This article is cross-posted from PanhandlePunk.com.

Below is a trove of items related to Tallahassee first – and quite possibly North Florida’s earliest – punk band, Mad As Hell. Thanks to Mark Striffler and Thad Mickler for unearthing these materials and supplying the images, and Johnny O for facilitation. For more background, check out my earlier post “Who in the hell were Mad As Hell”.

Per Mark Striffler:

Mad As Hell formed on June 1, 1978 as a trio featuring John Olmstead (Johnny O) on guitar and vocals, Randy Hill on bass and vocals, and Ben Mickler on drums. About a year later, they added Bryan Pritchett on rhythm guitar and vocals and became a quartet.

At the time, most gigs required bands to play three or four sets a night of 45 minutes plus in length, so you either had to have a ton of originals or you had to learn covers to fill the gaps.

Mad As Hell had a solid 60 minutes of originals, but they added rock covers to the set list and they were covering songs that most rock bands in the south weren’t at the time (Clash, Vapors, Ramones, Lou Reed).

Several original “punk bands” in the area at the time were just doing original sets (with an occasional Iggy cover, perhaps) and pairing up with other bands so that three and four band bills could cover the full night of music required by the clubs. It made for a robust music scene for a period of time in Tallahassee, as several bands including Persian Gulf, The Know-It-Alls, the Slut Boys, Hated Youth and others formed, developed, and flourished. (Ed. note: Mad As Hell predated all these bands by more than a year.)

Mad As Hell lasted about 2 years, then they changed their name to The News, and then to Deraylers, as they became more of a straight-ahead rock band with punk roots. When the band broke up, Ben moved to Atlanta and played drums with several touring bands from that area, and now lives in Alabama and still plays.
Johnny O is a lawyer in Tampa now, and he plays several stringed instruments (mostly mandolin) in folk-based Americana groups.

Bryan moved back to the Midwest. Randy stayed in Tallahassee for a few years and was a member of Crew 22, a great band with great songs and great lead singer/songwriter named Greg Kelly. Chris Kissinger played drums and Jerry Gaskins played keyboards. Randy later moved to Orlando and he played bass with several working bands, namely Cactus Jack and The Cadillacs – a classic rock cover band with a big central Florida following. Sadly, Bryan and Randy passed away.

If you have old Mad As Hell recordings, photos, flyers, ephemera, or stories to share, especially their elusive demo recording, please contact [email protected].

Per Know-It-Alls front man Burk Sauls: “I caught the tail end of it and saw them play maybe 3 or 4 shows when I was in high school... Got to be pals with Johnny O before he went off to law school. We talked a lot about music and bands, etc.. 🙂 I remember one night at Bullwinkle's during their set he ran out the front door and into the street with his guitar and played in the traffic for a while. Legendary band. Pretty much inspired me and gave me the nerve to start one, too.”

Click here to hear a live track "The Weak Survive?" recorded during Mad As Hell's set from October 28, 1978 at the Halloween Palm Court Party, New College, Sarasota, Florida. Huge thanks to Mark Striffler for preserving and sharing this recording.

Planet Ten, The Origins (One Wabbit's Perspective)
By Larry Smith

When George reached out via email to ask if I’d contribute reminiscences about the scene from the early ‘80s, I was a little shocked. First, I hadn’t heard from him in ages, and second, well, me? Really?
 
This is NOT meant to be definitive, and I genuinely hope that readers use the comments section to correct, clarify, and add PERSPECTIVE to my musings. With interaction there are plenty of stories that could be drawn out, but I don’t want to presume that anyone would want to hear everything I could describe.
 
First, if you think Planet Ten was a shithole (you’d be right of course), you should’ve seen the place where John and I LIVED. (And MANY of you did, I am aware!) Moldy Towers was located at 312 ½ Broward Street, behind the Howard Johnson’s. The ½ was because it was a two-story building built in the ‘20s or ‘30s by the owner’s husband, and our “apartment” was accessed by a rickety stairwell that ran along the left side.
 
