away from hardcore pretty radically. I’d gone skiing earlier that year, became instantly hooked, and maintaining even one band grew increasingly difficult for me. I also finished high school that spring and for the first time in my life considered what it’d be like to leave New York. 



How did playing bass in Moondog come to be and how do you recall that experience?
Moondog was great. It was almost effortless. Walter wrote six or seven tunes and we just hammered them out in maybe two practices. I tried to make the drums sound like a cross between Black Flag and Dag Nasty – really turbulent but mid-tempo. It was the first music I’d ever done that wasn’t straight hardcore. Everything just fell into place and the initial ways we played everything were how they stayed.

I really dug playing bass, and after filling in for Wally after he broke his ankle on the YOT tour I just wanted to give it a shot. Armand agreed to play drums for our first and only show. That show was in the late summer of ’89 – I think just a little bit before GB left for Europe. I was gone from New York basically from the fall of ’89 until the spring of 1990, and by the time I’d returned, Moondog had essentially transitioned into Quicksand.

By 1990 there was a whole new world of sorts that had formed out of the early Revelation camp.  Many describe this as a “weird” time.  How did the hardcore scene in 1990 compare to that of, say, 1987?
By 1990 I was pretty disconnected from both the scene and increasingly from GB. I had nothing to do with the newer bands emerging from that scene other than being friends with a lot of the guys. Though only three years apart, 1987 and 1990 were different worlds for me. I suppose that’s the nature of adolescence in part, but it really had changed dramatically for me. After the GB tour in Europe wrapped up in the fall of ’89, I cruised around on my own for about 6 weeks and it made a huge impression on me. I traveled as far north as I could into the Arctic Circle, spent time in Leningrad in the immediate weeks following the fall of the Berlin Wall, took a bus to Istanbul, and essentially just got as far out as I could. I loved simply wandering without expectations or an agenda.

When I got back to New York right before Christmas the city just seemed boring to me and I pretty much split for Utah immediately. I stayed with guys in Salt Lake who’d I’d met there on tour, and just skied all day and washed dishes all night. My involvement with hardcore took a back seat to other interests. I still loved the music and playing shows, but I wasn’t really hanging out anymore. Things moved pretty quickly back then and it didn’t take long before I was out of the loop.



What was the reason you stopped playing with GB? 
They kicked me out at the end of 1990. I don’t blame them, but it still was a tough pill to swallow. My drumming had completely fallen off and I was just kind of coasting along. I was going to school upstate that fall and occasionally practicing with Walter on the weekends, but it was going terribly. I dropped out at the end of the semester to move to Colorado presumably thinking GB would just get put on hold. I’d wrestled with the idea of quitting off and on that year, but just couldn’t bring myself to do it. In the end, the most difficult part of it was simply the feeling of being rejected on a personal level. Once the initial sting wore off though I felt surprisingly liberated. In hindsight, I wish I’d recognized how my actions were affecting the band and not put myself first, but at the time I simply didn’t know how to handle the situation.



After GB, what type of connections did you keep with the hardcore scene?  Were you drumming or playing with any bands?
Pretty few – at least for a while. I got so deep into skiing and being in the mountains that there was little room for anything else. I still listened to the music and identified with the feeling, but there was nothing remotely close to a scene where I was living. I saw Quicksand play at Red Rocks in 1993, but that was the only show I saw until 1995 when I moved to the Bay Area.

One day in Berkeley I randomly bumped into Zowie from Leeway who’d landed out there too and we began jamming. My confidence in my musical abilities had taken a bit of a beating after getting kicked out of GB and he really helped restore it. I began going to shows again and hanging out some, but still had every intention of returning to skiing full-time. It was the winter of ’96 and I was about to move out to Tahoe when I blew out my second knee and had to return to New York to get surgery. I ended up staying in the city for almost two years and played around a bit, mostly with a band called Alpha Jerk, but all I really wanted to do was get back out west and ski again. Eventually, Alpha Jerk broke up when Derek left to join Sepultura and I moved to Austin, Texas.

Austin was only supposed to be a temporary stop. I’d gotten into some unhealthy shit being in New York, needed to get away, and I had a good friend living in Texas who’d said I could move in. I thought it would be a great place to go and take some time to get my head straight before going back to the mountains. But I really dug Austin and got caught up in playing music there and the whole environment in general. My pit stop ended up lasting over 15 years though, and I got married along the way and had three children. In fact it was only weeks ago that we all finally split and moved back east to Vermont.



Having been the predominant GB drummer, what did you think of CIV (the band)?  Was it a bummer to see something that connected to GB without your involvement, or was it cool?  Did you dig the songs/see them live/etc.?
I thought they were great. I don’t think I was even aware they were a band until my friend Eric Ozenne gave me a promo cassette of “Set Your Goals” one day. It knocked me out. Obviously it was easy to make the connection to GB but I didn’t harbor any ill will – it was actually to the contrary. It had been tough knowing GB was continuing on without me after I’d invested so much of myself into it, but with CIV I felt that I could enjoy the band without any hang-ups. When they came through California on the first Warped Tour, I went out to see them and had a great time. I sang “Sitting ‘Round at Home” with them and just got to reconnect with everybody. The following day Wally and I talked for the first time about everything that had gone down with me getting kicked out and it really hit home. Until that point, I don’t think I’d realized how much it had all weighed on me. It was a welcome and unexpected relief to patch things up and just let it all go.
In 1997 GB played a few songs at the Raybeez benefit at CBGB.  Was that the first time you played with those guys since leaving GB?  What do you recall about that show?
That was a crazy afternoon. I was out in Greenpoint practicing with Alpha Jerk and out of the blue Walter called and told me what was going on. The show was already well under way, but Derek and I raced into the city and met up with Walter at some practice space in midtown. We practiced for maybe 20 minutes and then just headed to CB’s. When we got there it was beyond packed and the only way we got in was behind Derek, who pretty much just plowed through the entire crowd. I think we made it to the stage right as CIV was finishing, hopped up there, and a few minutes later it was on. As chaotic as it was, it felt so good to play for that kind of crowd again and to be a part of what was happening. They could have just as easily done the set without me – in fact it probably would have been easier to have Sam play. Between those guys reaching out to me and getting the opportunity to pay a little tribute to Ray, I was incredibly grateful.



