from: KUCR Radio (University of California, Riverside) Suzan Substitute
Either Spring of Fall exact date unknown
[The Real Audio
clip (above) features the Last as special guests in the studio of
a local college radio show, and also includes the songs "Bombing
of London" (by The Last) and "The Wanker Song" (definitely
NOT The Last). Any stupid comments anyone makes during the interview
is most likely due to their age at the time. The band used to be
a lot younger years ago...
is all I have of this show. It might be all that was ever recorded
I don't know. Dan]
from: Los Angeles Herald Examiner
Punk: The Good, The Bad and The Fast
There were those
at the Whisky Friday night commenting that the music played
between sets was better than that being performed live. The
Fast, the Last, the Tremors and the Nerves were being showcased
by a company called Bomp which runs a record company and a retail
store in North Hollywood and publishes a punk magazine. Yet
none of the four bands record with Bomp, a predominantly punk
or new wave label.
Led by Paul
Zone, a solid rock 'n' roll ringer with powerful stage presence
and some of the most bizarre concepts for theatrics this side
of Soupy Sales, the Fast, a New York power pop band, made the
agony of enduring the three other bands worthwhile...
from: LA Beat
"She Don't Know Why I'm Here"
Even if this band
doesn't look like much on the sleeve, listen to this record and
you'll find a local band that has penned a totally convincing and
energetic 45, echoing the exciting reverberated sounds of the classic
"real punk" bands of the 60's: The Standells, Shadows
of Knight, Electric Prunes, etc. Not particularly a 'big bucks'
production (they even wrote the song titles on each one!) don't
expect to find it at just any record store. But do look!
(WITH F-WORD, DILS, AVENGERS) jan. 7 masque
at last the last,
these guys have a single out and greg shaw raves about them
and they are pretty good. They do a sixties sounding fast heavy
metalish pop set with good songs that emphasize a dominant vocal
role. They came across really well but a long set for an opening
from: New York Rocker
The Last's "She
Don't Know Why I'm Here" also suffers from indifferent production,
sounding as if it could have come out of any garage in 1966 with
its cheesy organ, slightly off-base guitars and crude vocals. But
it's got the power to sustain by the hour, and is a terrific anachronism.
I'm reminded of Don Waller's trenchant complaint about the New Wave,
which goes something like "the midsixties garage bands were
trying as hard as they could under crappy conditions
to make good records, while a lot of modern bands sound like they're
trying to make purposely bad records." The Last's record sounds
as if economics put them in a position where this is the
best record they could make. If so, they've made a beauty, and I'd
like to hear them recorded well.
from: Bomp! Magazine
The Action Is" column
The real beauty
of New Wave is that it can produce such completely unexpected, unprecedented,
off-the-wall records as "She Don't Know Why I'm Here"
by The Last, a single that arrived in our office with a plain label
inscribed only with 'Pure Pop for Greg Shaw.' Thus intrigued, we
put it on and heard the most amazing blast of energetic noise since
... no, we'd never heard anything quite like it. There were shades
of the Leaves, Knickerbockers, Lollipop Shoppe, Friend & Lover
... it was the sound of 1965 LA folk rock run through the seive
of '77 punk, recorded in a garage and sounding like it, yet with
such power, such an outpouring of pure life-energy that it didn't
matter that it would never get on the radio it was a clearcut
Suffice it to say
we tracked down The Last. They are: Joe Nolte (singer, guitarist,
songwriter, etc), Vitus Matare (keyboards, flute, electronics),
Dave Harrison (bass), Jack Reynolds (drums) and Mike Nolte (backing
vocals and percussion). They started in LA in the summer of '76
with this philosophy: "Dedicated to the abolishment of regressive
and boring musical trends, and the revival of those musical forms
that made life in the '60s so exciting, in the belief that one has
to go backward in order to go forward."
After their share
of being thrown out of disco bars for playing "I Wanna Be Your
Dog" and "Pablo Picasso", they've confined performances
to parties and an occasional "New Wave Weekend" at the
Whisky. By October '77, "Our heads were hurtin' like crazy
from bein' banged against brick walls, and we didn't even have a
record out fer Christs sake. So we put one out." They only
pressed 250 copies and couldn't afford labels, although they made
up picture sleeves. Naturally, they've all been sold, but a repressing
(possibly on BOMP) is in the works and should be available by the
time you read this.
anonymously by Greg Shaw)
from: New York Rocker
Out the South Bays!
Every large city's
got a "South Bay" only it's not always called that,
especially if it's in a town like St. Louis or Denver or Omaha.