Ramshackle is a good adjective; there were no “true” doors or windows (nothing was square), everything had taken on a tilt from time. But it was CHEAP – I think we paid about $125/ month in rent; I KNOW that John paid more than I did, because he wouldn’t clean, and it was worth a little extra to him to have me do all the cleaning. (I think I paid $50, and he $75.)  Having graduated college and gotten a couple of decent paying jobs, I could live like a KING on $200/week. At the time, I smoked cigars and pipes, drank excellent Scotch and Bourbon and listened to a lovely stereo at high volume daily.
 
There were other inexpensive (but much nicer) building around us, and we had a really nice, kind of artsy community. We got to know a LOT of the high-school punk/ goth set and were generally a place where underage drinking and shenanigans was not only tolerated, but on some level encouraged.
 
John and I had been in Faith In Medical Technology and were truly best friends as well as roommates. We enjoyed jamming together, and knew that, after NOT being in bands for a while, we NEEDED to be in a band again. John recruited Peg, who I believe recruited Mike, and thus Silly Wabbit was begot. I have no idea how we found Derrick, but a high-school drummer rounded out the band.
 
We would go to Governor’s Square Mall every Sunday, to a German pub (Mr. Dunderbaker’s, or something like that) and have Stella’s and sausages. Then off to band practice at Moldy Towers. This was untenable; while I’ve adequately described the shit-holiness of MT, I cannot begin to convey the SMALLNESS of the space. We practiced in the kitchenette, kind of the foyer, and while noise wasn’t the issue, there wasn’t room to turn around.
 
I think Mike found the building, but I could easily be wrong. I distinctly remember going to check out a print shop (Peg mentioned it was an ink-making place, and she could be correct, but I think it was “Modern Printing”, or a print shop with the word modern in its name) that was around the corner from the legendary OK Club, just down the street from CA Chapel.
 
It was one room, but a good-sized room, with no air, but a garage door that opened to the neighboring field. There were two bathrooms, and in the back (across from the bathrooms) large shelving made of lumber. The entire floor was covered in ink. Even though it was “dried”, you’d leave footprints, as you could feel the sponginess of the surface. It was CHEAP, like, Moldy Towers rent kind of cheap. I think we ALL fell in love with the place immediately and rented it on the first visit. It had a “vibe”, it just felt like it could be a home-away-from-home.
 
I may be the one who suggested using kitty litter to get the ink off the floor. I know that it was thick enough that we literally used shovels to scrape as much as we could, but the tacky residue needed something else. So, kitty litter it was. Hundreds of pounds. Bag after bag, we’d dump it on the floor and sweep with hard-bristled push brooms. I don’t remember wearing any kind of facemask or respirators, I DO remember coughing fits and being covered in a dust that was palpably poisonous. The joys of misspent youth…  After weeks of hard work, we were able to move in. I think Mike and John built the drum stage, but I’m not sure who did it, or even if it was done right away (though I THINK it was, I KNOW it was done before the expansion). We made doors to cover one set of shelves (the lower ones, just a panel hinged at the top with a padlock at the bottom) so that we could leave amps and instruments there.
 
The sound booth housed our minimal PA gear, an EV/Tapco 5212 12-channel mixer (I believe that Larry Schmidt nailed this specific board to the wall at Reel Rock’s offices with a railroad spike, at least I’d heard that anecdotally, though never saw it for myself), a QSC-1400 stereo power amp (1 channel for mains, 1 for monitors), a stereo 31-band EQ, and a cassette deck are the only pieces I can recall. We had Ramsdell Audio 3-way mains (15-inch woofers) and a couple of 2-way floor wedges. An assortment of mics and I think 1 or 2 cheap DI boxes rounded out the system.
 
