My guide to No Wave music (Not finished yet-updated frequently)
A list by EverythingEvil
[List98049] | 
+178
Various groups drew on such disparate styles as funk, jazz, blues, punk rock, avant garde, and experimental. There are, however, some elements common to most No Wave music, such as abrasive atonal sounds, repetitive driving rhythms, and a tendency to emphasize musical texture over melody. No wave lyrics often focused on nihilism and confrontation. No Wave is often better defined in terms of the artistic environment in which it thrived and the character of performances typical to its context. No Wave performances drew heavily on performance art and as a result were often both highly theatrical and minimalistic in their renditions.
This list contains some of the first No Wave artists, plus bands who are clearly defined by those groups.
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| 1 |  | 1.DNA | ||
| The New York rock band DNA were formed in 1978 by guitarist Arto Lindsay and keyboardist Robin Crutchfield. Rather than playing their instruments in a traditional manner, they instead focused on making unique and unusual sounds. Their music was described as spare, noisy, and angular and was compared to some of Captain Beefheart's output and even to Anton Webern.
Selected work: DNA on DNA | ||||
| 2 | | 2.Suicide | ||
| Suicide emerged alongside the early punk scene in New York City with a reputation for ferocious and controversial live shows; Alan Vega stated "We started getting booed as soon as we came onstage. Just from the way we looked they started giving us hell already." Never widely popular amongst the general public, Suicide are nonetheless hugely influential: critic Wilson Neate writes that Suicide "would prove as influential as The Clash. Listening to their self-titled 1977 debut from the vantage point of late 2002, it's all so obvious: the synth pop, techno, and industrial dance sounds of the '80s and '90s, and now the new New Wave of electroclash, all gesture back to that foundational album."
Selected Work: Suicide | ||||
| 3 | | 3.Teenage Jesus & The Jerks | ||
| Teenage Jesus & the Jerks were an influential New York City band from 1976 to 79 fronted by Lydia Lunch and James Chance, who later left the band after some conflict about their direction.
Reputed to play ten-minute sets of thirty-second songs (though "The Closet" and "I woke up dreaming" extended to around three minutes and performances up to twenty), they sought to take music beyond what Lunch saw as the traditionalism of punk rock ("I thought punk was lousy Chuck Berry music amped up to play triple fast", she later commented). Their frenzied playing and Lunch's shrieked vocals gained them a renown quickly matching and even surpassing that of other No Wave bands such as DNA or the older Mars. Selected Work: Everything | ||||
| 4 | | 4.Mars | ||
| Mars were a New York City No Wave band formed by vocalist Sumner Crane in 1975. He was joined by China Burg, Mark Cunningham and Nancy Arlen and briefly by Rudolph Grey. The band played one live gig under the name China before changing it to Mars. They played a mixture of angular compositions and freeform ambient noise jams, featuring surrealist lyrics and non-standard drumming; all the members were said to be completely untrained in music before forming the band. Mars played live about two dozen times, all in Manhattan. Their first show was at the legendary CBGB's in January of 1977; their last one was at Max's Kansas City on December 10, 1978.
Selected Work: The Complete Studio Recordings NYC 1977-1978 | ||||
| 5 | | 5.James Chance & The Contortions | ||
| One of the original punk-jazz groups of the New York No Wave scene, the Contortions were led by saxophone player James Chance, aka James White. Their first recorded appearance, credited solely as the Contortions, was on the 1978 compilation, No New York. The following year, two albums were issued almost simultaneously on the ZE label, Buy the Contortions (an extreme jazz-punk LP) and Off White (a disco/standards hybrid; with one side vocals, the other side instrumentals).
The same line-up recorded both records, although no one aside from Chance appears or is credited on the jacket of the Buy album. Following Chance and manager Anya Philips' acrimonious break with many of the original Contortions, the line-up changed frequently. Chance was romantically linked with another New York No Wave luminary, Lydia Lunch; in 1979 the pair collaborated on the album 'Off White' (released by 'James White and the Blacks' with 'Stella Rico'). Original Contortions guitarist Pat Place went on to found the group the Bush Tetras. The African-American band members of "the Blacks," later separated from Chance and formed the band defunkt. Selected Work: Buy | ||||
| 6 | | 6.Bush Tetras | ||
| The Bush Tetras were a rock band from New York City, popular in the New York club scene in the early 1980s but never achieving much mainstream success. Their music, sometimes classified under Rare Beats, combined dance rhythms and dissonant rock-guitar riffs.
