Leighton's Gravediggers & Morlocks - The unofficial website

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latest update: July 1st 2004

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Leighton's story

Gravedigger V started to play as The Shamen inside Chris Gast's garage around 1983 in San Diego. Leighton Koizumi led them on vocals… beside Chris on bass there were Ted Friedman on lead guitar with his show of echoes, fuzz and feedbacks and a guy called Matt on drums, who was soon replaced by David Anderson. John Hanrattie on rhythm guitar completed the line-up (he had no aptitude for playing it, but at least thanks to him December's Children, the best fanzine devoted to the Stones' sixties era, was born). Prevalently their first concerts consisted of covers and their performances left much to be desired, but with Ron Rimsite's help (editor of 99th Floor zine) they began to become popular and making progress from a technical point of view. Greg Shaw was interested in them and released at the end of 1984 their first album. Tom Ward took the place of Chris shortly before. The other Voxx issues were censured… G5 defined awful the track used in a compilation and Leighton himself took offence at the posthumous anthology that aligned seven tracks among demos and outtakes and a whole live side recorded in June 1984 in a horrible way; although from a qualitative point of view takes like the title-track, Be A Caveman cover, Drivin' Me Insane, Night Of The Phantom and No Good Woman sung with Pandora's Paula Pierce saved themselves, it was accused of speculating for Gravediggers' legend by some of music press. Before the release of All Black And Hairy the band split: Hanrattie went on doing the independent publisher, David and Tom joined Manual Scan recording a mod album while Leighton and Ted with guitarist Tom Clarke, bassist Jeff Lucas and drummer Mark Mullen created The Morlocks.
Whilst the Gravediggers' first LP came out, the new band was recording for Midnight Records of NYC its first album, using an original sixties smashed set under the production of Nadroj Wolrat (alias Jordan Tarlow, ex Outta-Place); The Tell-Tale Hearts lent them the instruments they destroyed at a gig played in San Francisco two days before. It was a final impact under the b-side: Project Blue (Banshees), It Don't Take Much and One-Way Ticket. Then the band left San Diego and moved to San Francisco that seemed more disposed to perceive their new sound. Ted forsook the group and Tarlow replaced him. The results on their sound showed themselves on their second album released through Brett Gurewitz's label: it was a live recording made in 1986 in Berkeley that featured some covers again… Get Out Of My Life Woman (Allen Toussaint for Lee Dorsey), Leavin' Here (Birds' version) and Your Body Not Your Soul (Cuby & The Blizzards) but clear studio-manipulations of the audience's noises induced someone to think it was a feigned live. Before the summer of 1987, shortly after a concert performed at the Fillmore supporting The Cult, Jordan went away, essentially for drug problems that caused some disagreements, and joined The Fuzztones. So did Jeff who instead became a skin-head! Those left behind recorded under Ron Rimsite's production the tracks released later on two posthumous singles then faded out.
In 1991 the third album came from Croatia: it was recorded live in 1986 and 1988 in Berkeley, LA and San Diego and featured the covers of You Mistreat Me (Outsiders), Born Loser (Murphy & The Mob), Superstupid (Funkadelic!), Cry In The Night (Q65), Double Decker Bus (Count V) and By My Side (Elois) as well as the alternate versions of two of the tracks issued on the singles, You Must Not Be Seen As I Am and Under The Wheel.
About Leighton someone guessed the aids killed him in 1990 but two years later some rumours from San Diego gave him out clean and ready to start again, then nothing else… Till the beginning of 1998 when they spread the groundless piece of news that he left us forever… Not long before a killer live set almost wholly made of covers (Kinks' I Need You, Q65's I Got Nightmares, Bad Roads' Too Bad a.k.a. Outside Looking In and Eyes' When The Night Falls among the others) re-emerged unexpectedly.
At present Tommy Clark lives in Seattle whilst Leighton is involved in a new project called the Featherwood Junction, after the one named Lance Rock Affair didn't carry itself into effect. Read the latest news on the guestbook!

A thousand thanks to Chris Gast, Darren Grealish and to my garage gurus: Claudio Sorge & Federico Ferrari.

