Label: Quintessence Records
Cat#: QEP 1202
Vinyl: VG++ ( light scuff marks)
Cover: VG+ VG++ light ringwear, water stain mark 6 inches
Etched in the dead wax areas are 1849-A , 7366 (2) + , 1849-B and 7367 (2) +
Wimpy Roy - Lead Vocals
Gerry Useless (AKA Gerry Hannah) - Bass, background vocals
Jim Imagawa - Drums, background shouts
Mike Graham - Guitar, background shouts
Record plays at 45RPM and includes 4 tracks ....
Death was too kind
Slave to My D_ck
Canadian Punk rockers the Subhumans first record E.P. entitled "The Subhumans" from 1979 released on Quintessence records in Vancouver.
In Vancouver Canada’s long and glorious history of punk rock, few bands were more punk, or more rockin’ than the Subhumans. Subhumans gigs were a riot, sometimes literally; years later, their records still seethe with raw power. The Subhumans were angry and hilarious, often simultaneously, the living embodiment of everything that was great about punk rock circa 1978-82.
The band formed in the spring of 1978. Their first show was at an “anti-Canada Day” celebration, sponsored by anarchists, on July 1st. The band’s line-up consisted of Brian Goble (a.k.a. “Wimpy-Roy”) on vocals, Ken Montgomery (a.k.a. “Dimwit”) on drums, Gerry Hannah (a.k.a. “Gerry Useless”) on bass and Mike Graham on guitar. The mix of personalities and talents was perfect. Wimpy was a born front man, delivering unbelievably funny off-the top-of-his-head rambles while he hunched around the stage. His penchant for diving into the audience often left him bruised and battered and, at least once, completely nude. The rhythm section was lethal. Dimwit bashed his drums with sticks the size of baseball bats and locked in with Gerry’s bass to create a rumble and crunch that could level tall buildings. Mike sprinkled gas on the fire with electrifying bursts of guitar.
The Subhumans and the handful of other punk bands that exploded into being in Vancouver as part of the world-wide punk movement, built a local scene that was wild, raucous, and tempestuous. Venues came and went after gigs that left audiences exhilarated and club-owners and police appalled. The now-familiar punk ethos that held that anyone could be in a band, and that any band could change your life, was new and shocking.
The Subhumans quickly became one of the scene’s leading bands, plunging into DIY and small-label recording to get their music out. Like the other genuine punk bands of the time, they avoided the tired and self-centred subject matter of the stereotypical pop song. Always engaged with the ferment of the times, often political with a satiric edge, Subhumans songs like “Fuck You” and “Slave to My Dick” became anthems for their audience. “Fuck you” was the ultimate give-the-finger-to-authority punk song, a musical buzz bomb with a chorus that summed up the attitude of disillusioned youth everywhere: “We don’t care, what you say, fuck you!” Gerry’s “Slave to My Dick” was a critical look at gender roles from the point of view of a suddenly self-aware male; a wicked satire of horny men and the lengths they will sometimes go to get laid: “I do a lot of talking but I don’t say much. I can’t be real ’cause I’m such, you know I’m such a slave, to my dick. It really makes me, sick!”
Everyone sung along to that chorus. Other crowd favourites included “Firing Squad”, a song about the hypocrisies and fanaticism unleashed by the Iranian revolution, “Inquisition Day”, which warns against the possible rise of state totalitarianism here or in any country and “Death To The Sickoids”, a rampaging semi-serious call to arms against the mainstream press: “They’re hanging a noose around our necks, by gluing our minds to the front page.”