THE CAVERN CLUB HOLLYWOOD CA. NOV.1,1985 GARAGE/PUNK 11x8 ROCK FLYER W/HANGMEN

Description: THREE YEARS AGO I LOST ONE OF MY BEST FRIENDS TO CANCER, HE WAS A COOL MUSICIAN A DRUMMER BY TRADE, ORIGINALLY FROM SEATTLE, BUT RELOCATED TO L.A. IN 1985, HE AMASSED A VERY LARGE MUSIC COLLECTION, AND HAD KILLER TASTE FOR ROCK & ROLL, SADLY I AM SELLING OFF A LOT OF HIS COLLECTION ON BEHALF OF HIS WIDOW TO HELP PAY OFF DEBTS INCLUDING HOSPITAL BILLS, TAXES AND STORAGE UNIT FEES. THE PHOTO'S MAY BE A LITTLE BLURRY (SORRY ABOUT THAT), OR IF THERE'S SOME REFLECTIONS. BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON. THIS LOT IS MADE UP OF WHAT I AM CALLING SOME OF HIS MISC. ITEMS, BOOKS, MAGS, POSTERS ... ETC. JUST FOUND A STASH OF SOME OF DAVES FLYERS & HANDBILLS FROM THE L.A. SCENE, THIS FLYER MEASURES 11” x 8 1/2”. THIS IS A COOL FLYER FOR A SHOW AT GREG SHAW'S THE CAVERN CLUB HERE IN HOLLYWOOD (SEE BELOW FOR MOR INFO), IT WAS OVER A HALLOWEEN WEEKEND IN 1985, FRI. NOV. 1st, FEATURING AN UNNAMED ALL GIRL BAND CALLED “BOO?” I CAN'T FIND OUT WHO THESE LADIES ARE, THE BLURB SAYS “L.A.'s HOTTEST NEO-BUBBLEGUM GROUP”. OK, WHO ARE THEy I DUNNO, ALSO ON THE BILL IT'S HARD TO MAKE OUT BUT LOOKS LIKE RASZEBRAE SUPPOSEDLY SIGNED TO SST RECORDS, BUT I CAN'T FIND THEM, THE KNOW BAND ON HERE WAS A NEW TO L.A. HANGMEN, FROM BOISE,ID. THIS IS A COOL RARE HAND DRAWN & LETTERD FLYER PLEASE NOTE I DO NOT ACCEPT OFFERS I WANT EVERYONE TO HAVE AN EQUAL SHOT AT THESE. SEE BOX FOR DETAILED CONDITION. I DO COMBINE SHIPPING ON REQUEST. HERE'S MORE INFO ON THE BANDS/ARTISTS: THE HANGMEN BIO A legendary Los Angeles underground rock outfit, the Hangmen emerged in the mid-'80s with a sound that blended punk rock brutality and hard rock swagger with rootsy Americana. Inspired by bands like X, Ramones, Tom Petty & the Heartbreakers, and Gun Club, and led by singer-guitarist Bryan Small, the Hangmen never reached the commercial heights of contemporaries like Supersuckers, Social Distortion, or Redd Kross, but they endured the hardships that result from a life committed to rock & roll (and its myriad excesses) through sheer tenacity, and carved out a career that would last well into the next century, issuing their seventh full-length effort, Cactusville, in 2019. In the industry-ruled, fashion-conscious L.A. music scene (especially in the '80s and '90s), bands relegated to the rock & roll margins lived an oxymoronic existence. They were transient and yet immobilized; invisible in a world stuffed with cameras, microphones, and careerist contemporaries. Before a starry-eyed Midwesterner decided that it was worth the risk, packed up a guitar, and headed west, he or she would have done well to hear the cautionary tale of the Hangmen. Perhaps the major-label letdowns and the years of strung-out obscurity and oppressive poverty, were worth it for the Hangmen, but young rock hopefuls couldn't have been prepared to let the years spent toiling in obscure clubs -- performing in front of only a handful of friends at best -- be their own reward. The reality that exists underneath the palm-tree-and-sandy-beach fantasy of "making it" in the City of Angels is personified by this band, who spent over a decade defining the gritty Southern California rock underground. It all began in 1984 when Missoula, Montana's Bryan Small left Boise State University and moved to L.A. in order to form his own rock band. Inspired by the musical stylings of X, the Stooges, and Gun Club, Small soon had a band together and a major buzz after the outfit began pounding the clubs with their nasty proto-blues/punk. Despite his group's wily rock leanings, Small found himself caught up in the hair metal feeding frenzy of the late '80s, and soon the Hangmen were signed to Capitol, a company like many others desperately attempting to unearth the next Guns N' Roses. The group's self-titled debut hit record store shelves in 1989 and Small was living his dream. Unfortunately, things quickly turned sour and would stay that