WAX released their debut album, What Else Can We Do in 1992 on Caroline Records. The album was recorded in two weeks by Ramones/White Zombie producer Daniel Rey. In 1995, WAX followed up with 13 Unlucky Numbers which featured the famous “guy on fire” video by Spike Jonze for the song “California” which MTV banned from daytime airplay.
During the early 90’s, WAX played and toured with The Ramones, Smashing Pumpkins, Rancid, Green Day, Pennywise, NOFX, Rocket From The Crypt, Weezer and many others. WAX’s three-minute pop anthems were an infectious cross between The Ramones and early-era Replacements. Although WAX didn’t achieve the same level of success as many of their peers, their live shows are still talked about today as some of the most exciting and unpredictable of their time.
In 1995, after playing together for five years, WAX melted and the four members went on to other endeavors. Joe Sib co-founded the successful independent record label, Side One Dummy and started the band 22Jacks. Loomis Fall became a regular on MTV’s Jackass, Dave Georgeff works for Warner Chappell music publishing, and Tom “Soda” Gardocki fronts his own 17-piece band and plays music all over the country.
The band recently got together and decided to release a vinyl 7-inch featuring four unreleased WAX songs that were originally intended for 13 Unlucky Numbers. All proceeds from this 7-inch will be donated to UCP Wheels For Humanity, and will be released on Side One Dummy in August 2009.
On October 9, WAX (originally from Chicago) will play with Chicago punk legends Naked Raygun at The Metro for “Riot Fest.”
Rivers Cuomo of Weezer recently wrote this about WAX:
“One point of real pain in Weezer’s collective psyche in 1992 was our jealousy of Wax. Not only had these friends and former equals (at the bottom of the social ladder) actually made it (in the sense of getting a record deal) but we actually LOVED their music, we worshipped their music. It was so catchy, so ridiculously hook-laden. Every part of every Wax song was as fun and heart-stirring as the last, and each part lasted only as long as it was fresh and then was replaced by the next. We were so jealous. Our songs seemed plodding, dull, and boring in comparison. No wonder people loved them and hated us, we thought. We beat ourselves up as we were flyering, imagining that what the random strangers walking in and out of the clubs really wanted was news about Wax. As we passed out a flyer, we would say to the people, ‘Hey, come to the show … Wax is going to be there.’ We didn’t even say that Wax was going to perform. We just said that they were going to be there. Sometimes we just said ‘someone from Wax is going to be there’ or even ‘someone from Wax might be there.’ And we were astonished, dismayed, and delighted (at our own lameness and Wax’s awesomeness) when someone would actually respond, very interested and excited, ‘Wax is going to be there?'”
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