Any closing comments regarding GB’s current and or future status? Any closing comments in general that you’d like to sign off with?
Getting back together as a band has been terrific and wholly unexpected. None of this was premeditated, but after that benefit we played to keep CB’s open in 2005 everything just kind of snowballed. Almost every show we’ve played since has been unbelievably fun. The feeling of being on stage together is unparalleled for me. We’ve just taken it one step at a time, allowed it to unfold naturally, and it’s surreal how people have responded to us.

Despite the fact that we’ve been playing the same tunes now for eight years they always seems fresh to me. I feel the sentiments and attitude of the band are about as relevant now as they were 25 years ago. Civ has made sure that we’ve only played venues where kids have been allowed to stage dive – with maybe one or two exceptions – and it has been a huge factor in making our shows as much fun as they have been. And despite the changes in scenery and our relatively ancient ages, I think we’re playing better than we ever have before. As far as the future goes, I imagine we’ll play again next year. I had a pretty severe surgery on my shoulder and biceps in January and the rehabilitation has been a slow process. I’ve been able to start playing drums again just this past month. I still have a ways to go but I’m feeling good about regaining full strength and mobility again.

And a word of thanks to you guys at DCXX for giving me this opportunity – and apologies for taking so long to get this last section to you. It’s been cool digging out a lot of memories and having a chance to add my perspective. In some ways it blows me away how influential hardcore has become, but it also makes sense. It just took the rest of the world a bit longer to catch on to what we were doing.



April 8th, 2013 by Tim


It’s been awhile, but here it is, Lukie Luke part three, complete with lots of Judge and Start Today talk. Start! -Tim DCXX

As the first drummer in JUDGE, what do you recall about those early shows? Had you already been friends with Mike? How did the energy and delivery of JUDGE compare to GB or Warzone? What was the dynamic like in the band in terms of personalities? What led to Sammy taking over the drum spot?

I became friends with Mike while he was drumming for Youth of Today in 1987 and always had an easy time getting on with him. He was pretty low-key and matter-of-fact about things, and I just kind of looked up to him for how he carried himself. I wanted to play in Judge because I thought those first songs were great, but also for the chance to work with Mike.

There was a lot of excitement surrounding the Judge’s early shows. The band had a strong following from the start and sort of skipped the whole break-in period. A lot of people already owned or had heard the 7”, Mike and Porcell were well-known musicians, and the whole connection to Schism  probably helped too. Straight edge bands around that point were taking a lot of shit within the scene, and while the superficial aspects of the movement did warrant being called out, a lot of the negative attention seemed misguided and exaggerated. To an extent, Judge felt like a response to that backlash and it translated into powerful performances. While I’ve always felt that the overall attitude and approach of GB matched my own disposition well, I also enjoyed the more aggressive outlet Judge provided.

Things within the band were pretty easy going as I recall. Mike usually had songs or riffs sketched out on bass and we’d just take it from there. I loved hanging out and playing with Jimmy Yu, but other than practices or shows I rarely saw him. I don’t know what led to Sam taking over on drums, other than the fact that he and Porcell were very close. It was just before our first CB’s show when I was phoned and told I was out of the band. I remember being confused more than anything else, but I never pressed the issue or asked Mike about it though. Looking back, my guess is that it was some personality issue Porcell had with me, but I couldn’t say for certain.

The JUDGE demo credits you on drums. Many believed that to be Sammy. Was it in fact you? Can you recall anything about recording those songs? Is there double bass used on that recording?
When the Judge discography was released, Revelation sent me a copy and I saw I was credited on the song “Just Like You”. At first I thought it was a mistake, but after listening to the track I could tell it was my playing. If there’s an actual demo we recorded, I’ve never heard it, but I’m assuming that’s where that particular track came from. We practiced at Don Fury’s and I have some recordings of our rehearsals, but nothing as cohesive as a demo tape. I couldn’t say whether or not Sam played on a demo, but our playing styles have always been different and not hard to distinguish.

I never played double bass with Judge. Developing my foot was something I worked on probably more than any other aspect of my drumming. To me, having a strong, fast foot without relying on a double pedal was essential to being a good hardcore drummer. There’s a different feel and cadence to producing 16th notes on a bass drum with one foot as opposed to two; it’s a more staccato attack. I think it’s one of the rudimentary elements that distinguish hardcore and give it its defining character.



I’ve heard that when YOT reformed in 1988, the drum spot came down to you and Sammy. Do you recall “trying out”? Was that something you really wanted to do or just another band at the time?
I never ended up trying out. As far as I recall, Walter had urged me to, but Porcell wanted Sam in the band. I don’t believe Ray felt strongly one way or the other – but I could be wrong. I loved YOT shows and while I’m sure I would have enjoyed playing with them, knowing how determined Porcell was to have Sam as their drummer kind of killed my interest. I was happy being in Gorilla Biscuits and enjoyed my experience with Warzone, and everybody in those bands made me feel welcome. That dynamic was important to me and I didn’t want to try and force myself into a position where I wasn’t wanted.

You, Sammy, and Drew represented for the most part the SE scene in NY/CT as far as drummers. In my mind I always imagined that you guys were in friendly competition, constantly progressing. As younger guys who were all drummers, what were your relationships like with each?
I think Drew was far more accomplished at that point. He’d already recorded two solid records by 1986 and had been involved with the straight edge scene for some time. And even as time went on and all of us began doing shows together, I always thought of Drew as the better musician. He was consistently well-paced and had a good groove.

As far as Sam and I were concerned, I didn’t feel competitive about what we were doing, despite the fact that he replaced me in many of the bands I was in. That may have been somewhat naïve on my part, but since we were friends – and remain so today – I never wanted to consider him as an adversary.


What are your specific memories of recording Start Today? Did it have the feeling at the time that it would be a landmark record of sorts, and perhaps one of the most revered HC records of all time that appealed to a broad cross-section of fans?
Recording “Start Today” took a long time for a variety of reasons, but ultimately all the delays were worthwhile. We began recording at Chung King, but after two sessions threw in the towel. The engineer there was wholly uninterested in what we were doing, our time slots began at around midnight and ran through till dawn, and the energy was low and stressful. Even though we managed to lay down a bunch of tunes during our second night there, they all just sounded flat. It was costing a lot of money and while I think it was a cool studio it didn’t necessarily fit our band. I remember the first night we were there I was hanging out in the waiting room before our session began and talking with Ecstasy from Whodini, while LL Cool J, who was in the middle of recording “Walking With a Panther” kept coming in and out of the room. It seemed like we were a little out of our element from the start.

