Dogeared CD/CS
(Teenbeat/Mad Rover 1992)
1. Hence The Box
2. Smokebreak
3. Story of My Life
4. Smile
5. Old Peculiar
6. Curl Up and Dye
7. Unsafe With Fewer Drinks
8. Oh, That One
9. Spinach
10. Virtual Oblivian
11. Flies
12. All Fouled Up
13. Harry Monk in the Boatrace
14. Stillness
Teenbeat No. 85 - 85C (cass)
Released on CD and Compact Cassette in 1992
Original release on Teenbeat Records, licensed from Mad Rover Records, Inc.
Available on CD from Teenbeat Records.
Available for download on iTunes, Amazon and eMusic

Patricia Rowland - vocals
Lindsey Thrasher - guitar/vocals
Lawrence Crane - bass/guitar
Steve Bragg - drums/percussion

Produced and engineered by John Baccigaluppi
Recorded and mixed April through July 1991 at Enharmonik Recording Studios, Sacramento, California
Extra musicians: John McKinley - lead guitar on "Stillness", John Baccigaluppi - keyboards

Cover photo by E.J. Bellocq
photos by Tim Smyth ("Montana Swisher")
Graphics and Layout by TeenBeat Graphica
Drawing by Holly Hodge

Thanks to: Mark Robinson, John Baccigaluppi, Rich Hardesty, John McKinley, Tad Tod, John Peters and Starshine Studios, Mike Bahr and his video crew, Thinking Fellers Local 282, Tim Smyth, Seymour Glass, Jeff Tracy, Lynette Frost, Barbara Manning, Adam Wakeling, and everyone who'd let us sleep on their floor!

All tracks written by Bragg, Crane, Rowland, Thrasher except "Stillness" written and copyright 1985 by Lindsey Thrasher and John McKinley.

John Peters at Starshine Studios recorded John McKinley's guitar solos on "Stillness"

Note that the CD release (and original digital downloads) of Dogeared have a screwed up track order. What should be tracks 6 and 7 are combined, and therefore every track after that is off by one. The instrumental reprise of "Hence the Box" is mistakenly given an ID number (it should be tacked onto the song before) and then track 14 ends up correct. The pressing plant fucked it up and blamed us. Thanks assholes. You were wrong, not us.

Plus, the cassette version (which sold about 12 copies) doesn't have "Smile" listed on the insert. But then again, anyone who has figured that out and is listening to a 17 year old cassette probably has other problems facing them that are much greater than a missing song title.

Also, there was at least one copy of Dogeared where the pressing plant accidentally packaged up some Mariachi band's CD, silkscreening the CD with our art and all. They must have really been on the ball...

The back cover of Dogeared

The tray insert of Dogeared

The liner notes Dogeared (click to enlarge)

The disc of Dogeared

"It seems like most bands get worse as time goes by, with all their good ideas and years of songwriting getting spent on their first album and a slow, painful descent into mediocrity from there on out. Vomit Launch honestly didn't start out on the top of our game - charming maybe, but not fully formed or honed in out of the gate. Lindsey, Patricia and I had to basically learn to play our instruments and sing, how to write songs and how to function as a rock band in the middle of being one. Gaining a top-notch drummer in Steve Bragg upped our proficiency immensely, and constant practice and gigging didn't hurt either.
Dogeared, our fourth album, is regarded by many (all five?) of our fans as the strongest of Vomit Launch's records. From the beginning I had an inkling that this might be a stronger album. Many of the tracks, like "Smile" and "Hence the Box", originated from music I was demoing at home. Arrangements and ideas for specific parts were already tighter and more focussed than usual, before the rest of the band had even heard them. Patricia would fit her lyrics over the piece, and then Lindsey would come up with a different, new guitar part and Steve would build up distinctive drum ideas and arrangements for each song. Other tracks, like 'Oh, That One' and 'Virtual Obilvian', were written by the gals when we sent them off to woodshed, hoping to coax a different feel out of our writing process. Some songs, like 'Flies' or 'Story of My Life' came more out of rehearsal 'jamming' and eventual rebuilding. The music became more focussed, with less 'stylistic explorations', and with this streamlining also came a new onslaught of lyrical venom from Patricia. I've never figured out where it came from, and at the time I'm not sure I really thought more of it than, 'Oh good. The words fit the music well.' Looking back now, the songs feel intense, angry, betrayed and bitter. I think that overwhelming emotional rollercoaster ride is what people respond to. We might have explored some of this previously, but never so itensely and all throughout an album.
The other factor that came into play was certainly my own move towards record production and recording (basically unknown to myself at the time). I was leading most overdub sessions (especially the instruments) and was the band's spokeperson and only attendee of the mixing sessions with producer/engineer John Baccigaluppi. John's new studio (now known as The Hangar) had also moved into a nice, big location, and the band had also become more trusting of him and his skills. It all came together pretty damn well. Even if the band had kept on going, I really wonder if we would have ever topped this album."