You've got to have an ocean, or at least a Great Lake, to call it
a South Bay. But, in fact, a South Bay by any other name is still
gonna be a "South Bay": a part of the urban sprawl
or urban blight that grows up around all our major cities.
They're kind of like suburbs, but they're satellite cities, too
all mixed together.
In L.A., the South
Bay translates as that area south of L.A. and west of Long Beach.
Unlike the Valley or Orange County, the South Bay was settled by
people who simply liked the weather and the proximity to L.A.
not because they were deathly afraid of black people. Haphazard
development led to the creation of areas like Carson Street where
in 15 minutes' worth of driving you'll pass aerospace factories,
oil refineries, tree-lined suburban streets with a motor home in
every garage, and projects full of greaser gangs who still carve
each other up on Friday nights to the strains of "Angel Baby."
(Hovering over all this, a hedonistic beach city ambience.)
Growing up in L.A.'s
South Bay, you look at things a little differently than the spoiled
Valley kids whose only contact with the world outside suburbia comes
out of a TV tube, or the Hollywood hand-out hang-on artistes desperate
for their 15 minutes of fame. No wonder the South Bay bands are
different. They don't even resemble one another. The only quality
they share (besides their origin) is their singular lack of pretense.
And that doesn't mean it's all just for fun either.
But Not Least
The Last, led by
guitarist/singer songwriter extraordinaire Joe Nolte, and featuring
his younger brothers, Mike (second lead vocals) and David (bass
/ vocals), plus neighborhood pals Vitus Matare (keyboards) and Jack
Reynolds (drums), wail from Hermosa Beach, a surf, sex and partyin'
hangout in the grand tradition.
Know Why I'm Here" b/w "Bombing of London" is their
single (on Bomp). "She..." is their masterpiece. Abysmally
produced (they did it themselves and didn't have a whole lot of
money), it's a modern punkadelic classic with shaded of the Lollipop
Shoppe, Love and the Strawberry Alarm Clock. Flashin' back to 1966.
A gold nugget 'cause you dug it, indeed.
live performances have revealed the Last to be under-rehearsed and
under-funded, they're always immensely enjoyable. Mostly because
Joe writes songs with more hooks than a meat-packing plant. A certifiable
talent, this dude can sing like Arthur Lee, play guitar like (early)
Dave Davies and looks like Joe Strummer to boot.
Give these guys
about 3 years and they're gonna be a definite commercial force.
You gotta remember Brian Wilson and his brothers came from Hawthorne
about 5 miles up the street from Hermosa and we all
know how that story ends. This time it could be the Last.
Waller and Howie Klein
from: Mira Costa High School "La Vista"
NOLTE EXPANDS 'PUNK ROCK' INTERESTS
In his familiar
uniform of blue jeans, a t-shirt labeled "ramones", and
a skinny black tie, Sophomore David Nolte displays his dedication
to a new wave of music called "Punk Rock".
At the age of fifteen,
David will be traveling with the "The Last" rock group
to England where they will be playing in night clubs. His group
plays a mixture of Punk Rock and music of the 60's.
The group has played
in various night clubs in Southern California, but has only had
a long engagement at "The Whisky" in Hollywood. This is
because most night clubs want bands that play disco music.
They made their
first single which features their song "She Don't Know Why
I'm Here." It was re-released last week on Bomp Records.
They will also be
recording a three-sided record during Easter Vacation. It will include
"L.A. Explosion," "Go Away Girl," and "Obliteration."
This record will be released in June.
Included in the
band are David's two brothers, Mike and Joe, and two other members,
Vitus Matare and Jack Reynolds. David plays bass mainly, but he
also plays rhythm guitar and percussion.
are tied to music and basically to Punk Rock. He spends most of
his free time practicing, going to concerts, and supporting the
local Punk Rock scene.
He feels that the
myth of gross and ugly people throwing-up on old ladies surrounding
Punk Rock is totally wrong and exaggerated by the media.
give Punk Rock and its followers a chance and listen to it before
they go out and start calling us freaks," states David.
