Public Nuisance

Bio:

.. Through a six -year lifetime that commenced as the surfing jaguars in 1964 , Public Nuisance would be a familiar sight in their hometown of Sacramento , and an unforgettable one at that. Though they shared bills with the likes of Buffalo Springfeild , the Dead , and the Doors , the Nuisance's heros were such artists as The Seeds , The Pretty Things , and The Music Machine . Looking in 1966 like the Ramones would ten years hence , its unsurprising this sonic time-warp failed several auditions at the Fillmore . Even in their choice of moniker , its almost as if Public Nuisance sensed that rock 'n' roll was already in need of the intelligent simplification that it wouldn't receive for another decade. Musically the group were equally outrageous and original , sporting a diamond-hard sound that blended an Anglophilic pop aesthetic with moody grunge-noir . Numerous demo sessions and a couple of likeably inept folk-garage singles ( as Moss & The Rocks ) were followed by a proper attempt at an album , produced in L.A . under the auspices of Terry Melcher's Equinox Productions by maverick engineer Eirik Wangberg . The sinister overtones of the Nuisance sound and image would come back to haunt them : Manager Gary Schiro ( who also represented The Oxford Circle and The New Breed ) died in a crime of passion , and the band's long-lasting player was canned when a hopeful client of Melcher's----one Charles Manson---dispatched his henchmen to go find the producer . Thus , the Public Nuisance's hapless career reflected the ugly flipside of San Francisco rock's utopian dream.

Member Since:

February 20, 2007

Members:

Pat - bass, Ron - drums, Jim - guitar, David - guitar

Record Label:

frantic