I remember being a teenager and picking up "Regretfully Yours" based on the popularity of "Sucked Out." I did not expect the album I got, and I was immediately hooked by the one-two of "Slot Machine" and "Phaser." "What, it's a new track?!!" my teenage self wondered. I fell in love with the whole album. And then even though I picked up Senorita and The Fabulous 8-Track Sound, I eventually kinda drifted away from Superdrag until the early 2000s, when I bought Head Trip, which blew me away. And then Dying Stars came out, which became (and still is) my favorite Superdrag album. It's great to see them playing again. I hope they'll do more shows.
Similar experience here ..Regretfully Yours was the unofficial after-midnight soundtrack of my high school years. I loathe their status as a one-hit wonder for Sucked Out of all things. That album is way to good to deserve having its reputation hang on that one track. I can proudly say that I bought it, not after seeing Sucked Out on MTv in regular rotation, but after seeing the Destination Ursa Major video on 120 minutes at like 2am after getting off work. Although, unlike a lot of Superdrag fans, tbh I don't really like the Headtrip album. In fact--and maybe I'll get run down for this--but I half wonder sometimes how their career might have gone differently if they'd met Elektra half way and tried to sculpt at least a couple top-40-capable tracks on that album, rather than the totally pure opus they/Davies seemed to be going for, at the expense of their opportunity with Elektra. Why do I think that? Because both the 3rd and 4th album had such tracks. In the Valley (the promo poster for which hangs in my own basement studio) had True Believer, Baby's Waiting, and Bright Pavilions. Then Last Call for Vitriol had Feeling Like I Do, Extra Sensory, and Baby Goes to 11. My point is, they ended up creating such songs on later albums, anyway, which they produced largely if not entirely on their own. Maybe they just _really hated_ Elektra, idk. Although based on interviews I've read with Davies, and maybe Don Coffey, my take away was that the band is pretty proud of that Headtrip album. I've never quite understood this. Maybe I should re-listen to it now that I'm older, perhaps it'll hit me differently somehow. Anyway contrasting opinions are always welcome, feel free to chime in on this.
@@callbackdons Opus is a good way to describe it. I think I read an interview with John where he said that they knew they'd never have those kind of resources again, so they just made the most elaborate album they could with no regard for the commercial value of the thing. I think John's outdone himself with Lees' Blinding White of Nothing At All, though. If only they'd release a stereo mix.
@@callbackdons Love this dialogue, they're one of my favorite 90s bands. I find several tracks on Head Trip to have monster hit potential, personally: Do the Vampire is insanely catchy and I have sung Pine Away in my car too many times to count.
@@joyegreg One of my friends said "Do the Vampire" shoulda been the theme song for the Buffy the Vampire Slayer TV show. The show's producers missed out on that one!! Haha
Yeah my brother and my friends and I got really into this band back in the 90s...our high school years. Saw them play live many times down here in South Florida. We loved their Beatles power-pop songwriting combined with the fuzz/feedback and shoegaze elements they had on "Regretfully Yours" & "Fabulous 8-Track Sounds". "Regretfully Yours" also inspired us to learn those 60s sounding bass riffs that made that album so good. Made me 1000 times better on the bass guitar. I can still play all those songs today. They bridged the alternative rock sounds of the 90s into the indie rock sound of the 2000s and inspired A LOT of musicians. Much respect to Mr. Underground (Davis) and company. 🤘
John and the boys proving how well that early music holds up. Total classics...not too many bands can play the stuff they wrote that far back and still have it remain as relevant today as it was back then.
@@superdragUSA1I had read somewhere that he uses an mxr distortion 3, distortion + and micro-amp. I’ve never been quite able to replicate the bends they get like in True Believer and Bright Pavilions. For me, those bends are part of their signature sound. Kind of reminds me of my bloody valentine.
Jesus, what a great band.
Wow I just found this this morning, merci beaucoup Henri for recording and posting this! 👍🏻👏🏻👏🏻👏🏻
I remember being a teenager and picking up "Regretfully Yours" based on the popularity of "Sucked Out." I did not expect the album I got, and I was immediately hooked by the one-two of "Slot Machine" and "Phaser." "What, it's a new track?!!" my teenage self wondered. I fell in love with the whole album.
And then even though I picked up Senorita and The Fabulous 8-Track Sound, I eventually kinda drifted away from Superdrag until the early 2000s, when I bought Head Trip, which blew me away. And then Dying Stars came out, which became (and still is) my favorite Superdrag album.
It's great to see them playing again. I hope they'll do more shows.
