I'll Be Waiting: The Story of the Offspring's Self-Titled 1989 Album
An interview with Big Frank Harrison of Nemesis Records
The Offspring live early days (photo: Kirk Dominguez)
When you think of the distinct sound of '80s Southern California punk, sung vocals, catchy riffs, sing-along choruses, and melodic pop-influenced songs immediately come to mind. But many of the bands also incorporated an undercurrent of something darker, something more grimy in their sound that belied the carefree beach lifestyle that the region is known for. Bands such as TSOL, Christian Death, 45 Grave, and the Rikk Agnew solo album showed a darker side of Southern California.
In 1989, another album was released that also took influence from the aforementioned bands: The Offspring's self-titled LP. Yes, it was a catchy melodic punk album, but with bleak lyrics and a darkness in its songwriting and production. Perhaps this should not come as a surprise given that it was produced by Thom Wilson who had done the first TSOL album and "Weathered Statues" EP, Rikk Agnew's "All By Myself" LP, and Christian Death's "Only Theatre Of Pain" album. And with brilliant cover art done by Mad Marc Rude who'd previously drawn the Misfits "Earth A.D." LP, Battalion Of Saints "Second Coming" LP and a slew of So Cal flyers, the album looked as macabre as the sound contained within.
Released by the DIY Californian label Nemesis Records, who also put out records by Uniform Choice, Insted and Vision, the Offspring's self-titled album had limited appeal in 1989. This was still several years before the commercialization of punk, and relegating it to the status of a mere prelude to the pop punk explosion of the 1990s or the major label exploitation that came with it would be an unfair mischaracterization of the record. The truth is that this is a classic album filled with melodic yet driving punk, the subtle influence of gothic era Damned, heavy doses of TSOL, and a hint that Orange County may not have been as serene as it's reputation would lead one to believe.
In the following interview, Big Frank Harrison, who headed up Nemesis Records, discusses the influences on the album, how he came to release it, and much more.
Nemesis Records pressing of The Offspring self-titled LP with front cover art by Mad Marc Rude (collection of Mel Hughes)
Negative Insight: First off, how did you hear of the Offspring, and how did you first meet them?
Frank: Well, they were a little known OC punk band who had TSOL influences all over them. My label was young and upcoming and Kane Boychuck was my distributor and he introduced me to them.
Prior to your first release of theirs, they'd done the "I'll Be Waiting" / "Blackball" 7" in '86. How had that been received?
At the time it was just another record. No one knew them or cared. It just figures they would end up the most popular pop punk band ever.
When you asked them to do a 7", did they have offers from other labels (Mystic, etc.)?
My 7" with them was much later. They came to me with a completed LP. I am not sure what other labels were interested in them. But it was me who gave them a launching pad to get going on their career.
I think Mr. Brett [Gurewitz] from Epitaph [Records] had an eye on what I was doing because so many of my bands recorded at his studio. And I put them on some big shows for exposure.
Good point on Mr. Brett poaching from other labels. So they had self-financed the recording of the album?
I believe they paid for the recording.
Who's idea was it to have Marc Rude do the artwork?
I believe they approached Marc, and to be honest, I wanted to help Marc get exposure also. He was one of my early punk heroes. I was so bummed when they re-released it without Marc's art. Marc had as much to do with me releasing it as the music.
Agreed. It's great cover art. Any idea why they did it without his art later on?
I think they were afraid because it was an alien on the cover. Copyright issues. But yeah, it sucked to see it changed.
Going back to the influences, one thing that has always made the album stick out to me is how dark it is on both the production and songwriting. It reminds me of, as you said, TSOL, as well as Agent Orange on tracks like "Everything Turns Grey," or Rikk Agnew and his bands (especially DI). Is this something they were consciously going for, with the undercurrent of a darker sound?
I think those were probably some of what influenced them to start a band. I am also sure Noodles [Offspring guitarist] looked up to Rikk Agnew as we all did at the time. He was/is a genius of six strings.
Was that darker influence something that you think people picked up on at the time? Was there interest in that beyond the aforementioned bands? It seemed like there were hints of it in various places, Concrete Blonde had it, for instance.
Oh, yeah. People always seem to gravitate to the dark side. That's why so many people love to wear black and listen to dark heavy music. Christian Death was quite popular at this point in time and should have been even bigger. Also bands like the Damned, Sisters of Mercy and Bauhaus were very popular and dark. I can totally see their influences from that time period.
Good point on the Damned. I know Offspring covered them and Dexter released a couple Damned records, so that '80s goth era of the Damned had to have been an influence.
Oh, for sure.
Who was your main point of contact when dealing with the band?
Bryan/Dexter. I never really knew any of the others that well. Noodles a little bit, but mainly Bryan.
Was there anything that made you think that they had the ambition or desire to go for something larger than DIY punk?
There was one thing. They only wanted to give me three years access to the record, and I believe I signed something to that effect. Which at the time seemed ridiculous because I could not give the records away. Hindsight is always 20/20 but sometimes that is just the way it goes. Also I was working a little with Vision Street Wear providing music for a couple of early video releases, and Bryan thought I was being shady. I was always trying to think of ways to promote them.
At that time I was the go to for Fugazi shows in So Cal. And on more than one occasion I made Offspring the opening band on what would be sold out shows. Any band at that time would have given anything to get on one of these shows.
From what I have heard, Bryan can be hard to deal with. I thought it was just me, but I guess he does this to everyone. Stepping on whoever and whatever to get where you want to go. Maybe because he was driven to succeed. I would like to think I am driven, but I do not step on people to get where I want to go and I know where I came from and who helped me get there.