from: Bomp! Magazine
Meanwhile the local
efforts are getting better all the time. Check out the sense of
life and energy in "She Don't Know Why I'm Here" by the
Last (Backlash), an LA record that, despite (or maybe because of)
its grungy, 1964 garage sound, puts me in mind of the Lollipop Shoppe,
the Leaves, the Knickerbockers ... it's a record that could only
have been made in LA; hearing this the same month I saw Nervus Rex
is enough to make me wonder if folk-rock isn't yet another coming
from: Back Door Man
of the Radio column
When an EP of obscure
Chocolate Watch Band material (which is obscure, in its own right)
is bootlegged (Mutt records "Mysty Lane," "She
Weaves a Tender Trap", "Sweet Young Thing", and "I
Don't Need Your Lovin'" an absolute MUST!) and sells
a respective quantity, there can only be one conclusion: A New Age
of Psychedelia is at hand. An Age that this journalist has been
waiting for since, well, the last one. In 1984, an aging Lenny Kaye
will conspire with a major record company and compile a two-record
set entitled Nuggets: Original Artyfacts from the Second Psychedelic
Era 1977 - ? which will feature, no doubt, "(Don't
Fear) the Reaper" by the Blue Oyster Cult, "30 Seconds
Over Tokyo" by Pere Ubu, "Venus" by Television, Richard
Hell's version of "Walking on Water", Roky Erickson's
incredible "Two-Headed Dog" and an excerpt from Lou Reed's
Metal Machine Music.
for inclusion on this LP will have to be "She Don't Know Why
I'm Here" by the Last, "Aliens in Our Midst" by the
Twinkeyz, "Fly-in" by the Human Switchboard, "Shirley"
by the Mirrors, "Wild Dub (Version)" by Generation X,
and "Wading Through a Ventilator" by the Soft Boys. Each
of these "nuggets" is loaded with obvious influences of
mind expanding drugs and/or total insanity.
Of these contenders,
the Last's "She Don't Know Why I'm Here" is by far the
best. It has a distinct Sixties punkadelic sound as if it were made
by a "supergroup" with members from the Leaves, Love and
the Lollipop Shoppe. The Last recently made their debut performance
at the Masque L.A.'s hippest teen night club where
they proved to be quite an exciting band. For some people it may
be just another little record, but for me it's one giant step out
of Mr. Peabody's Way-Back Machine into 1966 Sunset strip. Hand me
down my paisley shirt.
Issue #5 (spring
the last the weirdos march 31 whiskey
last words ... just time killers; i'd rather hear a tape on the
from: Los Angeles Times
A Potent Home Brew
"Beat on the
brat", "Pretty vacant", "No future", "I
wanna be your dog" these punk lyrics have become slogans
of the new wave scene. But the movement's most important maxim may
be: Do It Yourself.
The recent burgeoning
of privately produced and released singles hasn't dented the $3
billion-a-year music industry, but some feel that its impact will
Says Greg Shaw,
whose Bomp Records is a major distributor of do-it-yourself singles:
"The most significant aspect of the new scene is the creation
of this market. The reason we haven't been able to listen to the
music we like for 10 years is strictly economic, and now we're creating
a system that can support that music. The fans are taking control
of the music they want to hear.
I don't think the
industry has realized the implications of what's going on, but they'll
have to change their policies, their ways of discovering talent,
their relations with local groups and scenes. They won't be able
to sit on Mt. Olympus waiting for Bob Ezrin to deliver the next
The average cost
of recording and pressing a single is about $1,000. Distributors
like Bomp and the far larger JEM can place 5,000 copies in about
100 stores nationwide. While artists can expect a small return on
their investments, profit isn't the motive.
"If you get
some reviews and airplay," says Shaw, "you're in a position
of power an unknown band in a garage doesn't have. It's a stepping-stone,
and it gives you leverage when you try to get signed or get better
Because these records
circulate in a tightly knit network, promotional costs are low,
and the music can dare to be different. Shaw: "It's pretty
much limited to real fans, and they make it their business to find
out what's available. It's not for groups who try to copy what's
on the charts. Eventually the audience will be broad enough to support
any kind of esoterica."
The output in Southern
California alone suggests that that time has come. Punk predominates
the alternative marketplace, but the current crop yields an amazingly
diverse range of styles: heavy metal, powerpop, mainstream hard
rock, novelty, rockabilly.
"She Don't Know Why I'm Here"
with "Bombing of London" (Backlash): Powerpop from a young
Hermosa Beach group, "She Don't Know" recalls the '60s
garage-band sound, with all its advantages (a raw, driving spirit)
and drawbacks (low fidelity, marginal presence). The song itself
is first-rate pop, featuring a nice buildup of controlled furiosity.
from: Slash Magazine
Volume 1 Numer
"Art Meets Punk" (meets Vatos meets Glitter meets Blacks
meets Voyeurs, etc.) was, to say the least, unique. The Last &
The Bags played to a huge crowd of drunken rowdies fighting &
writhing in a sea of beer & wine... In the aftermath, Dreva
was quoted: "The Art was stolen, the place completely trashed...
