Ok, so it was two days instead of one. Sorry. Hope no one's day was ruined.
So as we were slowly selling off the Groundwork/Suspended Animation splits, we were readying release number two, the Soulfish 7". I vaguely recall that at one point we were discussing a Soulfish LP -- though whether that was intended to be the second release, or instead a release after the 7", I don't remember. We may have actually advertised that it was "coming soon" -- this is one of the first times I've ever wished I kept my back issues of MRR, so that I could check the ads.
Soulfish was Daron's band -- he sang, with Luke on guitar, Steve on bass, and Dave (Groundwork's guitarist) on drums. They'd been around in some form or another since before I moved to Tucson and knew any of the guys, but name- and lineup-changes kept them from ever really getting into a groove until Dave joined (as a fill-in, I think, but he became permanent).
They were in something of an odd place, I think. Through friendships, they were forever linked to Tucson's straight-edge scene, though they weren't a SE band and didn't have anything close to that sound. They were what's generally called DC-influenced, though at a time when that scene was going more angular and art rock, they were more full and melodic. An enormously talented band that somehow never found the right audience in our city.
I think the 7" was either recorded twice, or recorded then heavily tweaked on a second studio visit. I was in for the first/only session, ostensibly because I was going to learn how to "produce" -- I think my sole contribution was asking "so what does that knob do?"
For the second release, we upped the pressing to 1,000, which was probably a mistake. Not having Xs everywhere, Soulfish didn't have the automatic audience that Groundwork did, and I'm not sure whether MRR even reviewed it (this was the notorious period when the magazine was making controversial judgment calls on whether records were punk enough to be reviewed, leading to Alternative Tentacles' silly "Banned from MRR" t-shirts), so they took a long while to get out. Part of this was our over-optimism about how the DIY record market worked -- we figured that people would be lining up to distribute and sell the singles. No such luck.
It was a pretty package, though -- we splurged for blue-gray marble vinyl, and higher-quality covers (with art by No For An Answer's Gavin Oglesby and my brother, in some sort of weird kind-of collaboration that I've forgotten the details of -- I really shoulda kept a journal back then). It looks pretty nice even now.
After the single came out, Soulfish went on tour (I remember it as being ill-fated -- but again, no details. I used to have a really great memory, I swear). I ran GT Records while they were gone, in the Revelation Records style of the time -- I'd get an order, wait freaking forever (I was getting increasingly distracted by college, college girls, and beer), then send it out.
And that lack of interest kind of indicated the forthcoming end of my association with Ghost Town. Daron and I had some sort of falling-out -- again, I don't remember any of the details, and given my various early-1990s insecurity problems, temper problems, and sarcasm problems, that's probably just as well. I don't think there was any formal ending to me and the label, I just drifted away and was replaced by someone else. All for the best.
Years later I saw Daron here in Atlanta -- I showed up at a performance of his then-band Delegate, who were fantastic. Whatever decade-old silliness had come between us was forgotten, and we had a hell of a good time. Last I heard, he was in NY and doing a new musical project, which I really should look up.
After I left the label, one more release came out in 1994 -- another split 7", this one between the Weird Lovemakers (a band that actually gained something of a following) and A Band Called Moss, my little brother's band (making him, I think, the only person other than Daron to have a hand in all three Ghost Town releases). But by then I was pretty distant from the whole scene, and only got a copy because of the family connection.
So that's that. The tale of big dreams that didn't quite work out -- but also produced some of the only tangible memories of a fairly important time in my life.