this isn't about 'texas vs seattle' scenes. i'm talking about what was really happeneing up there. hald of the settle bands had texas connections. texas bands were fantastic. i can't the difference between poison 13 and mudhoney and tales of terror and soundgarden. it was all mid-80's american punk rock that had been artificially divvied up by idiots trying to sell it to idiots.
there was no 'seattle sound'. that was the hype that everybody talks about. evey band sounded totally different. there was no 'grunge'. that was a word bruce pavitt made up to promote the fake 'scene'. the media ran with it (it wasn't the first word he tried, but it was the one that caught the popular fancy). i dare anybody to define what 'grunge'sounded like. IT DIDN'T EXIST!
the melsvins were from aberdeen and larry reid (and i think bruce and russ bataglia) had put out records by them in the mid-80's. then they broke up. it wasn't until long after the 'seattle scene' started that they re-emerged as godheads. it was still ages before subpop put out anything by them.
courtney was from eugene oregon. she had already spent years trying to break into the sf scene and the la/hollywood scene before she got sucked up into seattle. she was a classic tyope that showed up there - pure horroshow. there were lots of courtneys, but she was just one of the most ruthless.
max (and anybody who gives a shit - frank stop reading now) -
the way the 'seattle scene' happened was this: first there was no scene beyond a hundred or so hipster/punks hanging around. bruce pavitt started a record label (actually his second try) modeled after his pal calvin johnson's 'k' records. he started putting out records by bands from a huge geographic region. seattle is like an island surrounded by huge distances peppered with smaller cities. he put out rcords by bands from all over. the fluid was from denver! he even went overseas! but the core bands were from a radius of about three states (that's like saying san francisco includes los angeles). then he literally conspired with a guy named everett true in england to write a fake story in melody maker about the magical scene in seattle that really rocked and touted all of these bands nobody ever heard of. before you know it journalists and musicians and hipsters from all over the world came to seattle to get rich. and the 'seattle scene' was born. the supersuckers were from phoenix. tad was from boise. soundgarden was from chicago and tacoma. nirvana was from aberdeen. girl trouble was from tacoma. cat butt was partly based in austin. screaming trees were from ellensburg. pearl jam were from montana and la. on and on and on. to be fair, the fastbacks and jese bernstien and mudhoney were actually from seattle. but, again. to say the screaming trees were from seattle, or the accused were from seattle is like saying that akron ohio is part of chicago. after awhile bruce abandoned seattle and then began trying to exploit scenes all over the place. that's the way subpop worked. if there was a scene somewhere, they'd move in and try to sign a couple of the hot bands and throw out a couple of records to see if they stick to the wall. if not by the second record, they usually got abandoned for the next scene. classic record label behaviour.
that's the REAL 'seattle scene': exploitation built on lies. it's what made america great.
max - sad to say the accused were from oak harbor. they weren't a seattle band. in fact the only band on your list of seattle bands that was ACTUALLY from seattle was mudhoney. even tad was from boise idaho.
and sadly, st. louis is really dead in the water. there is some local talent that's worth checking out - the electric, ded bugs, the cripplers, even nadine - but there is no scene here. never really has been. people like kopper and bigdumbrock are really trying - a guy name of jerome gaynor has made some really huge efforts in that area - but nothing really gets going. but you can still see chuck berry perform once a month at blueberry hill for $25. he can still (wheez!) duck walk and everything!