Lead guitarist Pat Place and vocalist Cynthia Sley produced the most distinctive aspects of the Tetras sound. Place's guitar lines were rhythmic and distortion-filled. She had been the original guitarist and one of the founding members of the No Wave band The Contortions. With the Bush Tetras, Pat continued to pursue some of the musical ideas she had explored in that band, although her distinctive slide guitar is absent from many of the Tetras songs. Sley's vocals were half-spoken, half-sung. In songs like "Too Many Creeps" and "Can't Be Funky," she repeated simple phrases over and over again, creating a hypnotic monotony similar to Place's guitar rhythms. Place appeared in some of Vivienne Dick's movies co-starring with Lydia Lunch and other musicians from New York's thriving, late-1970s and early-1980s music community, an off-shoot of No Wave. These appearances contributed to the band's prominent position in downtown New York in the early 1980. At present there has been a resurgence of interest in this period, and the band's influence can be heard in many younger bands. Selected Work: Boom In The Night | ||||
| 7 | | 7.Swans | ||
| Swans were an influential American rock, experimental, folk and post-industrial band active from 1982 to 1997, led by singer, songwriter and multi-instrumentalist Michael Gira.
Swans were one of the few groups to emerge from the New York No Wave scene intact. The band was formed in 1982 by Michael Gira, and employed a shifting lineup of musicians until their dissolution in 1997. Besides Gira, the only other semi-constant members were keyboardist/vocalist Jarboe, and, to an extent, guitarist Norman Westberg. The debut EP, Swans, released on Labor, is markedly different from anything they would do later. The plodding tempos and distorted, detuned guitar work is reminiscent of such post-punk outfits as Joy Division. However, the minimal chord structures owe more to blues, while the jazz instrumentation and awkward time signatures are evidence of Swans' roots in the No Wave scene of the late 1970s, which had more or less collapsed by the release of Cop. The closest reference point to the early Swans sound, as pointed out by one internet reviewer, is probably The Birthday Party, although far less overtly satirical. One of the trademarks of Swans' early period was playing at painfully loud volumes during concerts, to the point where some audience members would vomit or the police would stop the show. This lent a reputation to the name Swans which was one of the contributing factors in Gira's retirement of the band in 1997. Selected Work: Filth | ||||
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| 8 | | 8.Konk | ||
| Formed in 1980 in New York City, KONK was a band that emerged during a period marked by the Post-Punk/No-Wave and Disco scenes which were prevalent at the time. KONK won the attention of both scenes by playing a hybrid of the two musical styles which involved the blending of a Punk attitude with the carefree nature of Disco's dance crowd.
KONK's musical influences ranged from Afro-beat, Jazz, and Funk to Hip-Hop, which was in its infancy when KONK began to create their unique sound. Given these influence KONK's style is noted as being highly percussive, and containing simple, yet strong, backing bass lines. KONK’s pioneering interest in electronic and musical technology also put them at the forefront of the burgeoning worlds of Electro/Hip-Hop and House. As a key group in New York’s Post-Punk dance scene they regularly played alongside groups such as Liquid Liquid, Bush Tetras, ESG, The Peech Boys and The Lounge Lizards. Selected Work: The Sound of Konk (Tales of the New York Underground 1981-88) | ||||
| 9 | | 9.Glenn Branca | ||
| Glenn Branca is an avant-garde composer and guitarist known for his use of volume, repetition, droning, and the harmonic series. He moved to New York in 1976. His first encounter with the NYC music scene was with the N. Dodo Band whom he observed many times at their rehearsal space - Phil Demise's Gegenschein Vaudeville Placenter.