A complete success!"
from: Back Door Man
1966. What a year!
Bobby Fuller died. Little Willie John was sent to prison for stabbing
a man to death in a barroom brawl. Richard Speck stood trial for
killing some student nurses. The Rolling Stones sold out a concert
at the Hollywood Bowl that earned them $100,000. A '66 Mustang cost
$2,123. Sandy Koufax pitched for the Dodgers. And in July, "Summer
in the City" by the Lovin' Spoonful was the number one record
in the country. There is a new Rock 'n' Roll band in Los Angeles
that sounds just like all that. They are The Last. Where did they
come from and why are they here?
Not too long ago,
a girl we remember, one D.D. Faye, worked in a kinda sqare-ish record
store in Torrance. A guy named Joe Nolte also worked there. He was
sort of odd looking with wild hair, a wirey goatee and
mystically beady eyes that always looked as if they were laughing
at you, knowing something that you didn't. To be quite frank, he
kinda gave me the creeps, but he seemed cool enough. I remember
a party that the Zippers threw about six months ago and I was asked
to be official disk spinner. Joe was there and whenever the Seeds,
Standells, or Electric Prunes were played, he'd get up from a drunken
stupor and dance around the living room by himself. D.D. had mentioned
to me that Joe was in a band and she even got a tape of the band,
but I was never able to hear it 'cause it somehow got lost in her
room a virtual Bermuda Triangle of sorts.
Then their single,
"She Don't Know Why I'm Here," came out. After that I
never stopped listening to The Last. "She Don't Know"
is the kind of song that buzzes around in your head for the rest
of your life. There's no escape from it (as if one would want to).
I can be doing anything watching TV, driving around, or playing
baseball and still I'd hear the song in my head:
This one's for you
you modified petrified hypocrites
God! To raise your children like goldfish
In plastic naugahyde cells.
I mean, Jeez, what
lines. What brilliant lines. And that's just the ending. Great stuff,
Their first live
gig was at the Masque in early January of this year. They proved
that "She Don't Know" was not their only good song. In
fact, the band was so good that I was left in tears. I was totally
floored. Joe had shaven his goatee by this time, by the way.
As you may have
guessed, Joe is not the only caricature in The Last. Vitus Matare
plays a Farfisa organ. Jack Reynolds plays the drums. Joe has two
bro's who help out, as well. Mike beats a tambourine and occasionally
adds back-up vocals and 15 year old David plays bass. Joe is the
guitarist and lead singer as well as songwriter for the band.
The Last sound is
directly out of 1966. Joe is extremely fond of ten year old punk
records and incorporates similar sounds but with a more contemporary
attack. I mean, picture Johnny Rotten singing for The Seeds, or
something. The Last have been favorably compared to The Seeds, The
Knickerbockers, The Lollipop Shoppe and Arthur Lee's Love, but actually
they are quite unique in that their sound only reminds you of 1966,
but you can't put your finger on a certain one band that they sound
like. You really gotta hear them.
Don't Know" is indubitably the finest song yet to spew forth
from Joe's pen, there are others that give cose competition. They
include the spiteful "Go Away Girl," "The Power"
is about submitting to an inevitable doom; "Obliteration"
is about drug crazed girls; the plight of the working class is the
subject matter of "Mr. Slavedriver;" "It's Time"
is an anthem of a new generation taking over ("Their world
is almost gone/ And our has just begun"); "Bombing of
London" concerns the German blitzkrieg raids on England during
World War II (the disturbing end reads "Swear I'm going to
see it through/ In yeas to come I'll settle down/ But I won't forget");
a Reggae intro is used in "Walk Like Me," a tune involving
a revolution in a third world nation; in "L.A. Explosion,"
The Last actually flash back to 1966.
You can talk you can joke
'bout the days of old
When the kids would run in thousands
To the Whisky, the Trip
on the Sunset Strip
Though the cops would swarm around us
And it sounds sorta
like the Buffalo Springfield (their "For What It's Worth"
was about the riots on the Strip in those fabulous days).
It is this Last
sound transporting Last beliefs that is capturing
the minds and emotions of avid Tenny-boppers, super cool cats, and
the average listen-to-what's-on-the-radio-man kids. Obviously the
Last is something special, something conveyed only by a precious
few. And Joe Nolte still has mystically beady eyes.
from: Los Angeles Times
May 30, 1978
Bands: From Zeros to Last
Every few weeks,
Larchmont Hall becomes a noisy pogo pocket in the middle of the
Wilshire District's sleepy Larchmont Village. The room's unglamorous,
down-to-earth atmosphere is an ideal setting for the new crop of
Southland bands, and last weekend's four-group show was typical
of these budding punk productions a bit disorganized and
grueling, but musically rewarding.