As Silly Wabbit, we all genuinely embraced the silliness that was The Adventures Of Buckaroo Bonzai Across The 8th Dimension. (That and Repo Man were among my favorite movies.)  We all took “John” names; I don’t remember everybody’s (I think John was John John), but I know that I was Laughing John Rhythmless. Planet Ten was an obvious choice, though, again, I don’t know who suggested it. (A refrain from the movie was “Where are we going? Planet Ten! When? Real soon!”)  It was immediately adopted as the name for the space LONG before the sign went up.
 
We had a GREAT place, and in the spirit of The OK Club started having parties when we’d feel like doing a gig (‘cause we weren’t getting booked anywhere else). We’d have friends come play with us and made many new friends this way. For one show, we asked for a rabbit, “stuffed or otherwise”, be brought as “cover charge”. There were MANY stuffed rabbits, but also some drawings, and one roughly hewn rabbit carving. And someone brought a LIVE BUNNY. It was a baby, just tiny, and adorable. Mike took it home but called me the next day telling me he was a bad dad and couldn’t handle it. My wife and I took it in, and though it started small grew to be a New Zealand Giant White that weighed nearly 20 pounds. And of course was named Silly from the get-go.
 
That’s MY recollection of the genesis of Planet Ten. Mind you, at this point Silly Wabbit was still using it as our practice pad, and gigs were few and far between. But it was developing the character and feel that would lead to a business venture down the road.

Larry Smith, 2022

Planet Ten - A place to practice
By Mike Henderson
 
As Larry mentioned it all started as a practice place for our band, Silly Wabbit. I had been on the hunt for a "loft type" place since I started playing in bands in Tallahassee in the early '80's. All the commercial places, no matter how decrepit, were crazy expensive. Several friends had worked out deals with self-storage places, but most frowned on renting to bands - and they were expensive. At some point, I noticed a For Rent sign on a building next to the Civic Center, near where CA was (for some reason, I missed out on the OK Club even though I was a big fan of the Slut Boys).
 
The Slut Boys were a deciding force in my coming to Tallahassee. I was looking at colleges to attend in Florida in the spring of '81 and having been nonplussed with south and central Florida, came to Tallahassee to check it out. While walking around campus with my dad, I noticed a flyer on a telephone pole. A Diane Arbus photograph of a young boy holding a hand grenade alerting viewers to a band called the SLUT Boys playing soon at a venue called Tommy's, which happened to be across the street. We crossed the street, and the windows were plastered with flyers from previous shows - Joan Jett - Psychedelic Furs - Iggy Pop. All that in this tiny place! My college decision was made right then and there. I was in my first band, and this town is punk rock. Walking down the strip past Randy's Campus Theater (my original choice for a band/club space) and Mike's Pawn Shop and Beer Barn I saw Bullwinkle’s and made a vow. To come to Tallahassee, start a band, and play Bullwinkle’s.
 
I started school in the fall of '81, and Tallahassee wasn't quite as punk rock as I had thought. Spent a few months recruiting a band and being harassed for my long hair and punk clothes. There were many rednecks - mostly harmless - they just liked yelling and threatening. I started my first band here - Grandma's House, with Johnny V. on vocals, Christine Taylor on vocals, me, Ann Boardman on bass (who I stole from the Guise - I saw them at the Down Under and HAD to have Ann in the band, and drummer Bill Fuller. We practiced in the basement of his grandmother’s house "way" out on Plantation Drive - hence the band name. We were fun, played a few covers, Devo, X, and some originals. I had met Burk Sauls from the Know-It-Alls thru my neighbor in Salley Hall at FSU, Lloyd Tabb (whose brother George was in Roach Motel from Gainesville) and went to EVERY show they played. They were fun, new wavy and punk rock. Tallahassee was coming alive.
 