This is where he first met Jeffrey Lohn who was playing electric violin with the N. Dodo Band. He then formed two bands in the late 1970s: Theoretical Girls in 1977 with composer/guitarist Jeffrey Lohn, and later The Static. He also performed with Rhys Chatham's Guitar Trio in 1977, an experience that was very important in the development of his compositional voice (Branca 1979). In the early 1980s he composed several medium-length compositions for electric guitar ensembles, including The Ascension (1981) and Indeterminate Activity of Resultant Masses (1981). Soon thereafter he began composing symphonies for orchestras of electric guitars and percussion, which blended droning industrial cacophony and microtonality with quasi-mysticism and advanced mathematics. Starting with Symphony No. 3 ("Gloria") (1983), he began to systematically compose for the harmonic series, which he considered to be the structure underlying not only all music but most human endeavors. In this project, Branca was initially influenced by the writings of Dane Rudhyar, Hermann von Helmholtz, and Harry Partch. He also built several electrically amplified instruments of his own invention, expanding his ensemble beyond the guitar. A few of these instruments are 3rd Bridge guitars. Early members of his group included Thurston Moore and Lee Ranaldo of Sonic Youth, Page Hamilton of Helmet, and several members of Swans. Selected Work: The Ascention | ||||
| 10 | | 10.Massacre | ||
| Massacre was a high-energy experimental rock band, manipulating rhythm and timbre freely. They intended to recapture the raw energy of early rock and roll, adding elements of improvisational jazz. Frith told Down Beat magazine in 1982 (after Massacre had split up):
"Massacre was formed to play the kind of loud and energetic racket that you hear in clubs. The group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Their live sets consisted of both composed and improvised numbers, often short but always loud. They toured the United States and Europe in 1980 and 1981, and their performances at progressive rock venues in France were well received. Selected Work: Killing Time | ||||
| 11 | | 11.Rhys Chatham | ||
| By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. That year, he began performing Guitar Trio around downtown Manhattan with an ensemble that included Branca, as well as Nina Canal of Ut. Some of this work parallells multi tracked and unison tuned guitar directions developed by Lou Reed and Chuck Hammer. During this period, he wrote several works for large guitar ensembles, including Drastic Classicism, a collaboration with dancer Karole Armitage. Drastic Classicism was first released in 1982 on the compilation New Music from Antartica, put together by Kit Fitzgerald, John Sanborn and Peter Gordon. It was also included on the 1987 album that also included his 1982 composition Die Donnergötter (German for "The Thundergods").
Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. (This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles; Thurston Moore of S.Y. did play with Chatham as well.) Chatham began taking trumpet lessons in 1983, and his more recent works explore improvisatory trumpet solos; these are performed by Chatham himself, employing much of the same amplification and effects that he acquired with the guitar, over synthesized dance rhythms by the composer Martin Wheeler. His 1990s recordings in this style saw release on Ninja Tune Records as the compilation Neon. Selected Work: Die Donnergötter (The Thundergods) | ||||
| 12 | | 12.UT | ||
| Sprung from the downtown No Wave scene, Ut (Nina Canal, Jacqui Ham and Sally Young) originated in New York City in December 1978. The inheritors of the fertile collision between rock, free jazz and the avant garde that first manifested itself in the Velvet Underground, Ut soon became a serious force within the New York music scene.
The band were joined briefly by film-maker Karen Achenbach in 1979 before resuming as a three-piece and migrating to London in 1981. Ut toured the UK with bands such as The Fall and The Birthday Party. Originally releasing albulms on their own label Out Records, the band became a favourite of John Peel's and recorded several sessions for his show before joining forces with Blast First in 1987. Selected Work: In Gut's House | ||||
| 13 | | 13.Friction | ||
| Friction was a Japanese underground rock band formed in 1978. They were formed by bassist and vocalist Reck in Tokyo, Japan after he returned from New York, where he played with Teenage Jesus & the Jerks and James Chance & The Contortions. The other founding members were drummer and occasional saxophone player Chiko Hige, who also played with The Contortions, and guitarist Lapis.
Selected Work: Atsureki | ||||
| 14 | | 14.8 Eyed Spy | ||
| 8-Eyed Spy was an early 1980s No Wave band featuring Lydia Lunch, Jim Sclavunos, Pat Irwin, and George Scott III. Their music was infectiously rhythmic and visceral, using throbbing bass guitar, lugubrious saxophone playing and Lunch's petulant vocals. The band recorded only briefly, and released a live album. 8-Eyed Spy broke up shortly after the death of bass player George Scott III.
