If you were an ardent fanzine reader in the late 80s and early 90s, particularly certain â€˜zines like Forced Exposure, Your Flesh, and Superdope, you probably heard a lot about CLAW HAMMER. For those of us who salivated every time they released a 45 or LP, they were, at least from about 1989-1993 or so, the band of the hour. Hereâ€™s what I wrote about them myself last year on Agony Shorthand:
â€œâ€¦.When CLAW HAMMER first came up through the Los Angeles micro-clubs, playing low on bills with punk & garage acts like THE LAZY COWGIRLS and their ilk, they were sort of a mystery act that took a while to get oneâ€™s head around. Were these guys approximating the MC5 playing for Deadheads? CAPTAIN BEEFHEART & THE MAGIC BAND playing acid-laced punk rock? Hampton Grease Band & Roxy Music freaks playing whatever the hell they wanted to play, and playing it really, really loud? Yeah, that one. It took me a couple shows to get the cut of their jib, but in due time they replaced the Cowgirls as â€œmy favorite bandâ€, and from about 1989 to 1993 or so they stayed in the proverbial catbird seat. I started my fanzine Superdope in 1990 and task #1 was to interview and glorify Claw Hammer, so I commandeered the band in their van in an alley at San Franciscoâ€™s most unsafe club ever, the 6th Street Rendezvous, and told â€˜em I was their biggest fan and would they like to do an interview with me & be friends. They â€œmade the coverâ€ of my edition-of-400, hugely uninfluential magazine, and we did in fact become pals after that. In 1993 I was even their road manager/driver/drinking partner/merch dork on a 40-date North American tour……I remember that Eddie Flowers, creator/owner of the SLIPPY TOWN empire and then a sometimes-writer for Forced Exposure, did a piece on the early, early Claw Hammer for said magazine truly before even Los Angeles had woken up to the band (one could legitimately argue that LA never really did). Though I donâ€™t have the article in front of me, Flowers saw the sonic connections that these guys were channeling, and how they funneled them into a sound that really hadnâ€™t been heard before. Claw Hammer, for lack of a better word, were a â€œgreasyâ€ band (not just because of the Grease Band!), in that they played a relatively conventional brand of loud rock and roll that just bled and oozed raw grease and slippery counter-dynamics. When Jon Wahl and Chris Bagarozzi played guitar together, I swear to god at times it was like what everyone said Tom Verlaine & Richard Lloyd were supposed to have sounded like live â€“ unpredictable bits of chaos, pure unbridled energy and extremely amplified sound, but never â€œshowyâ€ nor â€œflashyâ€. Just jaw-dropping, thatâ€™s all. These guys loved 70s rock â€“ not just the cool stuff that everyone liked back then like The Velvets and the MC5 and the Patti Smith Group â€“ but acts that have only in retrospect achieved complete critical consensus like the aforementioned Roxy Music, early Eno, Big Star, solo Syd Barrett and even (gasp) Steely Dan. They ingested it, turned it out and filtered it through their own experiences as teenage punks (Jon was in an Orange Country hardcore band wholly inspired by the MIDDLE CLASS called The Idle Rich) to create a rich stew of swinginâ€™ punk rock boogie. That spirit was what Flowers captured in his article & what got the world to stand up and take notice â€“ that and their first crop of singles, all of which were incredible…..â€
What perhaps got lost in the shuffle here were their very first recordings, two songs that got put out by Trigon Records on a compilation of LA bands called â€œGIMME THE KEYSâ€. These two songs demonstrate what a powerhouse these guys were, and show where their heads were at early on, the first time I saw them live in â€™88. Iâ€™d go mano-a-mano with anyone who wants to exclude these guys from a list of 20 best bands of the past two decades, Top 5 if youâ€™re only talkinâ€™ live shows. See what you think by following the links here and downloading this pair.
Download CLAW HAMMER â€“ â€œSelf Destructâ€