One day Burk called me and asked if we would like to open for them at Bullwinkle’s. I couldn't believe it. YES! When?? he said tonight! I was excited and terrified. We had maybe six songs, but I said "of course" and started calling the group. We ended up doing the show and two sets. The first set was four songs and the second was all six. I finally played a club in Tallahassee. It was awesome.
 
Grandma's House went on to play for the next year or so at Tommy's, Bullwinkle’s, Smitty’s and a couple of house parties. We played a lot with the Know-It-Alls and the Generix. Bil from the Generix was my next door neighbor at DADA/vermin estates across from the Tri-Delta House on Park Avenue, and I recall the "end of the world" party on the front lawn blasting the sorority girls that was shut down by the police just as we were going on. We moved the entire thing and crowd into Bil's tiny one-bedroom apartment and played for hours.
 
Our drummer Bill, left for the Air Force and we never quite recovered. Drummers were hard to find. Doug from the Know-It-Alls filled in for a while, but at some point Johnny left and that was the end of that.
 
A couple of years later I got a call from Paul Suhor (Sector 4) asking if I would like to try out for a band he was starting. I was all in. Sector 4 was this incredible whirlwind of creativity that really jump started the Tallahassee music scene. They, Hated Youth, Daughter Damage, and others really got things moving, so I was very excited to work with Paul. Funny history - one day at Mike's Pawn Shop I saw this amazing cool guitar - an orange G&L S-1 and HAD to have it.. I saved/scrounged some cash and went back for it, and it was gone. The next week I saw Sector 4 at Smitty's and Greg Sapronetti was playing that guitar! Oh well..
 
When Greg joined the military, he was selling some things, and asked if I wanted to buy that guitar. Yes. It was my main guitar from then on.
 
Several places tried to do shows… Smitty’s, Emmanuel’s, Sweetbay Studio, The Down Under. Tommy’s had closed and Bullwinkle’s had gone horrible. CA labs (later CA Chapel) fixed all that.
 
George Barker and the CA people put on some of the most amazing shows ever here in little Tallahassee. Circle Jerks, Bad Brains, Black Flag, 7 Seconds, Verbal Assault, Sonic Youth…wow. I don’t know how they did it.
 
Anyways, Paul started Pygmy Runt and we played several times at Sweetbay, CA and MANY house parties at Paul's house. It was a lot of fun and fizzled out fairly quickly, as is often the case.
 
A few months after that, I received a call from Larry Smith, who I kinda knew from FIMT, but didn't really, asking if I would like to join a band with him. I was honored and quite frankly surprised by the request, and was happy to accept.
 
We started meeting at Governor’s Square Mall at Dean’s Pub on Sunday mornings right when they opened for Steinlagers and snacks to prime us for practice which would last until late evening. God that was fun.
 
I've always enjoyed weird, nonsensical, pun-ish band names, and at some point during practice, I blurted out, "Silly Rabbit" and I think Peg said something about Elmer Fudd, "Kill the Wabbit" and Silly Wabbit was born.
 
Moldy Towers, etc. -  Renting the practice space, etc..
 
When we moved in and had cat-littered the floor and cleaned up the space we needed something to cover the large windows facing the street. I recalled spaces using newspaper to cover the windows and I just happened to have saved every copy of my Weekly World News subscription from the last 3 years, so I thought that would be clever to cover the windows. That worked out well.
 
After renting the space which would become Planet Ten - it was quite large, 1500 sq ft or so, and we had played a couple of “shows” there - more like parties - we were approached by a couple of people about using our space to have larger shows. Alex Weiss and Michael Pinney mostly. We said sure pay us $100 or so and do whatever - we figured that would help cover the monthly rent, which while not much, was a lot to cover back then. The shows seemed to be pretty successful, and the Wabbit Warehouse was getting the rent paid. I don’t think any of us had any idea of booking shows or starting a club at this point.
 
Around this point, I went to Germany to visit my brother who is in the Air Force. I saw many cool hole-in-the-wall bars and clubs and brought this knowledge back with me.
 