Similar experience here ..Regretfully Yours was the unofficial after-midnight soundtrack of my high school years. I loathe their status as a one-hit wonder for Sucked Out of all things. That album is way to good to deserve having its reputation hang on that one track. I can proudly say that I bought it, not after seeing Sucked Out on MTv in regular rotation, but after seeing the Destination Ursa Major video on 120 minutes at like 2am after getting off work. Although, unlike a lot of Superdrag fans, tbh I don't really like the Headtrip album. In fact--and maybe I'll get run down for this--but I half wonder sometimes how their career might have gone differently if they'd met Elektra half way and tried to sculpt at least a couple top-40-capable tracks on that album, rather than the totally pure opus they/Davies seemed to be going for, at the expense of their opportunity with Elektra. Why do I think that? Because both the 3rd and 4th album had such tracks. In the Valley (the promo poster for which hangs in my own basement studio) had True Believer, Baby's Waiting, and Bright Pavilions. Then Last Call for Vitriol had Feeling Like I Do, Extra Sensory, and Baby Goes to 11. My point is, they ended up creating such songs on later albums, anyway, which they produced largely if not entirely on their own. Maybe they just _really hated_ Elektra, idk. Although based on interviews I've read with Davies, and maybe Don Coffey, my take away was that the band is pretty proud of that Headtrip album. I've never quite understood this. Maybe I should re-listen to it now that I'm older, perhaps it'll hit me differently somehow. Anyway contrasting opinions are always welcome, feel free to chime in on this.
@@callbackdons Opus is a good way to describe it. I think I read an interview with John where he said that they knew they'd never have those kind of resources again, so they just made the most elaborate album they could with no regard for the commercial value of the thing.
I think John's outdone himself with Lees' Blinding White of Nothing At All, though. If only they'd release a stereo mix.
@@callbackdons Love this dialogue, they're one of my favorite 90s bands. I find several tracks on Head Trip to have monster hit potential, personally: Do the Vampire is insanely catchy and I have sung Pine Away in my car too many times to count.
@@joyegreg One of my friends said "Do the Vampire" shoulda been the theme song for the Buffy the Vampire Slayer TV show. The show's producers missed out on that one!! Haha
Yeah my brother and my friends and I got really into this band back in the 90s...our high school years. Saw them play live many times down here in South Florida. We loved their Beatles power-pop songwriting combined with the fuzz/feedback and shoegaze elements they had on "Regretfully Yours" & "Fabulous 8-Track Sounds". "Regretfully Yours" also inspired us to learn those 60s sounding bass riffs that made that album so good. Made me 1000 times better on the bass guitar. I can still play all those songs today. They bridged the alternative rock sounds of the 90s into the indie rock sound of the 2000s and inspired A LOT of musicians. Much respect to Mr. Underground (Davis) and company. 🤘
John and the boys proving how well that early music holds up. Total classics...not too many bands can play the stuff they wrote that far back and still have it remain as relevant today as it was back then.
Thanks for making this and sharing it with us!! Great content. SD still has it.
Thank you Henrique. This is incredibly good and rare. I see a film crew roaming - hope they release their footage soon!
Thank you so much for recording/posting this! I really wish I could have been there for this….. been listening to them for almost 30 years now
THANK YOU!!!
Thank you so much for this.
thank you for sharing this, i love this band since forever!
Thank you!!! 😭
thank you!
Thank you!
Thanks brother for filming this superb f'n show! I had a blast of a time!✊🏼✊🏼✊🏼❤💞🖤💛💣💣💣
WHAT?! How did I not hear about this? Thank you so much for uploading!!
Exciting! Thanks for posting this up. All the love from this gal in Birmingham!
Cool! Happy to see they were still active in 2022 :)
So great!
Sensacional!
Amazing
Phenomenal
Thanks for sharing! Nice nod to GBV during Sucked Out.
You mean the move with the guitar? Guided By Voices?
1:00:52
Is this the original lineup?
¡Si!
So John stuck with the orange zipper hoodie the whole set, huh?
He's covering up the Muppet Babies tattoo sleeves he got mid 2000s.
I love Superdrag, but they sound horrible here. Sounds like a band sleepwalking through their set.
Hope you’re happy, they broke up again
@@PuddleBooks no sir, I'm not. Maybe it's for the best.
Dust off the ProCo RAT's; K-Town's favorite sons are back!
Rat through a fender. Unlikely pairing that sounds amazing lol
@@afterstars Yeah, Davis get a tight, punchy sound through those 4 10" speakers.
@@superdragUSA1I had read somewhere that he uses an mxr distortion 3, distortion + and micro-amp. I’ve never been quite able to replicate the bends they get like in True Believer and Bright Pavilions. For me, those bends are part of their signature sound. Kind of reminds me of my bloody valentine.
Thank you!