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Discography

(U.S. unless indicated otherwise)

The Gravedigger V

The Morlocks

Leighton Koizumi

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extended notes to The Gravedigger V discography

All Black And Hairy
Album notes
Released as Voxx VXS200.025 (LP) in December 1984
Reissued as Voxx VCD2025 (CD) added to The Mirror Cracked in 1994
Producer: Greg Shaw
Engineer: Gary Stern at Silvery Moon Studio
Executive Producer: Ron Rimsite
Artwork: Diane Zincavage
Personnel
Leighton Koizumi - lead screaming & sound effects
Ted Friedman - lead guitar & vocals
John Hanrattie - rhythm guitar
Tom Ward - bass & vocals
David Anderson - drums & percussion
Tracks
All Black And Hairy (Lord Sutch)
Tomorrow Is Yesterday (Friedman)
No Good Woman (A. Cloud)
Do Like Me (L. Welding/T. Lee)
Hate (Ash)
She's A Cur (Ward/Leighton)
Searching (Revercomb/Allen)
She's Gone (Friedman/Leighton)
Night Of The Phantom (Larry & The Blue Notes)
Don't Tread On Me (K. Massengill)
One Ugly Child (Bright)
She Got (Friedman)
Stoneage Stomp (Friedman/Leighton)

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The Mirror Cracked
Album notes
Released as Voxx VXS200.038 (LP) in June 1987
Reissued as Voxx VCD2025 (CD) added to All Black And Hairy in 1994
Producer: Greg Shaw (except rehearsals)
Studio engineer: Gary Stern at Silvery Moon
Live recording: Steve Hill
Photos: Teri Friedman & Michael A. Ward
Tracks 1-3 outtakes from All Black & Hairy
Tracks 5-7 rehearsals recorded 1/2/84
Tracks 8-15 recorded live at the Rave-Up, June 16, 1984
Personnel
Leighton Koizumi - lead screaming & sound effects
Ted Friedman - lead guitar & vocals
John Hanrattie - rhythm guitar
Tom Ward - bass & vocals (on studio outtakes)
Chris Gast - bass (on rehearsals & live set)
David Anderson - drums & percussion
Paula Pierce - vocals on No Good Woman
Tracks
The Mirror Cracked (G5)
Enough Of What I Need (Ash/Quillian/Marachal)
Be A Caveman (Paxton/Powell)
No Good Woman (Cloud)
It's Spooky (Leighton/Friedman)
Drivin' Me Insane (Hutchins)
Stop It Baby (Capli/Hooper)
Searchin' (Ravercomb/Allen)
She's Gone (Friedman/Leighton)
Enough Of What I Need (Ash/Quillian/Marachal)
Be A Caveman (Paxton/Powell)
She's A Cur (Ward/Leighton)
The Mirror Cracked (G5)
Night Of The Phantom (Larry & The Blue Notes)
Tomorrow Is Yesterday (Friedman)

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extended notes to The Morlocks discography

Emerge
Album notes
Released as Midnight MIR LP 111 (LP) in 1985
Recorded December 3 & 4, 1984 at Studio 517, San Diego, CA
Producer & executive engineer: Nadroj Wolrat
Engineer: Carlos
Photography: Jerry Rife
Cover art & concept: Jeremiah Cornelius
Personnel
Leighton Koizumi - vocals
Ted Friedman - guitar, vocals
Tom Clarke - lead guitar
Jeff Lucas - bass, vocals
Mark Mullen - drums
Tracks
By My Side
In The Cellar
24 Hours Every Day
Born Loser
Judgement Day
Project Blue
It Don't Take Much
One-Way Ticket

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Submerged Alive
Album notes
Released as Epitaph EPI/MLP1 (LP) in January 1988
Recorded live at Berkeley in 1986
Executive Producer: The Legendary Starbolt
Cover art by Tom Holleran
Liner notes by Ron Rimsite
Personnel
Leighton Koizumi - vocals
Jordan Tarlow - guitar
Tom Clarke - guitar
Jeff Lucas - bass
Mark Mullen - drums
Tracks
Get Out Of My Life Woman (Allen Toussaint)
She's My Fix (Lucas/Leighton)
Different World (Lucas/Leighton)
Black Box (Tarlow/Leighton)
Leavin' Here (Holland/Dozier/Holland)
My Friend The Bird (Lucas/Leighton)
Your Body Not Your Soul (Cuby & The Blizzards)
Two Wheels Go (Lucas/Leighton)
Empty (Lucas/Leighton)