The 8-Eyed Spy recordings featured on Lunch's retrospective album "Hysterie" open with the instrumental track "Swamp" and features the folksy song "Diddy Wah Diddy" (Dixon/McDaniel) which Lunch adds No Wave effects to by screaming alternated with alienated howling. 8-Eyed Spy was a fusion of Swamp rock and what was at the time, more fashionable No Wave style. In the song "Dead Me, You Beside", Lunch mimics the sharp vocal and lyrical style of No Wave singer Bobby Swope and stop-start Peter Gunn-style guitar playing featured in Lunch and Swope's band, Beirut Slump. Liner notes on the Hysterie compilation describe the "frantic patchwork" of 8-Eyed Spy. The band's motif was an octopus and the 8-Eyed Spy LP cover features a pen and ink drawing of a bohemian man wearing a pork pie hat, suggesting a mid-twentieth century roots musician of South Eastern U.S.A., but not specifying a particular style of music. Lunch and Sclavunos later rejoined on Lunch's In Limbo mini LP, with Thurston Moore, Pat Place and Kristian Hoffmann. Selected Work: 8 Eyed Spy | ||||
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| 15 | | 15.The Raybeats | ||
| The Raybeats were an instrumental rock 'n' roll combo from New York City that arose from the No Wave musical scene.
They formed in 1979, brought together by George Scott. He had worked with Jody Harris and Don Christensen in James Chance and the Contortions, and he had worked with Pat Irwin in 8-Eyed Spy. When Scott died from a drug overdose in August 1980, he was replaced by Danny Amis. Amis left in the spring of 1982, after which the Raybeats used several bassists-for-hire, including David Hofstra, Bobby Albertson and Gene Holder. Amis later formed Los Straitjackets. With Amis, the Raybeats recorded an EP called Roping Wild Bears, which was released in 1981. Later that year, they recorded and released a full-length album titled, Guitar Beat, produced by Martin Rushent. It featured ten original tunes, plus a cover of Jan Berry's B-Gas Rickshaw. After Amis's departure in 1982, the Raybeats recorded one more album, It's Only A Movie!, which was released on Shanachie Records in 1983. They disbanded in 1984. In 1990, Christensen, Harris and Irwin reunited for one more time, playing a benefit concert for the Brooklyn Academy of Music. Jared Nickerson played bass. Selected Work: Roping Wild Bears | ||||
| 16 | | 16.Liquid Liquid | ||
| Liquid Liquid was a New York City band that was active from 1980 to 1983. Their track "Cavern", from the Optimo EP, was sampled (actually played by the Sugar Hill house band) on Grandmaster Flash and Melle Mel's "White Lines (Don't Do It)". Since the band’s inception in 1980, the sounds of Liquid Liquid have haunted the clubs. The original records were pressed in very limited quantities on the 99 label, and can now fetch high prices. Though the pressings were small the impact the music has made is lasting and far reaching. The first three EPs, plus live material, were reissued in 1997 by Grand Royal (US) and Mo' Wax (UK). Their music was essentially groove based, influenced by the many different sources, funk, dub reggae of the 1970s, and primarily punk in its do it yourself garage approach.
Scott Hartley, Richard McGuire, Salvatore Principato and Dennis Young were the band members. Dennis Young is still active and producing music, and has been remixed by Hot Chip and Tussle. Richard McGuire is well-established graphic designer with frequent contributions to both The New Yorker magazine, and The New York Times Book Review. Salvatore Principato is active in various electronic music recording projects, as well as DJ'ing professionally around the world. Selected Work: Liquid Liquid | ||||
| 17 | | 17.Theoretical Girls | ||
| Glenn Branca and Jeffrey Lohn were both songwriters for this band. The band did only about 20 shows (of which 3 were in Paris). It released one single which had some attention in England where it sold a few thousand copies. The band was never being signed by a record company.
