I’ve been looking for the last track on this album for 35 years. 35 years. In the middle of the night on the Towson, Maryland college radio station somebody played that song. I recorded it on a cassette, crouched under my bed covers on a boombox. My parents had bought me off an Amway catalog. That song meant something to me, a lot. And I don’t know if the guys in this band will ever know that there was some child out there who felt like somebody had put his story in a song. So everything else can sit and rot as far as I’m concerned. That song was like a beacon to me, it changed the course of my life. And the fact that maybe a dozen people on the planet know or give a shit about this band or this record really just kind of says it all. If anyone knows how to send a message to whoever that singer was, tell him this this, if you would.
This album is a bit amateurish, but that’s what makes me keep coming back. What makes this special is how genuine it is, how blunt it is without being self-conscious. Though they may sound a bit cheesy/dramatic, these guys had real angst-not like emo or pop punk angst of today (“school sucks, my mom doesn’t give me enough freedom and the teachers are lame”). What happens to punks when they stop feeling this strongly? They give up. They become cynical. This album is refreshingly positive, it should be the cure for aged punk syndrome.
The Emo you describe is completely different from the DC bands at that time. Those damn kids appropriated the name and added shite music and weepy vokills which the mid 80's DC bands were not.
What these guys spawned was not emo, at one point it was called pop punk, these days it's more or less referred to as melodic hardcore. Emo = cry core, emo sucks.
@@andrewbarrett4276 love how you kids like to 'splane things to a guy who was there and witnessed the history as it happened. Go listen to Thursday whilst you cry into a bowl of cheerios
Has not aged well. Dag Nasty went on to much bigger and better things than this forgettable platter without having to lick their boots. Justice served.
@@ripplewine6112 "Justification was written about another band from Washington, Marginal Man. Dag Nasty sent their demo tape to them because they had interest in playing shows together. The members of Marginal Man weren't very psyched." I love getting you Marginal Man fans agitated. All 3 of you.
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I’ve been looking for the last track on this album for 35 years. 35 years. In the middle of the night on the Towson, Maryland college radio station somebody played that song. I recorded it on a cassette, crouched under my bed covers on a boombox. My parents had bought me off an Amway catalog. That song meant something to me, a lot. And I don’t know if the guys in this band will ever know that there was some child out there who felt like somebody had put his story in a song. So everything else can sit and rot as far as I’m concerned. That song was like a beacon to me, it changed the course of my life. And the fact that maybe a dozen people on the planet know or give a shit about this band or this record really just kind of says it all. If anyone knows how to send a message to whoever that singer was, tell him this this, if you would.
His name is Steve P, he lives in green bay now...if I see him I'll tell him.
Love this album. Emo not so much.
Same
I was in a band briefly 'C20' as a new drummer 1985 and my band mates where really into this band. Still I delivered the Goods!
This album is a bit amateurish, but that’s what makes me keep coming back. What makes this special is how genuine it is, how blunt it is without being self-conscious. Though they may sound a bit cheesy/dramatic, these guys had real angst-not like emo or pop punk angst of today (“school sucks, my mom doesn’t give me enough freedom and the teachers are lame”).
What happens to punks when they stop feeling this strongly? They give up. They become cynical. This album is refreshingly positive, it should be the cure for aged punk syndrome.
I wouldn't call it amateurish. Every band from the 80's had a similar sound to this. I think most of the DC bands of that era stand the test of time.
im so happy i refound this/ it was in my recommended
The Emo you describe is completely different from the DC bands at that time. Those damn kids appropriated the name and added shite music and weepy vokills which the mid 80's DC bands were not.
What these guys spawned was not emo, at one point it was called pop punk, these days it's more or less referred to as melodic hardcore. Emo = cry core, emo sucks.
Marginal Man or Rites of Spring were never called pop-punk. Calling either anything but DCHC is BS.
Definitely Emo started with a review by Pushead in Thrasher mag of Minor Threats last 7" and its change in direction.
@@andrewbarrett4276 love how you kids like to 'splane things to a guy who was there and witnessed the history as it happened. Go listen to Thursday whilst you cry into a bowl of cheerios
An other "classic" mid-80s emo-core band ! Great !
Man, Dave Mustaine must have been a huge fan. He patterned his vocal delivery style on Torn Apart.
Definitely as I'm sure they played with Scream
Just tears from my eyes
Singer sounds like Dave Rubenstien from Regan Youth
ALL
neat
I love this record :)
www.noecho.net/interviews/marginal-man-guitarist-kenny-inouye-interview
great interview with Kenny
@@HerrStrich Me too. Marginal Man was my favorite DC band of that era, just edging out Rites of Spring and Scream. Their shows were a lot of fun.
Has not aged well. Dag Nasty went on to much bigger and better things than this forgettable platter without having to lick their boots. Justice served.
H2O did a helluva cover of Friend though.
Shut up.
has to be one of the dumbest quotes I've read today
@@ripplewine6112 lol, no shit.
@@ripplewine6112 "Justification was written about another band from Washington, Marginal Man. Dag Nasty sent their demo tape to them because they had interest in playing shows together. The members of Marginal Man weren't very psyched." I love getting you Marginal Man fans agitated. All 3 of you.