Whiplash Records History

Whiplash Records began in late 1975 with its first release "Keep Doin’ (What You’re Doin’)" by The Brats. The single was originally released on The Brats label with their logo of a glitter boy and girl. These first pressings were poor quality, and a second pressing was ordered. The newly designed Whiplash logo was used for this new order … and it came in a picture sleeve. A total of 300 copies were pressed.

The Brats single enjoyed moderate success … meaning a bunch of them went to Rock On in London, England in trade for their recently issued Count Bishops EP on Chiswick. Also, Andy Dunkley was given a copy, which he played during a 101ers gig at the Roundhouse. Sweet success!!!

Whiplash didn’t crack again until the team of Rick Rivets, George Csanka, and Andy Doback decided the time was right for the world to hear the dusty 1973 demos by The Brats. The three along with Sparky Donovan went into the studio to re-mix the tape. Of the original four song demo, the two crudest tunes were picked – "Be A Man" written by Sparky and "Quaalude Queen". It was Spring 1977.

Later that Summer, Arthur Kane had presented Whiplash with a three song tape of his group, The Killer Kane Band. This was the band he had formed in California after he split from the New York Dolls. Kane wanted this musical bit of history to be unleashed. So it became Whiplash’s first EP in October 1977. Heavy Metalites please note that the Killer Kane Band’s vocalist, Blackie Goozeman, was later to become W.A.S.P.’s Blackie Lawless.

Rivets had left The Brats in the Spring of 1977 and joined forces with his long-time friend, Arthur Kane. After a number of false starts with numerous personnel (including the late Billy Balls), The Corpse Grinders jelled in early October ’77 with Stu Wylder and Jimmy Criss. The band recorded four songs in March 1978. Two tracks were released as a single "Rites, 4 Whites"/"Mental Moron" in July. "Mental Moron" had the honor of being covered shortly after its release by Connecticut’s raw rockin’ outfit, The Dummys. Their bass player was actually a manikin!!!

The single was a gem of the punk genre. Snarling vocals, chunky rhythm, piercing simple break, twisted social commentary. It was a good seller – 500 copies to Bomp in California, another 500 to Rough Trade in London, 100 to Rock On, several hundred to shops in NYC and Connecticut. Whiplash was a force to be reckoned with. The next big thing.

In late September 1978, George Csanka moved from Connecticut to San Diego, California. Rivets and Doback lost their friend, business partner, and part time roadie to the warm California sun.

The Corpse Grinders had recorded at Ed Solan’s Backstreet Studios in the Bronx. Solan was managing a Bronx band, Fastball. Whiplash was approached with their tape of a couple of nice rockers complete with sax. "R.S.V.P."/"What’s It To You" was chartbound in the Summer of 1979. Well, we can dream…

The Corpse Grinders were prematurely buried in November 1978. Rick Rivets rose out of the grave and joined The Slugs. Just thinking of this group brings tears to my eyes. They were, in a word, Excellent. Ray Jalbert (vocals) and Lenny Lazerz (bass) were prolific writers of absolutely great rock and roll songs. Rivets’ guitar added both thickness and his patent mutated Keith Richards/Chuck Berry leads. Dare I say it … they were as neat as the Dolls.

Two brilliant singles were released – "Problem Child" (a punk opus) and "Suspicion" (a metallic, haunting ballad) in December 1979. Two hard pop-rock love tunes "I’m In Love With You (Again)" and "Never Should Have Told You" coupled together as The Slugs second single in January 1980. Collectors note that "Problem Child" was bootlegged on the Killed By Death – Rare Punk 77-82 LP.

The next three records were all 1980 issues by Connecticut groups. The Kink-ish "Echoes Of A Slamming Door" by R.A.F. boasts a nice acoustic guitar with a killer fuzz break that’ll send a shiver down your spine. New Haven’s Tot Rocket & The Twins had the punky "Reduced" coupled with their bluesy "Fun Fades Fast In The USA". How true. The Kids from Stratford accounted for Whiplash’s second EP featuring the pop sound of "This Is The Night" and "Down At Ron’s" – Gregg Won’s tribute to the sorely missed New Haven punk club, Ron’s Place.

Easy Money of New York added to the Whiplash catalog with their commercial rocker "Holiday". This was 1982.

In May 1983 The Sweet Tarts, a Connecticut girl group, graced the label. They recorded four cover tunes from such artists as Dale Hawkins and The Shangri-las in their own charmingly crude style. A fun record by a fun band. Diane Hanlon later joined the original members Diane Rodriguez, Trish Casper, Melanie Johnson, and Debbie Nicolar. Over the years they’ve recorded about twelve tracks of originals and covers.