The Theoretical Girls were among the most enigmatic of the late '70s New York no wave bands, famous not so much for their music, since they released only one single during their brief existence, but because the group launched the careers of two of New York's best known experimental music figures, composer Glenn Branca and producer Wharton Tiers. The latter played drums, the former guitar (as you might expect) in the quartet, which also featured keyboardist Margaret DeWys and vocalist/guitarist Jeffrey Lohn, a classically trained composer who, like Branca and so many others in the no wave scene, wasn't interested in working with popular musical forms until inspired to do so by the explosion of punk rock. The group's sound was comparable to that of the other no wave bands working in Manhattan at the time, i.e. Contortions and DNA. Always confrontational and often funny in an aggressive way, the band's sound consistently displayed the influence of American minimalist composers, ranging from sparse, clattering rhythm pieces that sound like immediate forbear of early '80s Sonic Youth to fascinatingly brutal, abrasive slabs of art-punk noise. As mentioned, the group released only one single during their short (1978-1980) career. Fortunately, two recordings have emerged in recent years to preserve this seminal band's legacy. The first, which came out on Atavistic in 1997, consists of all the Glenn Branca-penned songs, including the flipside from the group's only single, "You Got Me." The A-side, "U.S. Millie," appears on a newer collection of Theoretical Girls songs all written by Lohn. That compendium owes its existence to the noble efforts of Acute Records proprietor Daniel Selzer, who spent several years collaborating with Lohn to compile the songs, working from poorly recorded old rehearsal tapes and live reels. It can be tough listening at times, but provides insight into the unique combination of nervous braininess and spastic energy that infected the New York underground rock scene for a few short years as the '70s gave way to the '80s. It's also an essential document for anyone intrigued by the sounds of the current no wave revival that has blossomed Chicago and New York. Selected Works: Theoretical Girls | ||||
| 18 | | 18.Sonic Youth | ||
| Sonic Youth were associated with the No Wave art and music scene in New York City, but have outlasted most associated bands. Sonic Youth carried out their interpretation of the punk rock ethos throughout the evolving American indie underground, that focused more on the DIY ethic of the genre rather than its specific sound.
They have found moderate mainstream success, and are generally seen as one of the leading alternative rock groups of their time. Their inspirations were the likes of the guitar symphonies of Glenn Branca , The Stooges, The Velvet Underground, and The MC5, Patti Smith, as well as the psychedelic garage rock of The 13th Floor Elevators. Sonic Youth were often praised for "redefin[ing] what rock guitar could do" using a wide variety of unorthodox guitar tunings, and preparing guitars with objects like screwdrivers to alter the instruments' timbre. Members of the band have released books of poetry and prose, produced films, staged shows of visual art and more. There is also an abundance of musical material recorded and/or performed with other artists and side projects. Selected Work: Sister | ||||
| 19 | | 19.Big Black | ||
| Big Black was a noise rock band founded in Chicago, Illinois, United States, that was active between 1982 and 1987. They were headed by singer, lyricist, guitarist, and co-songwriter Steve Albini.
They sought and found little mainstream success, but the group's piledriver drum machines and brutal, slashing electric guitars were widely influential, especially for industrial rock. Albini's snide, malevolent singing and provocative lyrics garnered much attention. They have been classified as noise rock, and were a formative influence on industrial rock, but the band members have always described the band as solidly punk rock; in the notes for Pigpile, a live recording of their final London performance, Albini explicitly describes Big Black as punk. Selected Work: Atomizer | ||||
| 20 | | 20.Band of Susans | ||
| Band of Susans were a noise rock band formed in New York City in 1986. It originally consisted of Robert Poss (guitar/vocals), Susan Stenger (bass/vocals), Ron Spitzer (drums), with Susan Lyall (guitar), Susan Tallman (guitar), and Alva Rogers (vocals). Poss, Stenger, and Spitzer were the band's core members throughout its duration. In the early to mid 1980s, Poss studied under the tutelage of avant-garde guitar ensemble composer Rhys Chatham, and played in the bands Tot Rocket and Western Eyes.