Jordan Cooper from Revelation was  cool about our change of plans and gave us more funds to rerecord everything with Don Fury. We didn’t go in right away though, and by taking a moment to pause and consider what hadn’t gone well at Chung King we were able to make some pivotal changes. Many of the songs on “Start Today” were relatively new and some I don’t believe had been played live yet. We dropped one song altogether; a couple of parts were changed, such as the skank part in “Two Sides” and maybe something in “Things We Say” as well. But the biggest upshot of the situation was the addition of “New Direction”, which was written during that interim period.

Occasionally I’ve heard new songs that almost feel as though I’ve heard before because they seem to tap into some deeper current. There was this kind of effortless stride to “New Direction” that reminded me of the feeling I’d get from my favorite songs. I never had any intimations of how influential “Start Today” as a whole would turn out to be, but I was pretty confident from the moment I heard it that “New Direction” would be the best thing we’d ever done.

At Don’s, the tracking went quickly and the energy was good all around. We were simply a lot more comfortable in every respect, not in the least having to do with Don’s presence. Walter had to go to Europe with Youth of Today before the vocals were done, so he laid down a scratch vocal track on top of the unmixed songs for Civ to use as a guide while he was away. It was difficult getting them done though and Civ ended up rerecording them after Wally returned. Taking the extra time to get things right showed a lot of foresight and was undoubtedly a wise choice. On the whole, I think our flexibility served us well and allowed us to put out a strong and enduring album.

Of all the touring you did, who was the most fun to be with in a van or out on the road for extended time? Anybody you didn’t click as well with?
Stefan, a German skinhead who roadied for us during our ‘89 summer tour in the US, was the most entertaining guy in the history of the world. It was as if every day was his first on the planet. Couldn’t say whom I didn’t click with specifically. Being young and traveling for a long period of time, most people are bound to get on everybody’s nerves once in a while.

Any good Sloth Crew stories?
Are there any bad ones?



March 5th, 2013 by Tim


Here’s the second installment of our interview with Warzone / Gorilla Biscuits drummer, Luke Abbey. Like expected, Luke continues to deliver the goods, so dive on in. -Tim DCXX

What are your memories of starting to play with GB?  Had you already become friends with those guys?  What were those early practices like?  What songs do you recall working out?  What was the dynamic like in the band as far as personalities, friendships, etc?
I was excited because I knew when I joined Gorilla Biscuits that I’d be playing good shows and be involved with guys who were as into hardcore as I was. I hit it off with everybody in the band and their whole crew from Astoria and Jackson Heights where there was a tight knit scene. I spent a bunch of time out in Queens just goofing off, messing around at the pyramids, and I became friends with a lot of folks – especially Walter’s younger brother Dylan who was my age.
GB mostly practiced at either Giant Studios or Don Fury’s and there were almost always other people hanging out. Rehearsals back then were sort of open invitations – especially at Giant Studios where you could just kind of walk from room to room on any given night and see almost any New York band you can think of. There was so little pretension about playing music back then and I felt it was much more of a shared experience.
Walter was responsible for writing the music and lyrics for GB. Some elements of the tunes might have changed through the course of getting them together, but he always had a pretty solid conception of how it all should go beforehand. Initially I learned the songs on the demo, and I think “High Hopes” was probably the first new song I was a part of putting together. What blew me away most early on was how good a musician Arthur was. And it just seemed effortless – like he didn’t even notice he was playing. From those early days on, there’s always been a kind of ease and simplicity in terms of the development of GB, which I attribute it to both Wally’s approach and to the general chemistry between the guys in the band.



What are your memories from recording Warzone’s “Don’t Forget The Struggle…? (was that your first recording?)
No. I’d done recordings for the first Revelation NYHC compilation with GB and Warzone. Both of those were done at Don’s, which was where we practiced occasionally, so tracking there seemed like business as usual. “Don’t Forget the Struggle…” was recorded in a little studio somewhere in Jersey, and it was probably the easiest thing I’ve ever done in terms of the process. I’m still amazed at how well it turned out considering how quickly it all went down.
Compared to GB, Warzone was a totally different animal. The line-up on that album took shape less than two months before we recorded. We were a 5-piece for the first two or three shows I played but then quickly lost Arthur. Soon afterwards, Wally quit to do Youth of Today – and continue GB obviously. We played one show in June of ’87 at the Ritz with DRI and The Exploited as a 4-piece with Brad on bass and Richie Birkenhead playing guitar, but a few days later Brad split and I’m pretty sure returned to Florida. That bummed me out tremendously – not just for the loss to the band but because he was so kind-hearted and had become pretty devastated by drugs at that point.
For a minute, Warzone was just Ray and myself and I thought that might be it, but a week later Ray said he’d gotten this dude John to play bass, and Jay and Paul from Altercation to play guitars. The very first time we got together to practice those guys already had it nailed. I remember Paul busting out these jaw-dropping leads right off the bat. The only drawback to getting Jay and Paul in the band was that Altercation pretty much folded as a result – and that band would’ve been unstoppable had they continued. And John Ullman was as cool as could be. He sounded like Darryl from the Bad Brains and added this really heavy element to the band with all his chord playing.
We began practicing twice a week minimum, and during those first months probably more. Whereas GB would rehearse sporadically and casually – usually before shows and when Wally had new tunes, Ray ran Warzone rehearsals like basic training. 20 song sets, at least 2 times through, plus going over upcoming plans and ideas. The band was like a machine and I absolutely loved it. It made me a much better drummer and boosted my confidence considerably.
The recording for “Don’t Forget the Struggle…” was worked into a little road trip book-ended by shows in August of 1987. We played Thursday night at a VFW in Albany with Uniform Choice, then drove to New Jersey afterwards to stay with this guy Fink who was responsible for putting out the album. We completed the tracking and mixing in two days, and almost all completely live. Ray sang in a little area just off from where the engineer worked while the rest of us played together in the live room. We wrote the skit that opens the record in the studio just before we began recording – with everybody coming up with their own versions. Jay and Paul each wrote the funniest, lewdest shit ever that could’ve been on a 2 Live Crew or Geto Boys record. I’m pretty sure I was responsible for toning it down some, but I wish I had the original versions of those things.
The following day we recorded back-up vocals, Paul did most of his leads, and then we mixed the entire record. Right after we finished up that night, Fink took a copy of the tape over to some college where he had a radio show. We sat in our rental van waiting and listening to the radio, and all of a sudden “Crazy, But Not Insane” came on and we all started freaking out. I used to listen to Pat Duncan’s show on WFMU all the time and record the broadcasts. That’s where I discovered the Cro-Mags actually. I still remember hearing the drum intro from the demo version of “Face the Facts” kick in and just thinking “who are these guys?’. My first band even wrote a song called “WFMU” and I would call in all the time to request it – but I never heard it played on the air. So hearing myself on the radio for the first time felt pretty special – and I think the whole band was equally excited. The next morning we headed back to the city and played a Sunday matinee at CB’s.