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She's My Fix/You Must Not Be Seen As I Am
Notes
Released as Earache EAR-010 (7inch) in 1989 (ltd. ed. of 750)
Recorded at R-D Recording San Francisco fall '87
Produced by Ron Rimsite
Engineered by David Denny
Mix engineered by Gary Wade at Soundscape NYC
Personnel
Leighton Koizumi - lead vocal
Tom Clark - guitar
Paul Howland - bass, vocal
Matt Johnson - drums
Tracks
She's My Fix (The Morlocks)
You Must Not Be Seen As I Am (Koizumi/Clark/Howland/Johnson)

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Under The Wheel/Hurricane A' Coming
Notes
Released as Iloki ITR-001 (7inch) in 1991 (ltd. ed. of 750)
Later pressings on green vinyl marked InTheRed
Recorded in San Francisco fall '87
Prepared by Ron Rimsite
Mixed in NYC
Photo by Gigi
Artwork by Ron Rimsite

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Wake Me When I'm Dead
Album notes
Released as Slusaj Najglasnije (Listen Loudest) SNLP 7 (LP) (ltd. ed. of 500) & SNK 33 (Tape) (Croatia) in 1991
Tracks 1-3 recorded live at Berkeley Square, Berkeley 1/86
Track 4 recorded live at the Cavern Club, L.A. 3/86
Tracks 5-7 recorded live at Anti-Club, L.A. 3/86
Tracks 8-9 recorded live at Mirage Club, San Diego 7/1/88
Track 10 recorded live at Che Cafe, San Diego 6/18/88
Tracks 11-12 alternate studio mix fall '87
Personnel
Leighton Koizumi - vocals
Tommy Clark - guitar
Ted Friedman - guitar (tracks 1-7)
Jeff Lucas - bass & vocals (tracks 1-7)
Mark Mullen - drums (tracks 1-7)
Matt Johnson Drumking - drums (tracks 8-12)
Paul Howland - bass & vocals (tracks 8-12)
Tracks
Fly Away (Into The Night)
You Mistreat Me
Cry In The Night
Cruel
Born Loser
Double Decker Bus
By My Side
Superstupid
99 Miles
Nile Song
Under The Wheel
You Must Not Be Seen As I Am

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Uglier Than You'll Ever Be!
Album notes
Released as Voxx VCD2071 (CD) & Voxx VCS2071 (LP) in November 1997
Recorded live in San Francisco Oct. 8th 1985
Licensed from Ted Friedman
Remastered by Arthur
Introduction by the legendary Jerry Cornelius
Personnel
Leighton Koizumi - vocals
Ted Friedman - guitar
Tom Clarke - guitar
Jeff Lucas - bass
Mark Mullen - drums
Tracks
I Need You
You Mistreat Me
Leavin' Here
Far Away
My Friend The Bird
I Got Nightmares
Outside Looking In
The K
Your Body Not Your Soul
Double Decker Bus
Get Out Of My Life Woman
Cry In The Night
By My Side
When The Night Falls

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extended notes to Leighton Koizumi discography

When The Night Falls
Album notes
Released as V2/Ammonia Records VVR1025782 (CD) (IT) on 01/15/2004
Credited to Leighton Koizumi feat Tito And Thee Brainsuckers
Recorded, Produced & Mixed by David Lenci at Red House Recordings
Mastered by Antonio Piazza at Vallemania Rec. Studio
Artwork by Andreground at Blitzstudio
Personnel
Leighton Koizumi - vocals, tamburine
Tito Lee - guitar, vocals
Jungle Boogie - superbass
Silver Luke - drums
Tracks
Leavin' Here
99th Floor
You Mistreat Me
Cry In The Night
I Need You
No Friend Of Mine
Get Out Of My Life Woman
Milkcow Blues
Born Loser
Project Blue
No Fun
Signed D.C.
When The Night Falls

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Liner notes to Submerged Alive by Ron Rimsite