way for a long time. The Hangmen, produced by the legendary Vic Maile (the Who's Live at Leeds, Motörhead's Ace of Spades), lacked the tough, street-fighting rock 'n' raunch of the band's live performances. Although it eventually became a bit of a collector's item, the watered-down recording couldn't sate their label's appetite for radio hits. Sales were flat and the group was quickly bounced from Capitol. Undaunted, guitarist/vocalist Small shook up his supporting cast and kept at it. This refusal to quit would eventually define the Hangmen. The group was again signed by a major in the early '90s, but was unable to release anything before being dropped a second time. A record was submitted to Geffen, but the label home of Nirvana, Hole, and White Zombie couldn't appreciate the maniacal Stooges-meets-Stones rock revivalism. Except for some occasional underground tape trading among obsessive music fans, this sophomore effort wouldn't see the light of day. That should have been the end of it, but Small refused to buckle. What followed was almost a decade of what felt like near-nonexistence for the Hangmen. Despite some serious hurdles, Small kept the group together and, after cleaning up a debilitating drug habit and stabilizing a strong band roster that included Angelique Congelton on bass, Todd Haney on drums, and guitarist Jimmy James, the Hangmen were once again turning heads in the L.A. underground. In 2000, 11 years after their debut hit the streets, the Hangmen made a hard rock splash with Metallic I.O.U. This time, the band put out a record that did justice to their frenetic live sound and rebellious reputation. Distributed through indie label Acetate Records, Metallic I.O.U. was a critical triumph that featured material from the phantom Geffen record ("Bliss," "Downtown") and plenty of new tunes as well. The seamless collection boasts material written over three decades, which speaks to the timeless quality of the Hangmen's revivalist, heavy blues/rockabilly. More performances followed, including a tour with the Supersuckers (a band that approximates the Hangmen's sound more than any other). In 2001, Small and his cohorts recorded a live disc in Hollywood featuring old favorites, some new material, and a vocal performance by the Supersuckers' Eddie Spaghetti on "Coal Mine." This third release, We've Got Blood on the Toes of Our Boots, also appeared on Acetate the following year. A split 7" with Supersuckers arrived in April 2004, with the hard-hitting full-length Loteria dropping later that Summer. The band enlisted Social Distortion frontman Mike Ness to helm their next LP, 2007's raw and in-your-face In the City, and in 2011 Acetate delivered the band's first-ever compilation, Lost Rocks: Best of the Hangmen. Released in 2012, East of Western saw the band celebrate 25 years together with a set that featured Supersuckers guitarist Rontrose Heathman. In 2019, the Hangmen returned with their seventh studio long-player, Cactusville, which once again looked to the seediest corners of Los Angeles for inspiration. AN ARTICLE ON THE CAVERN DAYS OF FLOWER POWER RETURN AT CAVERN CLUB By JEFF SPURRIER Jan. 18, 1986 12 AM “Making the records isn’t enough. You have to show people the bands with the music and demonstrate what the scene is all about.”When Greg Shaw talks about the scene , he has only one thing in mind: the ‘60s, a decade he believes is about to be rediscovered on a massive scale.For the last 15 years Shaw has been trying to bring back the flower-power era, primarily through the music he releases on his independent record labels, Bomp and Voxx. The latest weapon in his arsenal is the Cavern Club, a bare-bones Hollywood room he operates weekends at Stardust Studios (6419 Hollywood Blvd., .“I was just a catalyst,” he says of the club. “People just came without much advertising or promotion. We opened up and there they were.”There they were indeed: boys with shoulder-length hair, paisley shirts and turtlenecks, girls in go-go boots, wide belts and miniskirts adorned with peace signs. They’re decked out in their recherche finery to hear bands like Thee Fourgiven, Tell-Tale Hearts, Crawling Walls, Through the Looking Glass, Untold Fables and the Things.