What about Warzone stories from the road?  You guys played out a lot at that time.  I’d imagine spending time in a van with Raybeez could be pretty wild.
We played a lot, but during the time I was in the band we never got too far from the city. The farthest we traveled was maybe Buffalo or down to D.C.. We played all over within that radius though but only a few trips that lasted more than a couple of nights. I vaguely recall having shows set up out to Chicago and back, but those never happened while I was in the band. Most of those trips weren’t so wild either – I’d say I experienced way crazier shit traveling with GB and that circle of bands. For the most part Warzone trips were pretty smooth. I can only remember breaking down once and we rarely got pulled over. And let’s just say it was usually pretty mellow inside the van for various reasons. Comparatively, when I went out with Youth of Today in the summer of ’88, it took us about a week to get down to Florida and we broke down in practically every state along the way.
What are some stand out memories of Raybeez you have? 
Above all just how grateful I am for how he treated me. He had a lot of faith in me both as a person and musician, looked out for me when necessary, and I never felt that I had to fight to be heard within the context of the band – even though I was only 15 years old. He was good-natured about things, and even though he was serious about what he wanted to get accomplished, he had a real sense of humor about himself. Jay and I used to crack on him endlessly and he’d just laugh about it – and then shut us up by socking one of us. He had all these ideas for our shows that had nothing to do with hardcore – like getting an MC, dancing girls, and smoke machines – but they always turned out to be fun. I remember when I told him I was quitting the band; we were hanging out in the stairwell of Some Records, and he just laughed and basically just said I’d be missed but that he understood my decision. He was so cool about it that I almost changed my mind right there.
The last time I saw Ray might have been a month or two before he died. He came by Coney Island High to check out some band I was playing with in the upstairs bar. We hung afterwards and had a couple of pitchers with some of other folks – first time I ever had a beer with him. He seemed the same as always and was just having a good time. I don’t know if he knew what was going on with his health at that point, certainly didn’t say anything and I don’t recall him looking any worse. Then in September, I got a call from Jay telling me what’d happened and it really kind of floored me, even though I hadn’t been playing with Ray for almost ten years by that point. I went to his service up in Washington Heights a day or two later and it was heavy, but also heartening to see all other the people who’d gone up to pay their respects.



Was it stressful doing GB/Warzone at the same time as Warzone was established and GB was gaining momentum?  What were the similarities and differences between playing in each?
For most of 1987, which was the only full year I was playing in both bands, almost everybody in GB also had other things going on. Walter was in Youth of Today and Arthur was playing with Token Entry – and possibly Underdog too at that point. For a while we had Eric Fink playing bass, but he also played in Side By Side. Basically Civ was the only person who didn’t have another band going on at the time, but even he was out on the road for a few months with YOT that summer.
In 1988 things did begin to pick up a bit with GB, and I was also drumming for Judge by then. Having three real bands going on at once in addition to high school did get tough, and as I was spending less time with the Warzone guys outside of shows and practice I just made the call I thought would work best for me. My last Warzone show was on February 28th at CB’s during a period when we were definitely one of the bigger bands in NY. I wish I’d continued playing with them long enough to record some of the songs that went on the next album that I had a hand in writing. I loved being a part of Warzone and have only good memories about those guys and the band.
What do you recall about recording the GB 7″?  Were those songs pretty well rehearsed or were things being worked out in the studio?  What was Fury like for a drummer?
I think we tracked it in just a couple of early evening weekday sessions. There were a few changes made right before recording, but nothing substantial. Walter rewrote the lyrics to “Hold Your Ground” right before we laid everything down – a great idea considering I wrote the original words and they were pretty ridiculous other than the title. I think he also came up with the abbreviated and manipulated version of “Slut” (GM2) while we were there. “Breaking Free” was the newest tune we recorded, and was originally intended for another group that was aborted after a single practice.
The back-up sessions for the 7” were hysterical – pretty much thanks to Raybies. Obviously his little bit before “Big Mouth” speaks for itself. Who knew twenty-five years later thousands of kids across the world would be shouting that in unison on cue? But what killed me the most was when we did the back-ups to “No Reason Why”, Ray would hold his note just a little longer than everybody else to try and screw us all up – and then proceed to laugh his ass off. He must’ve done it a dozen times until we finally just said fuck it and moved on. So if you listen closely to the second back-up vocal of the first chorus of that song, you can hear Ray’s voice stick out. Every time I hear it I can picture him doing it and it just cracks me up. But overall, I think we kind of just ripped through that recording. It might not be the tightest thing in the world but I think it’s somewhat unique both in spirit and sound. It’s humorous without being corny, Civ’s voice is priceless, and the songwriting is solid. It’s definitely an accurate representation of the band at the time.
I always enjoyed working with Don Fury. The sounds in his studio were great even before any kind of mixing. I have practice tapes from there which sound better than a lot of final recordings out of other studios. He got involved to some extent, but it never seemed overbearing and he was always into it. We were pretty comfortable there, and I think feeling at ease tended to translate into better performances and recordings. As a drummer, it was my favorite place to record – a lot of it due to the drum set Don had. It was painted with jail-stripes, had these black hydraulic heads, and has probably been used on more albums than any other kit in the history of hardcore. It was so incredibly reliable and there was never a question about whether or not it would sound good. I don’t think I ever actually tuned a single head. “Start Today” was the only music I’ve ever recorded at Don’s on anything but that kit. It was far and away the most dependable studio as far as getting a great hardcore sound.