One night I got a call at home from some guy SCREAMING about the band he was promoting and why the hell I hadn’t called back to confirm the show and he was screaming and cursing and I just said, “i don’t know what you are talking about” and he continued screaming and I said, “I don’t know what this is about, go fuck yourself” and hung up.
 
He called me back a minute later, a little less screamy, and identified himself as Johnny Stiff, a promoter from NYC that had a band booked at my club. I told him that all the booking was done by individual promoters and I had no idea what he was talking about. He went on about how tough it was for these guys on the road, and they were starving, etc., and that they were counting on this gig and I told him, “look, i’ll let them do the gig, I don’t know anything about it, so I can’t give them any guarantee, but I will pay them as much as I can, depending on the turnout”.
 
Which was kind of the philosophy of Planet Ten. We weren’t trying to make any money. We wanted the bands to make money, and any little bit extra we could get, would go back into equipment or maintenance.
 
I took over booking shows at that point.
 
Funny, when I called the number Stiff gave me to confirm the show with the band, a Mom answered and said, “Oh! He’s out by the pool,hang on… “
 
Starving... Hmm... Fort Lauderdale… lesson learned.
 
After that we started doing more shows. Johnny Stiff started calling regularly and I got in touch with several labels and promoters across the country. The network was developing, and it was exciting to talk to these people and see the bands that were forming. Lookout Records comes to mind with Operation Ivy, Chrimpshrine, and so on. They were very exciting. I remember Jesse from Operation Ivy telling me how much Planet Ten reminded him of their spot 924 Gilmore Street in California. I met so many wonderful people, invested in music, way before there was any internet or real means of communication. It was all mail and phone and in person.
 
With the increased popularity and number of shows came other obstacles. We were shut down one night because we didn’t have a business license. A WHAT? Ok. Larry and I went downtown and navigated through that. We had to pay sales taxes, a fee for the sign, have the place inspected and approved, etc.
 
Somehow we got thru all that.
 
After a few shows, we had made a little money and purchased proper PA equipment and things started moving along. It was certainly a labor of love. We all had day jobs to support us. I was working five day doubles at a Chinese restaurant to make it all work. We had a lot of great bands come through. I can’t even imagine how intense it would have been if we would have had the internet and that level of communication and technology available back then.
 
We were just winging it. Having a club was never a goal. It was just happening. And it was wonderful.
 
The decor was eclectic - a lot of crap I had collected that I thought was weird and cool, art from friends, furniture from Goodwill, donations and spray paint. The sound booth I designed one night at Poor Paul’s, inspired by necessity and cheap beer, built that week. The Planet Ten stage was carefully pilfered from the CA Chapel parking lot where it had been left out to rot. I walked up Macomb and brought back each piece to build the Planet Ten stage. Each piece was like 2’x6’. I made many trips and was never questioned. That’s kinda the story of Planet Ten.
 
I am so fortunate to have been here at that point in time and to be a part of Tallahassee punk.
 
Thanks Tallahassee!
 
Mike Henderson, June 2022

Toxic Shock
 
Yeah, what is it? I didn’t get it; I’m not a girl. Guys get confused by everything feminine: Periods, Menopause, Masturbation… Do I suck your tits or do you not like this? Pull your hair… yes, no? Anal? Yeah ok stop. This is not about my confusion regarding the female species. Yeah, “Men are from Mars”, right? “Boys go to Jupiter to get more stupider…” This is about a short-lived band that titled itself after a horrible medical condition which only effects the fem. We formed at the same time this affliction was hitting the standard issue news broadcasts. Being so punk rock, we needed an offensive band name and it seemed at in that time we would be as offensive as we could be: Toxic Shock.
 