As the band's history of having eight guitarists in all (and never less than three at any given time) attests, Band of Susans were a heavily guitar-centric outfit. They are generally included in New York City's abrasive post-No Wave scene. They generally used G&L brand guitars (which appear on several of the band's album covers), Fender Jazzmasters, and Park (a budget brand made by Marshall) amplifiers. G&L owner Leo Fender was an avowed fan of the band and later befriended Poss. Musically, BoS organised their three guitarists into providing an overwhelming wall of feedback and guitar noise layered atop more conventional song structures. Due to their love of atmospheric textures, the band is often considered a peripheral member of the shoegaze movement, though they had a more abrasive sound than most of the primarily-British bands of the shoegaze genre. Like shoegaze bands such as My Bloody Valentine, Band of Susans were notorious for playing live at extremelyhigh volumes in order to recreate the visceral impact of their studio albums. Despite BoS's experimental leanings, Poss was a big fan of The Rolling Stones, which was later manifest in covers of the Stones' songs "Child Of The Moon" and "Paint It Black." Selected Work: Love Agenda | ||||
| 21 | | 21.The Birthday Party | ||
| Despite being championed by John Peel, the Birthday Party found little commercial success during their career. They've been called one of "the darkest and most challenging post-punk groups to emerge in the early '80s." [1] Though often indirect, their influence has been far-reaching.
While their early music was sometimes classified as gothic rock, the band disdained the term, and their sound was very different from most goth music, closer to No Wave at the time. However, the Birthday Party did have an influence on deathrock, a genre of music related to gothic rock. Despite their limited success, the creative core of the Birthday Party have gone on to acclaimed careers: singer and songwriter Nick Cave, multi-instrumentalist Mick Harvey and singer, songwriter and guitarist Rowland S. Howard. Selected Work: Prayers on Fire | ||||
| 22 | | 22.Flipper | ||
| Flipper was often as strongly in league with conceptual art and atonal music as with rock or punk. They were originally known in San Francisco as a band that 'everybody hated,' and who bombarded the city with graffiti far more than they actually played. Years after the band's demise, its spray-painted dead fish logos were still visible in San Francisco.
Flipper's music was very shambolic and noisy, and often considered "slow" for a punk band of the time. In many early shows, the band had half the audience onstage with them singing backup vocals, and encouraged horn players to join them for their anthem, "Sex Bomb"; the crowding onstage usually knocked the stringed instruments out of tune. Guitarist Ted Falconi installed spikes in the head of his guitar to help prevent this, but blaring, out-of-tune dissonance became part of the band's signature sound. Selected Work: Album Generic FLIPPER | ||||
| 23 | | 23.Live Skull | ||
| Live Skull created abrasive noise rock music not unlike their 1980s contemporaries Sonic Youth, Swans, Rat At Rat R, The Chameleons, Mars, Fugazi and Band Of Susans. Their music featured angular guitar parts interspersed with bleak, quieter passages, for a haunting overall effect. The lyrical subject matter was usually as pessimistic and harsh as the music itself. Live Skull never achieved mainstream recognition, but retain underground notoriety and share a family tree with other no wave groups.
Selected Work: Cloud One | ||||
| 24 | | 24.Erase Errata | ||
| From San Francisco, California Erase Errata formed in 1999 and quickly earned national attention via tours with electro grrl band Le Tigre and Japanese noise rockers Melt Banana. They released their highly acclaimed debut album Other Animals in 2001, followed by At Crystal Palace in 2003, both on the Troubleman Unlimited label. Although they are a contemporary band, their music is often associated with the no wave movement from the late 70's.
They often name experimentalists such as Captain Beefheart, Sonic Youth, The Fall, and The Minutemen as inspirations. The group favors improvisation as a compositional tool, and band members have claimed that they could improvise a whole set if they wanted to. Selected Work: Other Animals | ||||
| 25 | | 25.Ex Models | ||
| The Ex Models are a no wave-influenced band based in Brooklyn, New York. Based around brothers Shahin and Shahyar Motia, was started while they were in high school. They reunited after college to make their debut, Other Mathematics. It was released in 2001 on Ace Fu Records. The subject of their lyrics range from sex to Jean Baudrillard and his philosophy about Simulacra. For example, on "The Birth Of Disneyland" vocalist, Shahin Motia, sings "See the grown-ups act like children. It's a way of living." Many compare Shahin's vocals to David Byrne of Talking Heads or Mark Mothersbaugh of Devo.
By 2005 the band had pared down to the duo of Shahin and Zach and a 3rd album Chrome Panthers was released marking a new direction, even more repetitive and minimalist, the band dubbed Fundustrial Noise. Contributing on record and, occasionally, live was drummer Kid Millions of Oneida. Eventually the rhythms became more primal and live the band would utilize as many as three drummers. Selected Work: Chrome Panthers | ||||
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