How had the NYHC scene developed between 1986 and 1988?  Did you feel like you were growing up with it?
I think it’s much easier to view it retrospectively and make judgments about what was going on then, but at the time I wasn’t aware of anything other than the day-to-day. There were plenty of people and bands I encountered when I first started going to shows that were still around between ’86 and ’88. I’m sure there were transitions in the scene that were more pronounced for others who’d been around longer than me though. Still, I think the sounds and attitudes of the original crop of New York bands, as well as the community-oriented aspects of the scene were still largely present.
Yet I’d also venture to say that the scene did lose more of its grit and underground character during that period. I suppose it was bound to happen; a subculture as powerful as hardcore was destined to grow eventually. There have always been people who’ve created new outlets of expression based on their personal inclinations regardless of what’s popular – and often in reaction to it. I was an angry, non-conformist kid and when I discovered the hardcore scene it just suited me perfectly. I heard something in the music that I connected with intuitively and once I began going to shows I also found how much fun, excitement, and friendship was there. I relished the fact that most people didn’t appreciate it. I remember guys in my neighborhood used to say to me, “Oh you’re into anarchy and all that ‘kill your mommy’ shit.” But instead of pissing me off it was more like an assurance that my little utopia was still safe from the mainstream.
I think that the scene survived as it did for several years was because of how insular it was. Nobody seemed to neither want nor expect any interest or attention from anybody other than the people who were going to shows. While it’s difficult to pinpoint the exact time frame or catalyst, I’d say that by ’88 the essential nature of the original scene was becoming eclipsed, and as a whole began to resemble a more traditional and cliquish culture. Even so, it was still a while longer before those transitions began to influence how interested I was in remaining active in scene.
Did you consciously identify yourself as part of the Youth Crew?  Was that a bunch of silliness or something you guys actually took somewhat seriously on some level?  Who was it and what did it mean?
I think primarily of Youth of Today and Crippled Youth as representing the Youth Crew, maybe along with some of the guys from the Providence and Albany scenes too. That wasn’t a group I hung out with when I suppose the name originated. Eventually I got to know and become friends with most of them through playing, touring, and just hanging out – but I never identified myself as a “member”. I’m not sure there was any definitive meaning to the “youth crew” beyond the values and ideas of the bands that comprised it. There has certainly been an image that has developed over time and become somewhat iconic – the hooded sweatshirts, football jerseys, and hi-tops – but that was just a style. I think it’s the power of the music and shows which propelled all that and made it larger than life. To the extent that I might be included in that scene, I’d say that hanging out in a group was simply fun as opposed to having some serious purpose, though I did consider the bands’ messages important.
When did SE come into play for you and what did that mean to you?  Was there a real crew mentality at that time given the social circle, and had it already been a personal thing to you?
If it weren’t for how powerful I thought bands like Straight Ahead, Youth of Today, and Seven Seconds were I doubt I would have ever gravitated towards the straight edge scene. Straight Ahead especially blew me away. I saw a lot of their early shows, listened to their songs on the “End the Warzone” compilation religiously, and became increasingly drawn into their sentiments. Guys like Tommy Carroll and Cappo were so explosive on stage and what those bands were talking about seemed integral to their energy. I was only fourteen but I knew I had to be a part of what they were doing. I think it’s normal to want to prove something at that age but other than my devotion to hardcore as a whole I was still somewhat unfocused. I’d already been drinking and doing drugs for a few years and these bands exposed me to something I could relate to. It helped distillate my own energies into something clear and tangible – and ultimately positive.
Despite how important the straight edge scene became to me, I didn’t view it as distinct from the overall hardcore community. My connection to the scene as a whole remained paramount. Even while I was simultaneously playing in GB and Judge and wearing “x’s” on my hands, I still spent considerable time hanging out with people who were decidedly not straight edge. If there was any kind of crew mentality, I think it was based primarily on being friends and just being into similar ideas. But as time passed and the popularity of our circle of bands grew, I recognized that the notion of a “straight edge crew” had become increasingly two-dimensional, image-oriented, and somewhat arrogant. There were leagues of kids who only came out to support straight edge bands and though it obviously enhanced our shows, I felt it was contrary to the true nature of the hardcore scene.



February 12th, 2013 by Tim


Here we go, part one of what will be a multi part interview with Warzone/Gorilla Biscuits drummer, Luke “Lukie Luke” Abbey. Big thanks to Luke for putting the time and effort into this one and we look forward to keeping this train rolling.

Also, as a reminder, don’t forget to check out Luke’s eBay Auctions, (seller ID: yebba72) which will be coming to a close tomorrow (Wednesday, February 13th). Until then, enjoy this first installment and keep checking back for the follow up. -Tim DCXX

Where were you born and where did you grow up?  What were you into as a kid before getting into music?
I was born during the winter of 1972 at St. Vincent’s Hospital in Greenwich Village, and grew up in Brooklyn. My folks split up when I was about 3 years old and until my teenage years I stayed primarily with my father, living near the intersection of Brooklyn Heights, Cobble Hill, and Boreum Hill.

Before I became a musician, I essentially did what everyone else in the neighborhood did; hang out, however my first real interest was bicycle riding. I loved that combination of balance and speed and the independence it provided. I rode everywhere and got to know more areas of the city than most adults did who’d lived there their whole lives. It really was an adventure for me. Otherwise, I dug baseball – a result of my father’s love for the game. He grew up going to Ebbet’s Field, and so I became a diehard Dodger and Mets fan, as well as an avid Yankee hater. I even got to see 3 games of the ’78 World Series at Yankee Stadium, where unfortunately the Dodgers got whomped.

As I got older, I got into more mischievous behavior of the urban variety and became increasingly reckless. Honestly, hardcore was what dissuaded me from getting deeper into trouble. I wasn’t a bad kid necessarily, but I definitely wasn’t getting better with age.



What was your segway into punk and hardcore? Who introduced you to underground music and where did this go down?
For a few years in the early ’80’s, lots of kids hung out at a Blimpie’s in the neighborhood. There were video games in the back and it was usually pretty packed out, even though hardly anyone ever actually bought anything. One afternoon, a couple of guys who were in high school called me over to their table. As I mentioned, I was kind of a troublemaker and I guess had a bit of a reputation as such around the school and neighborhood, and these guys were aware of it. I sat down with them and they asked me did I know what hardcore was and could I play the drums. I’d begun playing just a few months earlier and taken only a single lesson from some jazz guy who lived in Red Hook. When I showed up for my second lesson, his apartment building was actually on fire so I just turned around and went home. To this day, that’s been the extent of my musical training.