The music began
nearly two hours after the scheduled 8 p.m. starting time, and ended
in a confusing complex of blackouts and a closing curtain call by
. . .
The Last went first,
and the Hermosa Beach group brought an increasing tightness and
power to its previously noted attributes: a youthful urgency, an
intriguing cross between '60s rock and modern punk, a good songwriting
knack and a tenacious if still a bit awkward and formative delivery.
The Last will also appear with the Zippers and Furys Friday at the
Elks Building near MacArthur Park.
from: (unknown San Diego magazine)
/ PENETRATORS / LAST at Abbey Road, 3 July
New wave nightlife
returns after a prolonged (one month) absence, another Monday nite
at Abbey Road and this one is sponsored by Sub, so you know it's
going to be fun.
The Last play rough,
but you can obviously tell there's a youthful energy here and, though
not quite as apparent, a musical tradition late '60s "punk"
bands, American suburbia garageland types. OK, so it takes a little
homework to really get into the Last like listening to their
new single ("She Don't Know Why I'm Here") three or four
or 17 times but it's worth the effort.
from: Biff Bang Pow
Every Summer Day / Hitler's Brother. Backlash.
And Joe, you're
bitchen! Joe Nolte writes most of the Last's material and he's one
of the only American rockers worth paying attention to and for his
trouble he's been given quite a hard time (say no more) that's the
reason this 45 is a so-called limited edition fan club single. The
last Last single 'She Don't Know Why I'm Here' was an unexpected
favorite of '77 and 'Every Summer Day' is a concise bit of sentiment
toward the essence of summer. They're about the only band that can
shine through production this murky (blame it on the engineer!)
I hope they sort out their problems and deluge America with their
visionary 60s-70s pop.
anonymously (I believe) by (I believe) Lisa Fancher
from: Slash Magazine
From Points Closer to Home
Now that their first,
extra-fab 45 has been re-released ("She Don't Know Why I'm
Here" on BOMP!), the Last have released their second single
on their own Backlash Records. It takes a few plays to get thru
the grunge of the production, but it's worth it. "Every Summer
Day" easily enters the California Summer Song Hall of Fame!
If Sky Saxon was "alive" today, he'd sure appreciate the
"Seeds meet Jan & Dean in a garage" quality of this
record. The Last have genuine talent and Joe Nolte can really write
songs. It's a shame that they are probably L.A.'s best-kept secret.
The limited availability of the new 45 (only 150 made) will do little
to change that.
from: (unknown San Diego magazine)
/ LAST/ CRAWDADDYS at Abbey Road, 4 September
Not much can be
said about the Last. They played good rock and roll with Seeds /
Standells / Music Machine overtones and were for the most part ignored.
That's okay though, 'cause bands like the Last will be around long
after the trendies are gone.
from: BAM (Bay Area Music)
dropping like flies anyway, do we really need this call to arms?
It's a different
story with The Last. "She Don't Know Why I'm Here" b/w
"Bombing of London" is a certified punk classic, recalling
as it does the finest tradition of the Blues Magoos, Count Five,
and the Electric Prunes. From the opening note of "She Don't
Know", this writer experienced his first acid flashback in
years. Psychedelia lives, so stand up and be counted. If you're
into strobe light pogoing, this is the record for you. On Bomp Records.
from: New York Rocker
A couple of records
in the latest Bomp crop are of interest, notably the reissue of
the Last's 60's time-warp rocker "She Don't Know Why I'm Here"
(they're considered by many L.A.'s top potential new rock band,
and it would be great to hear them under decent production conditions).
from: Melody Maker
"Giving It All"/The Last "She Don't Know"/The
Dodgers "Don't Let Me Be Wrong"
it might be, small labels acquire identities ponder on Stiff,
Radar, Chiswick and so on. Greg Shaw's West Coast Bomp strike force
is no exception. Moored in the British beat boom, it frequently
serves up bright-eyed pop with a hint of rebellion. Here are another
couple of examples. Blend Greg Kihn's looks and melodic base with
a tough Rubinoos and some outrageously borrowed Beatles harmonies
and you'll find 20/20. The Last are rougher (and better), soaring
through some fine pop bluster with double-decker harmonies reminiscent
of the first Move album...