Interesting that they only gave a three year license. Clearly they had long term plans for it. Did you feel any resentment at the time? Like, here you are throwing them on the best shows and working to give them exposure in skate vids, and they’re suspicious of your intentions…
No resentment until I hear interviews where Bryan either ignores their history with me or he says I never cared about them, and that is just not true. If Bryan actually would have taken the time to get to know me, he would not have questioned my intentions.
Yes, especially where you were not some fly by night guy. You'd been around for a while at that point...
Thank you. I like to think I am a straight shooter and always helpful when I can.
I used to have this Offspring book from an age ago, and it had a line about their first label that was negative. I wish I could remember the line.
Not surprised, especially if the interview was with Bryan. Bryan was always butt hurt because at the time I would not release it on CD. But honestly, it made no sense at the time. It was not a big seller at the time it was released. But if I had it to do over, I would have done a CD.
Offspring self-titled album CD version from 1995 on Nitro Records/Epitaph Records (collection of Negative Insight staff)
Do you recall how many of the LP you pressed?
I think the initial pressing, the one on Nemesis was either 500 or 1000. Later pressings were done without my consent and those I have no idea.
"Baghdad" EP (collection of Steve of Language Of The Mad)
So how did a second release, the "Baghdad" 7", come up?
They just wanted to do another record. At the time I think they appreciated me. It was only after they became big stars that they started trashing me and my efforts. I thought it was a great record. They both were.
I have seen a few people I know go from rags to riches and it definitely changes people.
That's too bad. Do you feel vindicated by how well both records have held up?
All I ever wanted from them was some kind of acknowledgment that I helped them in the early days, and I definitely did. If not for me, Mr. Brett might never have heard of them. I always wanted a gold or platinum record to hang on my wall. I don't feel a need for vindication. I am glad it's part of my legacy. They can't take that from me. I am happy for the successful life they have made for themselves.
Are you surprised by how records like Offspring's self-titled album or Bad Religion's "Suffer" had so much to do with laying the foundation for the whole '90s boom? Could you ever have seen it going that way at the time?
Not completely surprised. Both great catchy bands. I was kind of surprised when punk bands started selling out arenas. And yeah, as far as direction and popularity goes. I think they realized what was going to pay the bills. And sell records.
Offspring live with Ill Repute and Operation Ivy in 1988 (photo Dale Johnson)
Flyer for Ill Repute, Operation Ivy, Isocracy, Reason To Believe, Kamala and the Karnivors, and Offspring live at Toberman Hall in Los Angeles on October 1, 1988 (collection of Dale Johnson)
Was there ever discussion on doing additional records?
No more records after that was when Epitaph started showing interest. I remember being in the studio recording someone when Brett asked me how much I wanted to sell the band for. Remember the three year contract. Well, we were past my time with them. I got nothing and at this times I was phasing out my label and persuing a career in tattooing. A decision I think about from time to time. But what's done is done. I try to live by the credo of "be here now."
That's too bad. Any thoughts on their second album, "Ignition"? I personally really enjoy that one as well. A lot of the songs have that same kind of darker TSOL, Agnew, etc. influence as well.
It was fine. It was interesting to see them climb to great heights. I am being completely honest when I say I have only heard the hit songs from them after I worked with them. I always liked TSOL more. Haha. The Damned too. My personal tastes tend to be darker and heavier.
Any final words or anything to add?
I think we covered it.
Flyer for Sane/Freeze benefit gig with Final Conflict, Cringer and Offspring on 11/19/1988 (collection of Dale Johnson)
Anecdote from Dale Johnson on the Offspring's early years and the story behind "the girl who gave her shirt to a bleeding Kevin (Wendy?)" on the thanks list of the album:
[See photo of the thanks list for the reference to the bloody shirt.]
At the show here (a benefit show in Los Angeles, 1988), Offspring were passing out their first four song demo. The ironic part was a group of skinheads wanted to come in, and the crowd wouldn't let 'em. A huge fight started, and the skinheads literally kicked the door off. One of them stabbed the Offspring guitarist (Kevin/Noodles) who was one of the crowd fighting them. You can read about it on the thanks list of their first LP. The woman, Wendy, and I did Disobey fanzine together, and she gave her shirt to stop Kevin's bleeding.
Thanks list for Offspring self-titled album thanking "the girl who gave her shirt to a bleeding Kevin (Wendy?)"
We saw the Offspring a lot in those days, as they seemed to open for most shows we attended and weren't bad. There was another show, maybe a year and a half later where the opened fire Chumbawumba and Neurosis at Gilman Street in Berkeley. I imagine Offspring played Gilman upwards of 20 times. They were a DIY band and played by same rules as all the respected bands of the day.
I never bought their records even though that Mad Marc Rude cover is dope. At the time I just saw 'em so often it didn't seem like I needed their record.
Flyer for Chumbawumba, Neurosis and Offspring at 924 Gilman Street in Berkeley, CA on September 15, 1990 (collection of Dale Johnson)
Credits and Info:
Check out Frank Harrison on Instagram at @bigfrank323.
Live photo from unknown date by Kirk Dominguez of Flipside fanzine and used with permission.
Live photo from 10/1/1988 and flyers from the collection of lifer Dale Johnson and used with permission.
Photos of the album from the collection of friend of the mag Mel Hughes, who was formerly the editor of the great Direct Hit zine in Ireland.
"Baghdad" EP photo from the collection of Steve at the choice Language of the Mad account.
Additional questions for this interview were submitted by NI staffers Stan Vanly and M. Furst.
Nitro Records 1995 reissue on CD from the collection of Negative Insight staff.
Copies of the Offspring self-titled album are currently available from Nitro Records at www.nitrorecords.com.