I told these guys I could play and asked them if hardcore was like the Sex Pistols. At that point I was pretty into the Stones and Tom Petty, and was just really getting into U2, The Clash, and Blondie. They told me no, not the Sex Pistols, like MDC and Minor Threat and Agnostic Front. Then – and I can still envision it today – one of them said, “and this is all you gotta do”, and began banging out a stereotypical fast beat on the tabletop and floor. He had a cool mohawk, leather bomber, and combat boots and I was just psyched. I said yea, repeated back the same beat, and these dudes just started laughing and smiling. An hour later I was back at their house looking through records and drinking gin, amaretto, and ginger ale – a cocktail dubbed “kickback juice”.

When had you started to play drums and what was the inspiration?  First kit?  Favorite early drummers?
Originally I wanted to play the saxophone, but another friend of mine took it up and I wanted to have my own thing. A group of us in school who hung together were going to start a band and my buddy William, who I’d been friends with forever and whose father was a drummer, was kind of leading the charge. The two of us and another friend named Ari who played bass would get together at William’s where his father’s drums were set up and just jam. We called ourselves “The Third Rail” because we were “electrified”. William was way into Hendrix and I remember our first jam in his bedroom, where I had only a snare drum, consisted of playing “Purple Haze” for probably three hours straight. William, a guitar player, and Ari were miles ahead of me and progressed at an astounding pace, and within a couple of months I was left in the dust. The two of them each went on to become incredible jazz musicians and still perform regularly.

I didn’t do much drum-wise for a year or so after that until my fateful meeting with those hardcore kids at Blimpie’s. I had a black 4-piece Pearl Export kit which my father had bought for me when I began playing. Oddly enough, it came with two rack toms and no floor tom. It’s the same kit I ended up playing for several years in GB and Warzone. After I joined Warzone, Ray gave me a silver floor tom to go with it, and I actually recorded “Don’t Forget the Struggle…” on it. I probably let everybody use that kit during shows at one time or another. I think Drew is playing on it in one of the photos on the cover of the Bold record.



The first drummer who I really listened to and thought about was Mitch Mitchell. As the first songs I ever really tried to play were Hendrix tunes, naturally Mitchell’s drumming was something I tried to copy. He was a jazz drummer playing blues and rock n’ roll, and the way he phrased everything and flowed was unique. He made those songs move, never got in the way, and brought in a whole other dimension of style. He could be incredibly elusive and understated, and also a total maniac. Whereas I think Hendrix could have been just as groundbreaking and influential with almost any other bassist, I feel that Mitch Mitchell was an essential part of what happened.

As far as non-hardcore drummers go, Stewart Copeland was the other big influence on me. His energy, sharpness, creativity all stuck out to me. He also seemed to really enjoy himself behind the kit, which I loved – and he hit hard. I remember recently when The Police reunited and were playing on some televised something or other, near the end of the song he broke his snare head, mind you playing open handed as well. And he kept on playing with the skin flapping around through the end of the tune with a big smile on his face. So cool.

In terms of hardcore drummers, I’ve gone through a few stages, but the first guy who really blew me away was Al Schvitz from MDC. Drumming on that first record just killed and I thought the recording was amazing. That album was just pissed off and I listened to it endlessly. I also loved the drumming on the Cause For Alarm e.p., but I don’t know who played on that record. I only had a tape of the record and the one time I went to see them I got kicked out for being underage – a trend that unfortunately followed me for several years. I remember not understanding how he could get those fast double hits on his kick and figured he must be using two feet – which he wasn’t. However, I also had no clue about double pedals, and one day borrowed another single pedal from a friend and tried to attach two of them to a single kick drum. Didn’t work. Those two drummers stuck out for me – Jeff Nelson too, whom I just thought sounded crazy and loved the way he double tapped the snare during fast beats. My guess is that came from Earl – another guy who I love but whose influence hit me much later.

As far as guys who were playing around my time, I always thought Ernie Parada was awesome. He’d do this little back-and-forth swishy thing on his hi-hat that was really great to watch. He also played one of the only two fills which I’ve ever completely stolen and incorporated – just a little riff which leads into the skank part of “Gorilla Biscuits” – which he obviously put there first. The other is a snare/bass drum fill on “Degradation” which I stole from Mackie’s playing on “Signs of the Times”. Thanks, guys. I’ve always appreciated Mackie too. For a time, I had an opportunity to work with a bassist named Zowie and he kind of schooled me about the pocket and not overplaying, a lot of which I think he’d picked up from playing with Mackie. It was a huge step in shaping my attitude towards drumming, and in recent years Mackie’s become hands-down one of my favorite musicians. Otherwise, I dug Doug E. Beans, who was a total powerhouse, and Drew from Bold who just rocked – and still does. I got to watch Into Another play in Chicago last month, and Drew just makes it look easy. But truly, there were loads of other exciting and talented players whom I watched and enjoyed throughout the years.



What were any early bands you played in that we don’t know about?
The only band I ever played in prior to joining Gorilla Biscuits was one called Loud and Boisterous, originally composed of myself and the two guys who recruited me that day at Blimpie’s. Mike, who played guitar, lived in a building in Brooklyn of which the top floor was basically a clubhouse in which we practiced and partied almost daily. Our singer’s name was Al Fashisto, who had been taken in by one of our school’s math teachers in Hoboken, though he essentially lived over at Mike’s. Eventually their buddy Dave moved up from Florida to play bass, and finally our friend Eric Fink, who later started Side by Side, began playing 2nd guitar. I was dubbed Luke Warm, and so my punk career began.

I went to my first shows at CB’s with those guys – I believe it was AF and The Psychos on the first bill I went to. Maybe December ’84? Got kicked out no less than 5 times that day and made a permanent enemy out of Karen Krystal. I attempted going in on my own – not realizing I needed to be 16, then had two different guys from the scene try and pretend they were my uncles. Next we pulled some random guy off the street and convinced him to say he was actually my real guardian and apologized for my other attempts, and finally after walking in next to Al hidden under his grey, ankle-length trench coat, I got past the front door. I was inside probably 10 minutes before somebody grabbed me behind my neck and walked me back to the front, at which point Karen put her face inches from mine and told me that I would never, ever get into CB’s again. I spent countless Sundays over the next few years parked in the vestibule or on the hydrant by the door, sneaking in here and there – including sometimes for shows I actually played.