Plan 9 had decided to re-emerge onto the record scene. They chose to release "5 Years Ahead Of My Time" on Whiplash. Was it a question of good taste or friendship? Anyway, their op-art packaged single hit the racks in June 1983.

Around this time Whiplash formed a relationship with New Rose Records of France. They had "semi-officially" released an LP Sons Of The Dolls with The Corpse Grinders and Killer Kane Band tracks. Upon hearing various unreleased Corpse Grinders tracks, Patrick Mathe felt that the world was finally ready for an album’s worth of their material. A recording contract for Plan 9 was also later obtained by Whiplash.

Members of The Corpse Grinders were exhumed to record several new tracks to round out the LP. Rivets and Wylder were aided by Bob Casper (bass, keyboards) and Paul "Tongue" Blaccard (drums). The LP was called The Legend Of The Corpse Grinders and included a fun, fact filled biography of the band. This Whiplash Production by Rivets and Doback was licensed to New Rose in September 1983.

Valley Of Fear was the second Whiplash licensed LP on New Rose. Rivets, Blaccard, and Casper remained. Ray Jalbert (ex-Slugs) was brought in on vocals. Later Bob Adams (bass) and Lenny Lazerz (ex-Slugs, rhythm guitar) joined. Only one song, "The Price Of Meat" was recorded by this new line-up, and it was released on New Rose’s La Vie En Rose compilation box set.

The last Whiplash produced LP licensed to New Rose was by Connecticut’s own Ludovico’s Technique in 1984. The group consisted of Bob Casper and Ken Nessing. It was an album comprised of interesting psychedelia complete with backward guitars/drums/vocals, commercial rockers, and even a soulful tune. They, too, had a track, "Hey, Protest, Hey" on the New Rose compilation. It’s a different mix than their LP version for all you historians.

Whiplash Records once again entered a state of suspended animation. The occasional recordings of The Sweet Tarts, Bob Casper, or Rick Rivets provided some relief from the doldrums. But no records.

The Risk broke the four and a half year spell. Their 12" single, a first for Whiplash, was spawned in October 1987. Unfortunately, the band’s usual, raw, rocking sound was stifled by the recording engineer for a cleaner sound.

In the Summer of 1988 Whiplash Records and Repertoire Records of Hamburg, Germany entered a licensing agreement. Repertoire abandoned its plans for a Zip Gun Angels (Bob Casper’s band) LP, a Sweet Tarts EP/LP, and a compilation LP because of their CD re-issue business which was eating up all of their time and energy.

Repertoire, in turn, licensed the Whiplash compilation tapes to Vince Lombardy High School Records – another Hamburg label but one specializing in punk. In fact, Eckehard, the owner of the label also owned a punk record shop. A fourteen track LP titled The Whiplash Tapes was released in 1990 – unfortunately not the double LP that Repertoire was to release. And, sadly, none of the photos or recording info was used. But we’re not complaining.

1990 also saw the release of Sons Of The Dolls CD on Fab Club in Japan. This one still leaves a bad taste in our collective mouths since it was licensed by New Rose to Japan. No contract/permission. No advance. Not even any promos. Doback was poorly treated upon a visit to the New Rose offices in Paris, when he attempted to obtain a contract. Poorly treated meaning he was, in essence, escorted out of Patrick Mathe’s office. Thus ended what had begun as a nice, friendly relationship.

It was a long dry spell until the next licensed release. Incognito Records of Germany licensed the usual suspect, "Rites, 4 Whites" for their Back To Front Vol. 5 compilation of punk tunes. This was issued on LP and CD in 1994.

If that was a dry spell, Whiplash was now in a desert. Nothing happened until 2001 when Chuck Warner licensed some material for his interesting punk Hyped To Death CD series. R.A.F.’s Cherry Blossom appears on Hyped To Death 1, both the Slugs "Problem Child" and "Never Should Have Told You" on Hyped To Death 2, Tot Rocket & The Twins "Reduced" on Hyped To Death 12, and The Brats "Be A Man" on Hyped To Death 41. Wow what a flurry of activity !!!

2001 was a good year. Pierepaulo of Rave Up Records of Italy contacted Whiplash with the idea of issuing some tracks on his label. He was offered an LP’s worth each of Brats and Corpse Grinders songs. Rave Up were very excited about the material and released The Brats Criminal Guitar LP and Corpse Grinders Grind On LP in early 2002. Both LPs are complete with neat pictures, extensive liner notes, and even picture labels.

It’s now early 2003. Contact with Vince Lombardy High School Records has been re-newed. Eckehard is interested in issuing The Whiplash Tapes on CD – the original songs plus a bunch of bonus tracks should make quite an interesting disc.

Who knows what else can surface? Corpse Grinders … can’t keep them buried forever. The luscious Sweet Tarts? The re-formed Brats? As Lazslo said, "Anything can happen."

A.C. Doback