We began to get press coverage and I suddenly received a phone call from a former roommate who was a hardcore lesbo third wave feminist. Ramona and I by the way hated each other:  I slept with her girlfriend.  I pick up the phone, she says, “Is this your band?” I’m like, “Ah shit…” She proceeded to carry on about how much she loved the band’s name and how we (the band) can bring this horrible affliction to the forefront. OK, I took a breath…
 
I don’t know how we met; it could have been through an ad in some newspaper, mutual friends, who know? The first thing I do remember is standing in the garage of Dave Dunn’s rented house. This was our first get together which included Marc Segal with a cheap two octave Casio keyboard, Dave with his Fender Stratocaster playing through a tiny Pig Nose amplifier and me with my fiddle. No one had a real amp, microphone or any audio equipment to note. We connected right away and after going over a few of their songs, they said, “I was in“. Shortly after, Steve Greer joined as bassist. Steve had a vintage bass and a proper amp; an early Rolling Stones’ reference to bassist Bill Wyman and drummer Charlie Watts who were the only band members who had any real equipment in the Stones’ early days. The Fender mattered but the Pig Nose didn’t. It was simply an expensive toy masquerading as something it wasn’t.
 
We needed a drummer. Dave knew this guy Phil who was a surfer frat boy. So now we had a band but still no equipment sans Steve’s amp and Phil’s drum kit. I ended up buying a shitty PEAVY amplifier from some mentally unstable fella for $200. This guy eventually lost his mind and disappeared. Even though I played through it for many years after, the amp was truly a piece of shit. It always crapped one on me, died in one way or another at every crucial moment, generally at the beginning of a gig. I HATE everything PEAVEY. Years later while playing guitar in the hardcore band Ted Bundy Revival (yeah come on, we can’t help it if we are from Florida…) I put my boot through the Peavey’s grill during a show. The kids loved it. Steve didn’t really know how to play the bass and was somewhat proud of this. Here he shifted from being Bill Wyman to Sid Vicious however Steve was an intellectual and wasn’t an ass who murdered his girlfriend. At some point, Steve left the band and was replaced with some douche that loved The Police and only played Peavey equipment.  Two strikes and you are out…
 
After playing with Dave’s Ouija Board while talking to people who didn’t exist and drinking herbal tea, Toxic Shock would rehearse a few times a week. We actually became fairly tight and began playing gigs in somewhat unusual venues. Emmanuel’s was a Black owned/ran Cajun eatery that supported local punk rockers. Their claim to fame was the oyster fritters. Smitty’s Club was a Black owned/ran road house in the middle of the no-where forest. The club was established by Smitty Senior, now ran by Smitty Junior who completely supported our punk rock culture as long as he (Smitty) got a percentage of the door and we didn’t stop purchasing his adult beverages.
 
Steve and Phil were dudes, being the singer and absurdly charming Marc burned through a lot of girls, but Dave was the true Romeo of the band. He always had a girlfriend that he was constantly in some form of crisis with. I remember one day specifically; we had gone out to one of the isolated lakes in the Tallahassee region to go skinny dipping.  Dave and his girl both brought rafts to float on, they spent the entire day floating on opposite sides of the body of water screaming at each other. So much fun… Where Phil was constantly and absurdly always upbeat, Dave seemed to be in a consistent manic melt down with Marc, Steve, Phil, and I patching him up. I knew there was something wrong if Dave wasn’t threatening to quit the band and sell his guitar.
 
As mentioned, we played a lot of shows often in unusual locations but never recorded.   A number of these shows were double headlined with Toxic Shock and Hated Youth. Ironically, the members of the two bands hated each other and I’m sure that no one ever had a clue as to why. (Yeah Punk Rock… Jesus Christ…) Eventually we rented a rehearsal space and began to function more professionally however before Phil and I could comprehend what was going on, both Dave and Marc quit college and moved back to Miami.
 