The Morlocks were the final end of the garage rock scene. They took it by the neck, sunk their teeth in and shook it till it was lifeless. They were an act nobody could or would dare follow. They stepped on the haircut boys, the riot on sunset strip lookalikes, the posers, the phonies, the shitheads that dared look them in the eye. I was along side them and believed in them like religion. Their sole record -The Morlocks Emerge- as crude and raw and alive as it was, turned out to be the highwater mark in crazed insanity from a musical genre where the quality of a record is judged by how much the band looks like the '65 rolling stones on the cover. Nothing but dangerous. But I can tell you the record was just a hint of the live energy they harnessed - out and out beautiful violence in motion. And much of it can be heard on this album which (who would have known?) turns out to be the last morlocks record we'll be blessed enough to ear. Listen to a band that's shed its skin like a lethal snake and's heading into unknown territory. Heading for greatness though they've already got it in their sweaty palms. Witness the sound of hell coming out of an amplifier. Tortured minds, brilliant minds. People not like you or I. A different world. Planners, schemers looking for another drink, another joint, another moment of flashing inspiration, another shot at showing the world they're IT - the be all and end all. All others are driving with their learners permits. Pretend but never actually be. But too many intense people in close quarters as these five were, are bound to tear each other apart or explode and that's as good an explanation as any why we cant touch them anymore. I just thank Christ for what is left and what is left is this document in sound of the final moments, so treasure this and listen with respect and emotion. This is the real deal. But now it's too late. I loved the Morlocks and now they're gone. Hear what might have been…

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The Gravedigger V: our own story

by John Hanrattie
issued on 99th Floor #7 Fall '85 - Winter '86

Now that almost a year has passed since the breakup of the Gravedigger V and all that remains is misplaced sales figures, scattered radio airplay, a few dedicated fans and a small amount of paling memories that lay upon the broken shards of time.
The Gravediggers started when Leighton Koizumi, Ted Friedman and I went to see some band, I forgot who, it could have been the Pandoras, when we decided anyone could do this. So we formed the band. Contrary to popular belief, we formed about the same time as our cross-town rivals the Tell-Tale Hearts. We weren't inspired nor influenced by them. They were into their thing whatever it is and we were into trying to learn how to play Gloria and Wild Thing.
Practices were held in our original bass player, Chris Gast's house, in the garage. It was at these practices that we developed many of our originals, such as the infamous It's Spooky. I could never believe that people liked this tune and it was many fans' favorite! It was simply an adlibbed joke! Every time we played it, the words changed since Leighton never wrote down the lyrics. The recorded version on Battle of the Garages 3 was perhaps the most outlandish version we ever did. There is a bootleg tape of an early practice circulating that has made it as far as Australia and Europe according to Livin' End's Dean Mittlehauser. If it's the same tape I remember, it's pathetic! You can hear us play our own originals wrong!
This lack of musical skill on the part of the band members (Ted was the only one proficient on his instrument) showed up at our first live gig at a party in San Diego. The Unclaimed's Shelly Ganz, who was in attendance, reportedly said, "That's the first band I've seen get the chords wrong to Wild Thing!" I don't know if that was true or not but I find it hard to believe we were that bad.
This brings up an important point. We did improve but always retained our rawness on purpose. All the people on the California garage scene say how much they dig garage music and understand it and all that, but when it comes down to it, they want to see a band like Yes or Journey. If the singer doesn't have the vocal range of Nat King Cole or Frankie Vallie, it is assumed they suck. More than once Ted and I were approached by idiots who said we'd be a better band if we got rid of Leighton. One member of a rival band suggested to Ted that they drop me. Ted told me and we had a good laugh. Some people didn't and still don't understand.
Everyone knows the rest of the Gravedigger V story as documented on the back cover of our All Black & Hairy album as well as Goldmine magazine's article on the "Garage Sale!" bands. The breakup came about mainly because of boredom. Ted and Leighton had a new band, the Morlochs, and the Gravediggers had gotten as far as they were going to go. (I disagree! The amount of surprisingly positive LP reviews as well as the enthusiasm behind plans for a reunion show and live album showed the band was off to a great start. Leighton & Ted refused these ideas so that was that - Editor Ron Rimsite). Rumors that Leighton had seven toes on one foot and only three on the other and was only able to sing unless he held onto the mike stand are unfounded… thus far.
Anyway the Morlochs continue on and I have pretty much dropped out of the band scene for now. Since the Gravedigger V days I've noticed the scene has gotten a lot larger and more negative in many respects. Los Angeles has turned into a giant fashion show of people in paisley shirts and beatle boots who know or care little about the music other than the latest Bomp reissue. They strive to be seen with Greg "People Magazine" Shaw or whatever band happens to be "cool" that weekend. Long gone are the days when girls used to really scream at the Crawdaddys (Why - did they get a close-up look at their faces or something? - Editor) not because it was the thing to do but because they wanted to. There are a lot of people around who still know what it's about, the ones who've been into the music since they were twelve. They know how ridiculous the little "Cavern crowd" is (the Cavern Club is Greg Shaw and Larry Lazar's Hollywood sixties "revival" club where the girls pretend they are Edie Sedgewick and the boys pretend they are Lee Joseph! - Editor) and jokes are frequently made, often right to these people's faces and still they don't understand.
And it continues to get worse! Now there is a little gossip sheet passed out courtesy of the Voxx Records contingent that serves no purpose other than to say how cool some people are and how uncool others are. I never knew the scene was about someone's "Teenage hair"! What the fuck has that got to do with anything?
I guess it would be OK if it was just gossip because I'm sure the rivalry between bands in the sixties was quite intense. This shit however stretches itself to new levels of hypocrisy and fuckheadedness when it took to knocking Ron Rimsite! (What did those shitheads say?! Of course those dimwitted faggots had to wait till I was 3,000 miles away!!! Pussys!! - Editor). I don't know which Cavern groupie writes that shit but they should realize that Ron has always been the scene's biggest supporter and has done a lot of work for the Pandoras, Tell-Tale Hearts and Gravediggers to name a few (and Greg's bank account in turn! - Editor). It really is a shame that the whole Voxx-Cavern crowd has to show off their stupidity and petty jealousies by insulting and alienating people instead of working to build the scene and make it stronger. I'm sure when this article is read in L.A. all the people I've offended will hate me and I'm GLAD!! I know who my friends are - real honest people who genuinely care about the music and not just trying to fit in with these immature cliques.
I'd like to conclude this piece by thanking everyone who has helped or supported the Gravedigger V during our short career and recognize the difference between garage music and opportunistic revivalism and fashion trending. Now I've gotta split and watch MTV to see if the Cavern crowd is on the latest "psychedelic" Prince video.