Anyway, Loud and Boisterous played a total of 3 shows, though one of those was with Straight Ahead at their first show ever at February’s in Long Island. The other guys in LAB – except for Eric – were pretty uninterested in going to shows or even playing them, while I just got deeper and deeper into it. By 1986, I’d made a lot more friends in the scene while those guys had gotten into doing heroin. By our final show in Janurary ’87, I’d already joined GB and spent the night before going on a road trip with Youth of Today to Danbury. Our singer quit a few days before the show and so Eric sang instead. I woke up that day in Brooklyn maybe an hour before I needed to be at the show which was out at the Right Track Inn. Craig Setari picked me up on Houston Street and drove us out to the club where everything was already set up and people were waiting. I walked inside and straight onto the stage, played the set, and aside from Eric never saw those other guys from the band again.



Break down the timeline of bands you were in chronologically and how you ended up playing in each one.
Loud and Boisterous lasted from 1984 through the end of 1986. Then came Gorilla Biscuits, but I’m honestly not sure how all that originally began. Maybe through somebody around the Youth of Today circle? I actually tried out for YOT also before they got Mike. I guess that must have been some time in the end of ’86, but the band was about to go to California for a while and I was in school. But I’m not sure where the offer to try out for GB came from. I remember meeting them at the Birth of Unity show in November of ’86, and thinking the singer’s name was Sid, and that Gus Pena was actually Sid. Then they played, and I realized neither Gus nor “Sid” were a part of it. But I ended up trying out for them at Giant Studios shortly after that show and that was it.

Just about a month later, I was leaving practice with Walter and he asked if I wanted to tag along with him to Warzone practice at Tu Casa on Avenue B. Warzone had sort of broken up at the end of ’86 after Todd split to join Murphy’s Law, and I guess Ray was getting it going again with Wally on bass, Arthur playing 2nd guitar, and Brad playing lead. They’d actually had some drummer shuffling recently, with Tommy Carroll playing one show, then their old drummer Charlie from Ultra Violence coming back to play their final show at the Ritz. At the time Warzone were my absolute favorite band and I was beyond stoked to go see them practice. Whoever was playing drums for them at this point didn’t show up to practice, and after a little while Walter suggested I sit in. I told Ray I already kind of knew the songs and he was all for it. He’d sit down himself at the kit, play through a tune once with everybody, then I’d take a turn. After about two hours I’d pretty much played a whole set, and then Ray and Brad went out of the room for a few minutes while the other guys packed up. We all left the studio and headed up towards the Pyramid where Ray worked, and along the way he told me that the practice was really cool and asked me if I wanted to join the band. I don’t remember what I said, but obviously it was ‘yes’ and we stopped off at the Pyramid where he gave me his number and I left there on cloud fucking nine.

Warzone and GB took up all my time in 1987, especially Warzone in which we practiced religiously and played out a lot. Around early ’88 after Mike Ferraro had started Judge I think I just asked if I could play with them. I want to that say Drew had already played a show but since he wasn’t living in NY it was kind of difficult. Anyway, I’m not sure how that all started either, but I played in Judge for maybe 8 or 9 months, did a bunch of shows on the east coast and a trip out to Cleveland and Buffalo. I remember putting together a few songs like “Hear Me”, “Bringing it Down”, and “Hold Me Back” – and apparently “Just Like You” also because I’m credited with it on that Revelation discography, but of that I’ve got no recollection.



During the summer of ’88 I also roadied for Youth of Today on their US tour. Somewhere in the Northwest, Walter broke his ankle skating and had to fly home. At the time, Alex Brown and I were driving from his folks house to hook up with everyone in California, and when we met them in Chico the first thing Ray Cappo asked me was if I could play bass for the rest of the tour. I remember the 2nd show I did with them was at the Covered Wagon in San Francisco, and I’d try to jump around and go off. Every time I got more than three inches off the ground, all those California guys would cheer and make a big deal out of it. Let’s just say I wasn’t the most aerodynamic person at the time. But I played the whole way back across the country and really enjoyed playing bass.

Moondog was the next project I got into, though it was pretty short lived. The idea came up during a drive back to NY from a GB show in DC with Walter and our friend Howie. In the spring of ’89, Wally and I got together at a practice space and put together everything in just two or three sessions. Then we went over to Don’s and spent a few hours recording everything. I don’t think we’d originally intended on releasing that. After our GB tour that summer, we decided to play a show and asked Tom Capone and Howie – who played in Alone in a Crowd – to play guitars, and then got Armand to play drums. I think I just wanted to play bass again. We practiced twice as a group and played a single show at CB’s. I split NY for Utah that winter and by the time I’d returned I think the band had become Quicksand – or maybe it was still Moondog. Anyway, I saw them play one show at ABC No Rio, their 7″ came out pretty shortly thereafter, and those guys just took things to the next level. Seeing them play again back in June at the Revelation Fest was one of the best times I’ve had seeing music in quite a while. I unfortunately missed all the shows from their recent tour, but I hope they’ll do more in the future so I catch one.

As far as hardcore history goes, that was pretty much it. I practiced with Alone in a Crowd a bit and we were going to get that going, but I don’t think Jules was into doing anything else at the time. I played my final show with GB in Boston at the end of 1990, and was kicked out a few days later. It was bound to happen by that point for various reasons, but I wasn’t aware of it at the time and was pretty broken up for a while. A few days later I moved out West and immersed myself in the mountains, spent all my time skiing and riding, and essentially left music behind for the next several years.

Between 1995 and the present, I’ve done several bands to varying degrees of success all over the country. I did some projects that never saw the light of day, one with Alex from Chain of Strength, and another with Zowie from Leeway. There was a band called Alpha Jerk led by Derrick Green, whose now been singing for Sepultura for the past 15 years. I filled in on a Hatebreed tour just after moving to Texas in 1998, played with a local punk band called Dropkick for a while, and also spent several months with The Riverboat Gamblers in 2007. I worked hard on two bands also here in Austin; one called Velorum, which I loved but went nowhere, and another more recently called Ratking. And then of course, since 2005, I’ve been active again with Gorilla Biscuits, which has just been incredible.



February 4th, 2013 by Tim


Every once in awhile, we here at DCXX are given the opportunity to shed some extra light on situations that we consider worthy. When Gorilla Biscuits drummer, Luke Abbey, reached out to us looking for a little assistance on selling some records, we were more than happy to help. Aside from the fact that Luke’s been dealing with a pretty significant injury and could use the extra money, we knew some of our readers would be more than interested in what Luke has to offer.