A few years later I get a phone call from Marc and Dave:  They had put together another band, wanted my permission to use the name (Toxic Shock) and redo our original songs. I was so flattered; these were Marc’s lyrics and Dave’s arrangements. They didn’t need my permission but kindly asked regardless. This second version of the band toured a bit, did some recording which I have yet to hear, and came through Tallahassee to play a few shows (in the nature of our earliest gigs), at a hippy health food restaurant. I was excited at the Toxic Shock events, seeing my friends and a former band that I helped develop.  I walked away from the concerts a tad disappointed because the band had become much too polished, too slick. But when you work long enough, dedicatedly hard enough, this happens, and this is exactly what Dave and Marc did.  Years later, when discussing my performing history with someone I might get a “You played in Toxic Shock?!?”
 
I’ve played in a lot of combos since Toxic Shock; a great deal of that music I literally do not remember. I do remember the bands, the experiences, the people, locations, gigs, whatever but not the music most likely because I simply do not want to. Toxic Shock’s music has always stuck with me, this memory I will never forget.
 
Prolific words from a genius lyricist, Marc Segal: 
 
Mr. French!
Mr. French!
Jody took my Quaaludes Mr. French!
 
Buffy why’d ya do it?
Did Mrs. Beasley put you to it?
Were you board with fame and fortune?
Or in need of an abortion…
 
You left us with no ideals,
You left us with only Brook Shields, 
At least you took a good way to go-o-o
Just like a little Marlin Monroe-o-o…
 
Mr. French!
Mr. French!
Jody took my Quaaludes Mr. French!
 
This is dedicated to the memory of Dave Dunn, R.I.P. you big baby.
 
George Barker
2022

 
Shocked – I say…

I didn’t know any of the members of Toxic Shock, and I hated the name, but man, what a band, and what an experience to see them live…

I clearly remember the lyrics to some of their songs (There’ll be no more fucking in Florida, no more fucking in this state – POLICE STATE!), while others I’d actually COVERED in my band Silly Wabbit without realizing that Dave Dunn had written them for Toxic Shock. Witty, political, satirical, and biting are all apt descriptions. Toxic Shock was an assault on authority and convention and challenged even punk rock’s own status quo. (I mean, VIOLIN in a punk band – UNHEARD OF!)

My most vivid memory of them was seeing them at Sweetbay Studio B where, at the end of the night, Dave dropped his Fender Stratocaster. He didn’t smash it, he simply unhooked the strap and let it fall on its face. It was the single MOST PUNK ROCK GESTURE I had ever witnessed! Years later, I wrote about that event on MySpace.

A few years after I’d first seen Toxic Shock, I met and became friends with George (he was in another of my all-time-favorite Tallahassee bands – Benign Neglect – who frequently performed with Faith In Medical Technology, the band I was in at the time). I knew Peg too - “Mr. Peg” who was the singer for Silly Wabbit and integral lynchpin for Planet Ten had a connection to Dave and Toxic Shock. But I’d never met Dave, as I believe he left Tallahassee before I was ever in a band or at least part of “the scene”. Someone pointed Dave to my post about seeing him drop his guitar, and he contacted me. We met for lunch, and eventually got together to jam a couple times. He even invited me to bring my daughter to his daughter’s birthday party one year. I genuinely loved the guy – how could you NOT? And I deeply regret not taking the time to play with him more often, the few occasions where we got together were an absolute blast.

Anyway, Toxic Shock (and Dave) will ALWAYS hold a special place in my heart and memory, as being THE REAL DEAL. If you ever saw them, you KNOW what I mean, and if you didn’t, you definitely missed something SPECIAL.

Larry Smith
2022
 
Toxic Shock recordings:
https://soundcloud.com/dave-dunn-5/buffy-at-um-studio?in=dave-dunn-5/sets/toxic-shock-1982

https://soundcloud.com/dave-dunn-5/wipeout?in=dave-dunn-5/sets/toxic-shock-1982
 
https://soundcloud.com/dave-dunn-5/reggae-at-ok-club-take-1?in=dave-dunn-5/sets/toxic-shock-1982