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(Excerpt from) Action Scene

by Ron Rimsite
issued on 99th Floor #7 Fall '85 - Winter '86

The Morlochs might be the greatest garage band on earth right now! Strong statement from someone who's seen 'em all but I mean it! In my last few months before leaving L.A. these guys turned into the most savagely unbelievable live act alive. From the moment they played at the late PVTV03 club and proceed to have both their bass player (Jeff) and lead guitarist (Tommy) fall off the dark stage at different parts of the same song and hurt themselves, I knew these guys ruled! In fact I ran around to different people screaming excitedly that this was the greatest live band I'd seen since the Stooges! Most of 'em just stared at me drunkenly waiting for the Unclaimed to pretend they're the Music Machine. I don't get it! Don't these people know what garage is? Well sooner or later the Morlochs'll get their due. Midnight is putting out their mini-LP as soon as J.D. gets up the cash and it sounds like (as I said) the Stooges jamming with Bo Diddley in the basement. This record was actually recorded in a cellar and sounds it! Well since I left California, the band has split to San Francisco to meet up with Jeff who ran away up there. In fact Ted (guitar) left a desperate message on my answering machine, "Help, Ron, we're surrounded by homos! Get us outta here!" But they claim they're stronger than ever and have been getting a lot of moral support from Cyril Jordan of the Flamin' Groovies, who's been jamming with them onstage and plans to produce their second record which'll probably come out before the first one at the snail's pace Midnight is working at! Regardless wait in line at your local shoppe for The Morlochs Emerge since it makes a lot of new "garage" records you own look like Bryan Adams! Best garage band on earth? You Decide!

