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Generics

LONDON, NOT B.C.

About Me


"If any one band personified teenage snotty brat punk rock attitude in London Ontario, it was the Generics. Born out of a love for punk rock music, mixed with the constraining mental mind fuck of everyday life in London... Generics rose from a shaky beginning to become one of the best examples of the real deal as far as the punk lifestyle went. They had the music, the look and the attitude, none of which was contrived. They had a knack for rubbing people the wrong way, much to their delight. Perhaps no band in London was disliked and liked at the same time quite like the Generics were." - Dan Husband, London Ontario Punk Rock Scarchives
PART 1 - Formed in 1980, Generics (average age 15) achieved instant notoriety in their home town by being banned, blacklisted, threatened with a $50,000.00 lawsuit, ostracized by the older "elite" crowd at the Cedar Lounge (London's main underground music venue), dismissed as unoriginal and untalented by the local media and rival bands, and generally treated as outsiders even by other outsiders.
Arriving at the tail end of the punk movement and before anyone in London had any concept of hardcore, Generics existed in a musical no man's land where anything resembling either was dismissed as "passé". The band found it all endlessly entertaining, taking great pleasure in getting under the skin of their critics, and carried on regardless, ignoring the ban by playing out of town, sneaking onto the bill of other bands' gigs, or whenever possible, renting halls to put on all-ages shows. In 1981 they found a permanent drummer (5th drummer in 7 months), added a second guitarist, and towards the end of the year became regulars at the city's newest alternative venue, the Embassy.
Eventually the Generics acquired their own gear and learned how to play their instruments. A multi-million dollar bidding war between all top top record companies ensued, along with offers to open for some of the larger shows, including the Professionals, Forgotten Rebels, Dead Kennedy's, and The Damned, among others. OK, the bidding war part's a slight exaggeration, but the rest is true. The year-long Cedar Lounge ban was finally lifted in January 1982.
In February, thoughts of recording an EP or album were scrapped after an extremely disheartening show at the Turning Point in Toronto, where the Generics called it quits, disgusted by the violence, elitism, and fashion victim/herd mentality rampant within the "punk/hardcore" community at the time.
PART 2 - Generics reformed nearly a year and a half later for a one-time gig with D.O.A. on June 3, 1983. They offered to pay for a case of beer, thereby screwing the originally scheduled opening act out of a gig (sorry!). In fact, they did such a bang-up job that Donny, the owner of the club, paid them $50.00 on top of the beer. $50.00 was a fortune by Generics standards. Seriously.
Inspired by their new found incredible wealth and by chance encounters during the previous year and a half with like-minded people - particularly the Subverts from Chicago, M.D.C. from Austin, the Pathetx, L-Seven and members of Negative Approach from Detroit - they decided to make the reunion permanent.
After supporting GBH and playing an alcohol sales record setting "farewell" show, Generics set out on a western tour in August, playing in Winnipeg, Calgary, and Vancouver, cancelling shows in Seattle, Berkley, and at Mish Bondage's (Sado Nation) house party in Portland in order to extend their stay in Vancouver and record a 3-song demo. A fourth song, "Outcasts Of Society", was also recorded, but only as an afterthought to "get it on tape" since it was going to be dropped from the set list as the band considered it their worst song.
The reunion was cut short after just three months when the Generics crashed near Brandon, Manitoba on September 3, 1983. Marc Sahrmann was critically injured in the accident, and the Vancouver Demos (all 4 tracks, unfortunately), only available in '83 on a few homemade cassettes, were reissued in his honour as the Societal Hemhorrage EP following his death on June 3, 1984.
In 1994 a German bootleg of the Societal Hemhorrage EP appeared, advertised as a "limited edition second pressing". The original is now considered a rarity and sells for far too much money on the obnoxious "collectors" market.
"Hated, jeered at and vilified...Generics can best be remembered as a bunch of petulant brats who wouldn't take no for an answer, loving every minute of their "punk ostracism". A band often criticized, turned out to be a shining example of how to get things done. They formed a band, then got off their asses and did something about it. Generics were a true punk band and those lucky enough to see them live will attest to that fact. A great band in the ranks of London's punk history." - Dan Husband, London Ontario Punk Rock Scarchives
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My Interests

Music:

Member Since: 5/20/2006
Band Members: Marc Sahrmann - vocals
Chris Richards - guitar
Marylou Ambrogio - guitar
Bill Wallace - drums
Kevin Fox - bass (80-82)
John Ondrasek - bass (83)
Influences: Sex Pistols, Ramones, Stooges, all the UK groups from 76-77 who started out not knowing how to play and ended up sounding like nobody else - Adverts, Siouxsie and the Banshees, Eater, Subway Sect, Warsaw/Joy Division, Slits, etc
Sounds Like:
They're a great primitive punk band, full of spit and disdain for the rest of the world - screaming about suicide, anarchy, and the "stupid" people who listen to heavy metal and hang out in pinball parlours. But ironically, all that anger comes out sounding almost nostalgic - Steve Brunt, London Free Press, 1981
A great band that unfortunately doesn't have a recording available but will-do quite soon. The nicest bunch of people from London, Ontario, where people in general still waddle in urban/rural soap opera life. Of course this bunch knows what it's doing with a refreshing confidence - they would do so much better with an E.P. or somethin!...sounding at stages like Killing Joke, A.O.F. Middle Class, and best of all their very own T.O. sound! Another thing I liked was their avoidance of political bullshitting, neurotic trends, and grudges about not being paid well. Accuracy with their music, a healthy mind, and showing people how to have a good time! - L.L., Pages Of Rage! fanzine, Winnipeg, 1983
These groups all sound the same, all consisting of guitarists who could only play the same three-chords and singers with unexceptional "angry young men" voices. The appropriately named Generics best sum up this period. Their song I'm (sic) Not Afraid To Die, featuring a singer whose vocal style is a shout which quickly grates on the nerves, is typical of this music. Certainly lyrics dealing with nuclear war should be delivered with some severity, but come on fella, lighten up. - Robert Pegg, London Free Press, 1984
The first few times I saw the Generics live I was not impressed. They were not very original and seldom in tune. This never slowed them down and they always seemed to give as much as they could. The more they played live the better they got and through a few line-up changes they became quite competent ...The song themes deal with alienation towards "normal" people and the way they think. "You must conform, Right now!", Sahrmann yells in "Freedom Six Feet Down". What he lacks in vocal range he makes up for in phrasing. He sounds like he means it. - Pete Dekoker, What's The Poop? fanzine, London, 1985
Vancouver hardcore outfit with severe political leanings - JAM! Encyclopedia Of Canadian Music
The music of Generics from Vancouver is not as simple as their name suggests. Quite unique Punk, mid-tempo, nice melodies (occasional saxophone). False Prophets probably come closest. [7] - Thomas Lindenbaum, FLEX! Discography of US Punk and Hardcore, 1992
Canadian Punk classic...I would have given it an 8! - Global Darkness, Netherlands
Very rare and brilliant Canadian punk rock release - Detour Records, U.K.
I remember seeing them at the Cedar Lounge, they were horrible. The cool thing was, they were great to look at on stage, they just came across as deserving to be up there. It was comparable to an early Slits gig, horrendous... but cool, simply for the fact that they were up there doing it. - Danny Napalm (Napalm Baby's), 2001
Record Label: white, with black bits written on it.
Type of Label: None

My Blog

Good Bad Music For Bad, Bad Times!

A review of the Societal Hemhorrage ep from one of the better mp3 blogs, Good Bad Music For Bad, Bad Times!...
Posted by Generics on Sat, 31 Mar 2007 02:06:00 PST