In addition to helping Luke with his auctions, we also managed to coordinate an interview with him. Expect in the very near future, a major interview with the guy that delivered the beats for bands like Warzone, Gorilla Biscuits and a handful of other legendary New York City Hardcore bands. I think it’s safe to say, we have high hopes for this one.

Now check out what Luke has to say regarding his auctions. –Tim DCXX

Hi Folks,
My name is Luke Abbey and I’m the drummer for the band Gorilla Biscuits. Recently, while we were playing in Chicago at the Revelation Records 25th anniversary show, I tore my biceps tendon. I’d already had a number of shoulder and arm injuries I’d been trying to manage on my own, but during our second song it finally gave out and completely snapped, forcing me to go in for surgery the following week. I underwent several repairs and am now embarking on a lengthy rehabilitation process while also facing considerable expenses.

A few days ago, I contacted Tim from Double Cross to ask if he would mind allowing me to post a collection of my own personal records and a few t-shirts on the Livewire message board in order to deal with my current and ensuing medical costs. He not only agreed to that, but was gracious enough to offer to run a full post on Double Cross in order to bring increased attention to my sale.

I’ve included absolutely every record I hope to sell – if it’s not listed, I don’t have it. All are in good playing condition and contain whatever lyric sheets were originally included – except where noted. They are all 1st pressings with a few exceptions which I’ve noted as well. The only drawback to any of these as far as I can tell, is that many of the jackets are distressed to some degree. That being said, nothing is in terrible condition, torn, or severely flawed. They’ve just got a bit of character. As for the t-shirts, they’ve been worn before but are neither torn nor altered, and are in wearable condition. 

Here is the link to the ebay pages where the auctions can be found. If anyone has any additional questions or would like additional photos, I’ll do my best to oblige.

My seller name is yebba72.

Additionally, I will respond to as many questions or requests as possible at the following email:

However, as I mentioned above, please respect the fact that I’ve nothing further to sell than what’s listed, nor am I interested in any trades.

Auction Schedules and Photos
The shirt auctions will begin 7:00 – 7:30 PST on 2/5
The record auctions will begin 8:00 – 8:30 PST on 2/5
The shirt auctions will end between 2:00 PM – 3:45 PM PST on 2/13
The record auctions will end between 2:00 PM – 3:45 PM PST on 2/13 







Here is the list, all first pressings except where noted:

7″ Records
Last Rights: Chunks / So Ends Our Night – Taang
Youth of Today: Can’t Close My Eyes – Positive Force – White Lettering – 2nd pressing
Judge: NY Crew – Schism 
Warzone: Lower East Side Crew – Revelation Records 
NYHC: “Together” Compilation – Revelation Records
Crippled Youth: Join the Fight – New Beginning
Underdog: S/T – New Beginning
Side By Side: You’re Only Young Once… – Revelation Records
Slapshot: Same Mistake / Might Makes Right – Taang – Blue Vinyl
Unity: You Are One – Wishingwell Records – not sure what pressing
Alone In A Crowd: S/T – Flux Records – *Vinyl edge has a very slight upturn but does not affect playing at all*
7 Seconds: Blasts from the Past – Positive Force – Green Vinyl – not sure what pressing
Justice League: Think or Sink – Just 4 Fun Records
The Abused: Loud and Clear – Abused Music – *Missing lyric sheet and the cover has come unglued*
Civ: Et Tu Brute / Can’t Wait One Minute More – Revelation Records – White Vinyl
Quicksand: Dine Alone / Can Opener – Polydor Records – Promotional 




12″ Records
Judge: Bringing It Down – Revelation Records – Green Marble Vinyl
Stalag 13: In Control – Upstart Records
Straight Ahead: S/T – I Risk 
Rest In Pieces: My Rage – One Step Ahead
Youth of Today: BDTW – Wishingwell Records
Uniform Choice: Screaming For Change – Wishingwell Records – Yellow Lettering
Slap Shot: Back On the Map – Taang
Insted: Bonds of Friendship – Wishingwell Records 
No For An Answer: A Thought Crusade – Hawker Records
NYHC Where the Wild Things Are: compilation – Blackout Records
Agnostic Front: Cause For Alarm – Combat Core 
DYS: S/T – Modern Method Records – Promotional
Agression: Don’t Be Mistaken -BYO 
Verbal Assault: Learn – Positive Force – *Missing Poster*
Quicksand: Manic Compression – Rev/Island
Dag Nasty: Can I Say – Dischord
Fair Warning: You Are the Scene – Fair Warning Records
Into Another: S/T – Revelation Records
Mike Judge and Old Smoke: Sights – Revelation Records



photo 3


Uniform Choice: “Straight and Alert” / 4-sided / Wishingwell / White T w/ Blue and Red Print / Size L – slightly worn condition
Judge: “New York Crew” / 2-sided /Blue T w/ Yellow Schism logo on front pocket / White “Hammers” on back / Size L – good condition
Insted: “Chet” design / 2-sided / Blue T w/ White Insted logo on front pocket / White “Chet” design on back / Size L – good condition
Bad Trip: ? design / 2 sided / White T with Black logo and guy with beer on front pocket / Black drawing of crowd on back / Size L – good condition w/ light stain on front

photo 3

photo 4

photo 1

photo 2

So thanks to all of you who decide to bid on any of these records or t-shirts and lend some support in the process. And of course, my gratitude goes to Tim who has helped me out beyond measure.

Take care all, 


September 12th, 2012 by Tim


Our friend Paolo from Italy sent us these Gorilla Biscuits photos from their first European tour in 1989. What’s interesting about this particular show, which was in Pisa, was that Walter filled in on drums, due to Luke being sick and unable to play. So the lineup this night was: Walter – Drums, Alex – Guitar, Mark Hardstance – Bass and of course Civ – Vocals. Thanks to Paolo for the contribution!





June 4th, 2012 by Gordo


The whole Warzone crew was a trip. It was like a little scene within the scene. Those guys were a lot of fun to hang and play with. When Jay, Paul, and John joined, we kind of stepped it up a bit. That was a really productive time. We practiced constantly and got super tight. I mean, we recorded the whole DFTS album live. There were guitar leads and back-ups that were done separately, but that whole record is the five of us playing at once. Ray was really organized and clear about what he wanted to do. He was also incredibly supportive, had loads of ideas, and was so involved in everything going on.

-Luke Abbey, Warzone/Gorilla Biscuits