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Leighton's lost interview

Leighton gave this controversial interview to Federico Ferrari in October 1987 inside his flat no. 18 at a three-storied building located close to the airport in San Diego.

It was issued on Rockerilla no. 137 in January 1992.

Of course the following transcription might not quote exactly the same words Leighton uttered owing to the double translation (English/Italian - Italian/English). I've skipped the comments murmured by Leighton's friends because they slandered some Leighton's old mates. I apologize to you and to the author for my horrible translation and for the omissions.

Would you tell me anything about Gravedigger V?

Gravedigger V started to play… Fuck… When did we start? Let me think… It was in 1983 in a garage. Oddly we became well-known in LA and Greg Shaw suggested us recording an album. Luckily we broke up, I felt ill in that band so I formed The Morlocks, that had some line-up problems however. G5 were fans of The Who, the Texas sixties raunchy bands like The Stoics and The Elevators. Our shows consisted of many covers such as Bad Road's Blue Girl and others but I cannot recall a great deal of that time.

Why did you disband?

Gravediggers had no future, they were a small group, an unnecessary foolish band. That group's story reminds me that I spent all time with Lee Joseph and Paula Pierce in LA: a period of no importance in my life. I like All Black And Hairy whereas The Mirror Cracked is a shit released by Shaw to make some money using the name of the band.

Are you pleased with Morlocks' first album Emerge?

Yes I am, I think so. Many songs aren't covers as on the contrary some people think; for example One Way Ticket is an original. It's a loud, wild sound; yes, it's ok. Nowadays nevertheless we don't play any more those songs.

Why did The Morlocks move to San Francisco?

In San Diego there aren't possibilities for a group like ours, while San Francisco teems with halls and situations adapted to a band like The Morlocks. In SF people love the wild rattling rock'n'roll. Up there, there is a great group: Sea Hags, they're very strong. A several kinds of people come to our gigs, undoubtedly they're open-minded people!

In San Francisco there are so many clubs but a few really good bands, how odd! How could you explain this?

That's it. Up there nearly all the bands make me sick. I couldn't give you an answer, that's what I should like to know too.

How could you describe Morlocks' music?

It's something deeply influenced by The Stooges, The MC5, the Detroit-sound and by the guitar-violence. Noise, chaos, violence. I Got A Right cover expresses very well what our sound is: noise founded on the hardest and censurable rock without any other plan. We play Funkadelic's stuff too: George Clinton is one of our idols. I'm excited very much by the idea of mixing the violence of the hard rock with the sexual side of the funk. I think we shall move further on towards this course in future. Sex, violence, it's wonderful!

Do you think it's a fixed course for those who play the sixties music changing from some sounds to others more raw and hard?

I don't think so. After all everyone is free to till his own passions without being accused of revivalism or other nonsense. I speak for myself, I take an interest in the musical side of the sixties but I'm not interested in that youthful and teen-aged atmosphere that surrounds unavoidably that kind of music. My reality is different: it's more true and rough. Gravedigger V was a thoughtless band, The Morlocks walk really the streets: we touch thousands of true problems.

American r'n'r history has plenty of losers, i.e. great talents who have never had success for various reasons. Do you consider yourselves in that way?

No, we don't, but why? Whenever I talk with friends such as Ian Astbury or Lemmy I realize that we are regarded as a band who will make his way sooner or later. We're very young. It's only a question of organization and persuasion. We have never been so serious as we are at this moment! We are recording with great care and with conviction. No, I don't consider myself a loser at all.

Now what kinds of music do you like?

A lot of Australian stuff: Radio Birdman, New Christs, New Race and, moreover… Motorhead. We're great pals. Don't forget The Stones, my favourite group: I like everything they have recorded.

The line-up has undergone several changes: would you explain why on earth?

Owing to so many factors, an infinite number of problems. Mainly drug problems, different kinds of drugs, heroin… Now the new line-up has organized itself better. We are recording some pieces with Ron Rimsite; we shall propose them to some majors. We aim at coming to the top. Probably we shall tour to Europe with The Cult within some time. We're great friends of that band, we have often played together in San Francisco. The Cult are madly in love with Led Zeppelin, like us. We are also great friends with another band: The Redd Kross. They're extraordinary and splendid!

