During the early 1970s, rock was in one of its serious lulls, so many were looking to the past for inspiration, discovering stuff like rockabilly and doo wop; and in the pages of Bomp, the '60s began to take on its lustre as a source for lots of great music nobody had heard yet. There were other collectors' zines, such as Rock Marketplace, doing similar things, but Bomp held a special place at the hub of a network of thousands of serious rock fans who had nowhere else to turn for a sense that they were part of some kind of community that cared about the real stuff. Bomp's always-popular letter column kept expanding, and became a meeting ground for all sorts of people: names from John Peel to Gene Simmons can be found in those back pages, and when punk rock started up, the people who started it emerged from that same community. It was a special time, in which a magazine like this could make a difference. Such a time will never come again.
SHAKIN' SOME ACTION
It was at UA in 1974 that Greg met up with Cyril Jordan, whose band The Flamin' Groovies had been recording for UA's British label, and was now back to L.A. with some amazing unreleased masters, including "Shake Some Action". Incredibly, the were out of a deal and looking for a label. And nobody would sign them! Greg was shocked and stunned because it was some of the best music he'd ever heard. One thing led to another and a plan was made to release a single thru Bomp Magazine, just to get the stuff on vinyl. This single was "You Tore Me Down" and it became the launching pad for Bomp Records.
It's no big thing to release an indie 45 these days, but in 1974 it was another matter. There was no way to distribute or promote it, no market at all except the readers of Bomp Magazine, who bought enough to help the record break even. Thru his contacts at the FM stations who distributed PRM, Greg managed to stir up a good deal of airplay even though the record wasn't in stores, and it was enough to convince Seymour Stein at Sire Records to sign the band.
Greg knew Seymour already. When he joined UA, another of his duties was to supervise the company's oldies releases, and he was responsible for the Legendary Masters Series, which at the time were the first really deluxe reissues that anyone had done, with booklets, discographies, and in-depth liner notes by some of the best writers, plus rare and unreleased tracks. The series of gatefold albums featured Jan & Dean, Ricky Nelson, Shirley & Lee, Fats Domino, Eddie Cochran and others, and it was applauded throughout the industry. Among the people impressed by it was Seymour Stein, who hired Greg to put together another reissue series for his Sire label. Beginning with The History of British Rock (which had several volumes) the series went on to encompass artists like the Turtles, the Pretty Things, the Troggs, and Paul Anka. Greg had done all these projects, and had often been at Sire's offices in New York, so it's perhaps not surprising that he was able to get the Groovies signed. Nonetheless, Stein had a condition: he wouldn't do the deal unless Greg came aboard as manager, presumably to protect Sire's investment.
Article comments
1 - Jim Carruthers
What's really sad about this obit is in the coming years how rare the statement: "he/she made a real difference in music" will be.
But geez, 55? That's mortality looking you in the face.
There was an article in The Observer today about Iggy Pop who was a Bomp! veteran.
2 - Mike Kole
Eric- thanks for this post. I wouldn't have known about Greg Shaw's passing if it weren't for you putting it up here. (Nose deep into political grindstone.)
I'm eternally grateful to Shaw and Bomp! for the Stiv Bators solo LP "Disconnected" and for the Wierdos' ep "1977, 1978, 1979", and Shaw's contributions to the Nuggets and Pebbles comps.
Man, 55 is just too young.
3 - Julie Patchouli
Greg Shaw was and still is a pioneer in the Rock N Roll World. He introduced particular genre's to many generations that without his introduction probably would not have seen the light of day due to its rarity and obscurity. This is Julie Patchouli, bass player for the famed "Pandoras" signed to Greg's label Voxx.
Greg Shaw's inspiration and true enlightenment will be missed. Greg was always big hearted, eventhough we, (the"Pandoras") never recieved a salary per say, Greg paid us in merchandise, he would allow us to run wild in his warehouse and pick out whatever we wanted.... I felt like a kid in a candy store!! Thanks Greg !! We love you and miss you.....
Sincerely
Julie Patchouli
4 - Eric Olsen
thanks Julie, I saw you guys play a few times in LA and you rocked!
5 - Douglas Mays
Yes, BOMP was a label that made a difference in the modern world. Greg's work was a crucial cog in the wheel of modern independent music in the USA. The artwork alone on some of the albums were worth it (Calamari/Zincavage/Pettengill).
Anyway, good job Greg, maybe you can serve as A&R for the astral world. We could use it here on earth...
peacloveguidance
6 - Susan (Sutton) Crawford
I first got to know Greg through Phonograph Record Magazine, which I LOVED. I was 16 and had written to ask for a copy of the issue with a cover article he wrote on John Fogerty, saying how much I loved it. Imagine my surprise when it showed up in my mailbox with a really great letter from Greg himself. A few years later, I had become a big fan of Dave Edmunds et al, and started going to alot of club shows in L.A., just an hour from where I lived (Ventura), and had printed up a fanzine of two of my own (Top Of The Rockpile). Again, Greg helped me out. He had that wonderful little Bomp store where I could find so MANY cool things, where so MANY cool people hung out, spilling out onto the sidewalk in that cheesy L.A. neighborhood it was in. In my mind, it will always be there, a freeze-frame memory, circa 1977.
Thanks for being there, Greg, and...do they have mimeograph machines where you're at now??? I bet they do.