“I was into punk, but I think everything is going psychedelic now,” said Cavern patron Sharon Cohen, 17, on a recent Friday night. “It’s kind of a trend. This isn’t as much of a scene (as punk) where everyone knew about it. People aren’t sure what it is--it’s not like they can point to you on the street and know.”“We’ve always been a very quiet scene,” added Audrey Moorehead, 20, the club’s deejay. “It’s always been pretty close, but it’s been getting wider. And all these bands are dedicated. They’re not going to sell out; they keep the faith and the fashion.”Says Rich Coffee, 28, guitarist for Thee Fourgiven: “People do dress up, but they do that because they like to look good. (The fashion) is not the main thing that’s going on here. It’s the music that is so important, and nobody is paying attention to that.”Coffee maintains that the music being made by ‘60s-influenced groups at the Cavern is far more varied than might be expected, ranging from raw garage to textured psychedelic--and beyond."(The ‘60s label) can be a detriment,” Coffee admits. “The bands are all individuals and have different influences. Most of them are not revivalistic. A lot of the younger people just found this stuff; they were born in the ‘60s and they’re just coming into it. At first they hit it real big and then they start to look at other things.”“We all reach a point where you want to have your own personality,” says Paul Carey, 21, vocalist for Untold Fables. “It doesn’t matter if it fits into a ‘60s mold or not.”Most of the ‘60s-oriented groups find it hard to get work at other local clubs. The fact that many of the fans are under drinking age is one drawback.“This music definitely has an audience, but for some reason a lot of the clubs won’t let (the bands) play,” complains Coffee. “I always thought that rock ‘n’ roll was for all ages.”For Shaw, the attendance at the club and the growing media interest are indications that the time is right for a change. He sees the Cavern Club as just the first beachhead in a new youth movement.“The type of people that are into this music want to make a creative contribution to our culture and they want to do it through a youth scene,” he says. “That’s what appeals to them about the ‘60s--there was a youth movement dedicated to changing things. They’d like to be part of something like that again."LIMITED INTERNATIONAL SHIPPING DUE TO RESTRICTIONS BECAUSE OF THE VIRUS. PLEASE PAY FOR ALL ITEMS WITHIN 7 DAYS, OR MESSAGE ME TO EXPLAIN WHY YOU CAN’T,(IF YOU ARE BIDDING OR PLAN TO BID ON OTHER ITEMS) I WILL DO A ONE WEEK WAIT FROM THE DATE OF THE END OF THE FIRST AUCTION WIN, TO COMBINE SHIPPING ON ITEMS, AFTER THAT I NEED PAYMENT IN FULL AND WILL MAIL OUT THE ITEMS , EVEN IF YOU ARE BIDDING ON OTHERS, THUS BEGINS A NEW BILLING/SHIPPING CYCLE. THIS CASH FLOW IS MY SOURCE OF INCOME FOR PAYING RENT/BILLS, ETC. IF YOU HAVE WON AN ITEM AND I DO NOT HEAR FROM YOU ONE WAY OR THE OTHER WITHIN 7 DAYS I WILL OPEN AN “UNPAID ITEM CASE”, IN ORDER TO FREE UP THE ITEM FOR A POSSIBLE RE-LISTING OR A “SECOND CHANCE OFFER”. PLEASE WHEN YOU WIN AN ITEM TRY AND PAY FOR IT IN A TIMELY FASHION OR LET ME KNOW YOU ARE LOOKING AT OTHER ITEMS I HAVE LISTED, I MAIL ITEMS OUT WITHIN TWO WORKING DAYS ONCE PAYMENT IS RECEIVED. DO NOT ASK FOR ITEM TO ME MARKED “GIFT” ON CUSTOMS FORMS, INTERNATIONAL BUYERS ARE RESPONSIBLE FOR ALL DUTIES AND CUSTOMS FEE’S! CHECK WITH YOUR POST OFFICE, I WILL NOT PAY THEM. NEW NOTE TO ALL POTENTIAL BIDDERS PLEASE! DO NOT BID IF YOU HAVE NO INTENTION OF PAYING FOR AN ITEM YOU MIGHT WIN. I DO NOT LIKE OPENING UNPAID ITEM CASES BUT I WILL IF YOU NEGLECT TO PAY AND I WILL PUT YOU ON MY “BLOCKED BIDDER” LIST.

Price: 3.99 USD

Location: Los Angeles, California

End Time: 2025-01-13T10:23:55.000Z

Shipping Cost: 4.63 USD