What do you think of The Untold Fables, a group certainly influenced by the sixties but at the same time very hard and violent?

Hum, yes… They aren't so bad, but it's a restrictive music. It's bound too much to the sixties. Once, as for me too, it was important combing my hair just like a boy of the sixties and playing in a band that could reproduce exactly that sound. I was very young, a little boy. Now I don't care for it in the least. It's a dumb thing for kids. This is the difference between The Gravedigger V and The Morlocks: the first was a band of kids, a silly group, we were anxious to have beetle boots and similar stupidities on the contrary The Morlocks are the violent side of the rock'n'roll. For instance I don't like The Tell-Tale Hearts. What's the meaning of trying to be like The Pretty Things? All this, this mentality, this way of playing music is childish and boring.

Why have you titled the album Emerge?

We would have liked to rise above something, to emerge from the underground attaining the attention of the masses, coming out by the light of the sun. Do you like the cover? It's great, isn't it? A friend of mine has drawn it, a crazy guy who has melted his brain by tons of acid and LSD. Although it represents a period of the group's story still deeply bound to a certain garage punk (from that time many things have changed their course), I must say I like that record very much. I think the originals keep it up even if the covers are played with violence and with wickedness. After all we haven't quite broken with those sounds: in concert we play tortured versions of songs written by Q65 or by other sixties bands.

Are The Morlocks involved in drug-stories?

Not much, only in the right way, in the most reasonable dimension. Not like some time ago, not like last year. We tried every kind of drugs, really, we were insane… For these reasons, because of drug, after Emerge we have been waiting for so long before coming back to the studio.

What are the reasons that drive you to play with The Morlocks?

As for me playing it's my life. I've a job but it isn't important. The band is the most important thing that I have. I think we shall succeed in living by our music, getting success and acknowledgements. I'm deeply persuaded of that. Probably New York will consecrate us… Or maybe London however something will happen sooner or later. Elektra and Big Time are interested in us. Our achievement is really at hand…

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Review of She's My Fix/You Must Not Be Seen As I Am

by Claudio Sorge
issued on Rockerilla #110 October 1989

Banished like infected, considered to be unreliable fellows by a lot of American independent labels, the Morlocks returned to the (underground) scene with a line-up changed of which the infamous Leighton and the guitarist Tom Clarke are still members. Maker of the operation "comeback" is our old dear Ron Rimsite who, through his own Earache Records, has produced the small vinyl of this San Diego's band.
The A-side is a remaking of She's My Fix (formerly on Submerged Alive, but different); the track is very faster in this new version: you can hear the solos (at last!) and a bad recording doesn't damage them. The group offers the usual strong late sixties hard rock, how it was expected naturally: Savage Resurrection meets Stooges (evil age… approximately Raw Power!).
The B-side You Must Not Be Seen As I Am is an absolute unreleased track. Leighton sings it with his habitual perversion/sweetness vocal. It's a slow piece, sinuous like a serpent, with sudden, degenerate, anomalous accelerations; and a melodic line that is unique in the rock scene of today.
An unexpected and touching return. Impossible to get the Morlocks out of our hearts!

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Review of Under The Wheel/Hurricane A' Coming

by Federico Ferrari
issued on Rockerilla #128 April 1991

Legendary group of the American underground, the Morlocks of Leighton (great singer whose life, upset by heroin and consequent infernal existence, didn't allow the band to have a "regular" course) present themselves to us again by a single recorded in 1987, and produced by Ron Rimsite. Two songs on a small Californian label, Iloki, that emphasize once more the talent of an extraordinary outfit, to say the least. Under The Wheel is a hard bomb from the seventies, with passages a la Funkadelic and deadly hard freak distortions. Essential and definite, the group's sound owns characteristics both of vigour and executive order. The back proves it too, Hurricane A' Coming, splendid hard rock punk, overflowing of infectious energy with Leighton corrosive like a lethal acid.
Nowadays nobody knows anything about this great singer. Who maintains that he is in jail, who that he was really killed by aids, who that he is a ragamuffin, drugged through, and only some people like to remember him for his qualities of singer. And within us there is the sadness for the extraordinary things that the Morlocks would have been able to do, if their leader hadn't fallen into the hell of desperation.

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