Gas Huffer Albums (6)
'Lemonade for Vampires'
Release Date 9/13/2005
Tracks 14
Label Estrus
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What The Critics Say
After a trio of discs failed to deliver Gas Huffer commercial acceptance beyond the diehards, the group found themselves on the Estrus label for The Rest of Us. The disc is a step back in several ways: Jack Endino is back in the producer's chair for the first time since 1992's Integrity Technology & Service and the band's punk is less aggro and more garage-oriented. "Third Party Men" might be the best song the band's ever done, channeling the Dead Boys with a chugging riff that demands inclusion on mix tapes, and though the rest of The Rest of Us fails to live up to that promise, it's still a fun romp indicative of the band's legacy. ~ Brian O'Neill, All Music Guide
What The Critics Say
Gas Huffer's second album for Epitaph is as raw and raucous as their debut, but it benefits from an increased sense of songcraft that actually makes their warped garage-punk hit harder. ~ Stephen Thomas Erlewine, All Music Guide
'Inhuman Ordeal of Special Agent Gas Huffer'
Release Date 1/2/1996
Tracks 14
Label PIAS
See Album Tracklist and Review
What The Critics Say
Gas Huffer's fourth album means more Gas Huffer hijinks -- the unconverted won't find anything to change their minds; the fans will find plenty to love. Once again working with Kurt Bloch, the quartet again throws in some odd curveballs as it goes, like the glammy drum stomp that opens "You Are Not Your Job," itself preceded by a snippet from some odd '50s/'60s music education recording, apparently. The various song titles -- a reliable indicator of the enjoyable craziness on any Gas Huffer release -- once again come through: "Money 1, Fun 0," "Carolina Hot Foot," "Numbnuts Cold," and the stupidly genius "Double-O-Bum." The whole spy thing is actually at the heart of the artwork and design of the disc, with the four dressed as ninja/commando types with appropriate poses and responsibilities (Dan Blackstone's brief is "security," which could be why he's lighting some TNT with a cigar). One of the screams of the whole deal is "Sixty Three Hours," which has a great drum/bass intro from Blackstone and Joe Newton that plays up the whole spy theme rock thing -- Tom Price's guitar just adds to everything later. Elsewhere, meanwhile, it's just Gas Huffer -- the tonic one needs in a world of humorless fools who can't rock. Some surprises? "Tiny Life" actually starts with acoustic guitar, then becomes a bit of Lee Hazelwood country theatrics and gets away with it for a minute before it's business as usual. "Smile No More," meanwhile, winningly sneaks in a downright winsome bit of power pop amidst the usual chaos, playing up the image of sadness while not missing the velocity. Matt Wright's soft singing on some of the verses is practically a revelation -- and are those actually keyboards on "Discovery Park"? ~ Ned Raggett, All Music Guide
'Integrity Technology & Service'
Release Date 4/21/1994
Tracks 13
Label Empty
See Album Tracklist and Review
What The Critics Say
Gas Huffer don't change one darn thing on its second album -- and that's perfectly fine. In fact, it's great! Integrity, Technology & Service is again produced by Jack Endino, the emphasis once more on crazy, entertaining, classic, punky raunch and roll moving at 200 mph. One of the band's all time great songs is here, "Do the Brutus." Their own version of a hot new dance trend starts with a brisk, killer bassline from Don Blackstone and then makes it from there -- as Wright chants, "throw back your head like you're gonna sneeze!/Do the Brutus, it's quite a hootus!" It looks like Wright himself is pulling off that move on the inside photo, for that matter. As on other releases, many song titles convey the atmosphere here better than other words could: "Overworked Folk Hero Guy," "Remove the Shoe," "Sandfleas," "Where Wolfmen Lurk." Wright, as ever, is a perfect frontman for the whole shebang, with plenty of the same immediate rough charisma as his fellow appreciator of hot grooves and sideburns, John Reis of Rocket From the Crypt. Price smokes down all around him with both his economic solos and instantly memorable riffs, while Blackstone and Newton's rhythm section burns rubber several times over. Among the many pure delights are "The Piano Movers," a wry tale of working grunts and a day of disasters on the job, and "Bomb Squad," a similar tale of a slightly more dangerous line of employment with a wonderful "hit the deck, she's going to blow!" backing shout. The "I.T.S. Credo" sums up the appeal of the whole album, as Wright sings on top of another fast-paced garage jump-up, "it's the credo we abide by every single day." Major points as well for the gas station-inspired uniforms on the back cover, years before that became an overdone trend used by unappealing trendhoppers. ~ Ned Raggett, All Music Guide
What The Critics Say
The title's a reference to the recording process, but on the cover, there they are -- one inch masters, the band members themselves as kiddie toys (Matt Wright's apple-cheeked look is particularly funny). Third album along and Gas Huffer is once again dedicated to bringing the sweaty, sexy beat, the humorous melodrama, the oddball storytelling, and more all to the fore. Fellow Seattle music denizen Kurt Bloch handles the production this time around and, though they ended up on Epitaph, there's no attempt to turn them into the Offspring-lite or any such annoyance -- it's Gas Huffer, straight up. Song titles again serve as a mission statement and call to arms, with choice instances including "Mr. Sudbuster" (cue for another shaggy-dog tale from Wright and company, this time about the powers of detergent), "Appendix Gone," "Hand of the Nomad," and the hilarious "Goat No Have." While there is a slight change here and there, it's in slightly calmer, but only just, song introductions and general atmospheres -- playful riffs from Tom Price here and there, a hint of country jump blues on "What's in the Bag?," and the like. "14th and Jefferson" has a slower R&B groove for a start, speeding up a bit as it goes but not losing its sharp sense of swing. Those instances aside, otherwise it's Gas Huffer blazing along as always and devil take the hindmost. "Quasimodo '94" is a definite barnburner, relying on acceleration instead of blunt feedback slabs to make the maximum impact, a Gas Huffer trademark (besides, Wright's singing is pure force on its own). ~ Ned Raggett, All Music Guide
