NEW DOGBOWL RECORD FROM EYEBALL PLANET! NEVER BEFORE RELEASED "DOGBOWL LIVE AT CBGB 1985-1986"
DOWNLOAD FOR FREE (OR PAY WHATEVER YOU WANT THROUGH PAYPAL)

   
1. The Girl With The Pelican Hair DOWNLOAD
2. One So Black DOWNLOAD
3. The Fallen Angel of Amsterdam DOWNLOAD
4. Birds Are Not For Free DOWNLOAD
5. Margeret's Eyes DOWNLOAD
6. Growing Up In A Wheelchair DOWNLOAD
7. The Factory DOWNLOAD
8. Anastasia DOWNLOAD
9. So Painful DOWNLOAD
10. Would You Have Blue Eyes DOWNLOAD
11. The Nurse Wants
DOWNLOAD
12. I Pick Daisies DOWNLOAD
13. Obsessed With Girls DOWNLOAD
14. Hemopheliac Of Love DOWNLOAD

Just click on any song title to download and play. To save to your hard drive as a file, you can "right click" on your mouse and choose "save link as"

Download PDF File of CD Cover and Jewel Case Tray
(Just in case you want to burn a CD, you can print out the cover)
 
Download Entire Record for FREE,
or, (if you are truly groovy, and you really like this record)
Pay whatever you want.
 

photo: Paul Bianca
Location: The Old Knitting Factory on East Houston Street, early 1987

  For me, everything begins and ends and recycles itself with punk rock.

Between September 1985 and November 1986 I played a series of solo concerts at CBGB. It had been a year or so after the breakup of my former band The Skitzocrats, and I had not yet recorded with King Missile. During this period of time, I was writing a lot of songs, and I was into the noisy yet minimalist possibilities of performing these songs with the simple arrangement of just electric guitar and vocal.

Around that time I had acquired a 1961 Fender Jaguar from “We Buy Guitars” on 48th Street in mid-town Manhattan. The single-coil pickups were incredibly warm, and sound of the guitar itself worked really well for this type of arrangement.

I had already played at CBGB’s a few times before with different bands, but September 16th, 1985, was the first time I played a gig under the name “Dogbowl.” The name Dogbowl was a leftover from the Skitzocrats days—during the last couple of gigs of that band’s existence, I introduced the members of the band to the audience by making up absurd names—“Ginger Plingers”, “Loo Boo Dan”, “Homo-Blomo”, and “Cum-Fung-Dung”. I called myself “Dogbowl,” on the spot, and for some reason it stuck.

That first solo gig one September 1985 must have gone pretty well, because CBGB’s kept inviting me back. I think at the time, during the mid eighties, it was a little unusual to see someone play solo gigs with only an electric guitar—people always got out their acoustic guitars when playing alone. My approach was to treat the event as if it were a rock band, and I always told the sound person to up the volume so the effect would be full and electric.

I then played there again on November 4th, 1985, December 18th 1985, February 1986, April 1986, and last for this series, November 1986. CBGB had an excellent sound system and I thought these songs recorded exceptionally well. Luckily, I kept all but one of the cassettes—the April 1986 gig got lost somewhere during the last 22 years of storage…

Many of the songs in the collection were recorded for the first time at the moment I played them, and most of them appear on my later Dogbowl records, especially Tit! (An Opera). A couple of them (Hemopheliac of Love, Margeret’s Eyes) would appear on the second King Missile record. Two never-released-before Skitzocrats songs are here (Birds are Not for Free, The Factory) as well as two other songs that I originally wrote for the Skitzocrats (I pick Daiseys, Growing Up In A Wheelchair) that made it to Dogbowl albums. One So Black was later covered by Bongwater, and The Fallen Angel Of Amsterdam, eventually released on my final record for Shimmy-Disc (Gunsmoke) would not appear for another ten years.

This collection is just the best tracks from each concert. I think it is raw and clear and I was surprised that I still liked it two decades later. It's punk rock. It is true to my punk rock roots, and as minimal and as full as punk rock allows you to be. Because some of the songs were utterly new, they have an urgency and freshness and uncertainty to them that only a live performance could capture. There is the occasional bit of tape hiss, and the opening chords to Margaret’s Eyes are messed up only because my cable cut out on stage, but over all, perhaps because the audience was lively and enthusiastic, and I myself was lively and enthusiastic, I think it is not only a good document of the moment, but an enjoyable listen as well.

Download it and have fun with it!

Stephen Tunney aka Dogbowl, New York City, June 2007



The only images I know to exist from those gigs at CBGB. They were taken with a poloroid. I don't remember exactly who took them, but I like their fuzzy charactor, and I am happy they exist...