It all started when Paul's Dad Jim agreed to me having his '63 Epiphone. "Sure" was his reply after he gave me a brief moment of hesitation just for fun. This was the coolest feeling ever; here I was being given a guitar. This generosity could only have been given through families like this through out history. Paul's house of coarse was the constant hang out through the years as well as others. Anyway, I brought this guitar back home and started to play it. Not until my friend Mike told me that pressing down on the right side of the fret would give me a sound as I simotaniouly hit the string. I knew I wanted to play this thing I just didn't know how. I took lessons but when I was home I would end up recording my own version of music. I liked Jim Morrison at the time so poetry was something I wanted to write, even if my English was bad.
It worked out though, I did what Mike said or as well as what the guitar instructor thought me and melded the raw improvisation of playing w/ a slight knowledge of music together. I felt guided and 'onto something'; I was always comfortable w/ preforming, I was class clown in grade school, here though, it was just the guitar and the player. I've always said that music was what filled the void in my life, comedy to me was an external anger and inner soul frustration. I had to preform to feel comfortable, but w/ music I was able to feel good reflecting own my life. Nothing against people but being able to reach those far distant areas of my heart was great! Ben was my suburban link to the city. Being his friend gave me solace. I first saw him he was wearing a Ramones custom leather that he'd won on the radio. He told me recently, when Joey Ramone passed away that when he won that jacket, he swore on the radio, and the DJ got mad at him because it was live. It's funny to imagine this 16 year old kid staying up till 1:00 AM on a week night to out of now where scream at the top of his lungs in excitement swearing. Anyway, before my solo stuff Ben and I were the Prescription Junkies. I thought the name to be a bit negative but the name stuck and there we were. Every album to date has been improved. We'd practice the song before recording and then let it rip! The first song we recorded; Ben at the beginning of it said to not look at him.
I then met Nick, this red haired Nirvana fan that played a guitar like it was going out of style. I played lead and Nick rhythm /lead then his friend Jeremy played acoustic. These recordings have not been unearthed, maybe one day; but until then Nick and I were great friends. My solo albums were now being directed more at the suburban life from city. It was year after year in the suburbs and even though the city was a block away, if you were in a suburb that was it. I adapted and stuck to my friends Ben, and Nick. Releasing albums unknowingly, I slowly amassed a strong collection of albums. Still bothering me though was that these releases kept piling up and they were not being heard. When I finished high school and was nominated class clown again I felt the audience I always had gone. My first semester in college I ended up recording Handsome Fellows, a rap band, and I Stole All This, a 35 song cover album. I was emersed in music at that point to were Nick wrote me the now infamous letter asking if I was alright for recording so much, and restating that he knew the Mohawk would get me in trouble.
Then when I was reaching for 4-track mastery, a deshevled older guy came into my room with Ben. He was a saggy mess named was Marc and was going to be the drummer for Prescription Junkies. He played drums for a couple of seconds and something great happened. This guy was right on with his uncompromising passion for rock. Ben decided he wanted out, so Marc and I continued to this day. We quickly wrote some songs and recorded them in a studio which I've never even thought about before. The first song we recorded was Pharamones and the beginning intro riff was my anger at the whole studio recording process, I was pouting, but in the end it sounded super. The band of coarse is The English Softhearts and we've just recorded a new album, but we're still going strong! As the Softhearts moved up in the world, I couldn't help but think back to how it all started. Paul's Dad's guitar and a bunch of memories to reflect on. That's why this label is around. It's more about creating a proper time line to my scene of friends and fellow musicians and artists. It's about commerce eventually, but first and foremost it's about revolution. Making the bad better, and wrong righter.
Anyway here we are now, with over 40 releases and it's amazing! I appreciate everyone who has helped me in the past, present, and will in the future. there's more characters and stories, but these are the original. Tony was someone I met in the Softheart start era. He was in a band called The Eddie Hascals, and liked the Softhearts. I couldn't believe some pop punksters would like us. Anyway we made an idea for both of our bands to play a show. It turned out 11 bands ended up playin' what was the first of four Jarvis Cruize Productions shows. The shows were run by Jesus, Bill, and me. Bands who played were the likes of Combustible Huxtable Explosives Department, Instruments of Destruction, Yellow Snowmen, You Stay Here I'll Go Get Help, The English Softhearts, Jonny Crackeye, Swingset, Micheal Gaughan, Vote Quimby, Dinah, and of coarse Jason Kluss. It was a great time, and everyone had fun; if you could believe that. Jarvis folded over inner turmoil and I was left with my cheese in the wind. I knew I wanted to do more, so I started to look to my past. I found 5-6 albums sitting around as well as Sankturay, You Stay Here I'll Go Get Help, and The Eddie Hascals release. This was it; I knew what I've always wanted: to give these albums a legitimate representation. No more fodder for play. I wanted to release, represent, and recognize these great albums in the context of the scene we were a part of. Here we are now...
-your pal, Rich Szczepanski :)