(a few Leatherface covers – with original artists in brackets) They really did make you believe that punk could still matter, that it could be impassioned, intelligent and intensely affecting …” “Leatherface had no imitators, because no-one came close. “The ramblings of a psycho, or a glimpse into the mind of a genius? A lot of geniuses are psychos, including Frankie Norman Warsaw Stubbs, of seminal English punk rock outfit Leatherface.” And they do it with grace and style, spit and ire. “Leatherface come raging back to remind us why punk mattered so much in the first place. The Bastards Can’t Dance – Fill Your Boots (1990) His rasp brings an immediate personality to each song.” “One thing that will forever set Leatherface apart from the many out there is the charismatic vocals of Frankie Stubbs, part Lemmy, part Tom Waits, all throat and bile. “Leatherface bring on a brand of gritty punk that never loses sight of the song, the chorus and the hook.” “They are one of the greatest punk bands of all time and, in my humble opinion, the best punk band Britain has ever produced.” Omar Ramlugon, Colin’s Punk Rock World “At turns ferocious, wistful and declamatory yet always searingly dynamic and melodic, they laid down a savagely introspective sound which has been endlessly imitated but never with quite the same unique blend of face-ripping guitar with singer/guitarist Frankie Stubbs’ sandblasted vocals.” Peasant In Paradise – Fill Your Boots (1990) Melancholy and yearning for some sort of meaning to it all.”
Stubbs comes off as weary bar-room poet who has seen too much of the world. Very rough, very impassioned and incredibly unique. It sounds as if he smokes a carton a day and someone switched his Listerene with a can of paint thinner. “Frankie Stubbs’ voice is coarse and gruff and takes some people a while to get used to it. “You know, making the guitar go, AAAAARRRRRAAAARRRRGH!” Never Say Goodbye – The Stormy Petrel (2010) “By album three, the band had not only delivered that rarest of musical gifts, the truly perfect album, but also invented an intricate, yearning, yet still brutal sound, which has influenced every hardcore, post-hardcore, call it what you want, punk group that exists anywhere across the globe.” Whether it’s acknowledged or not, their impact on the punk scene can still be felt today. Their lyrics often feature far-fetched similes, metaphors, word play and obscure allusions. Their music has been described as a cross between Hüsker Dü and Motörhead a notable element being Stubbs’ rasping ‘gravelly’ vocals along with killer riffs, and an underlying pop sensibility that earned them a cult following.
Leatherface never achieved the success they deserved.
After the split, the band released a posthumous mini album The Last in 1994 – before Stubbs and Laing reformed Leatherface in 1998 ( see below). Another superb album, as much experience as music.”Īnd then it was on to new things. … it’s impossible to take for granted this kind of tuneful, flexible, well-executed pummeling, especially given Stubbs’ ability with a lyric pen. Here’s AllMusic again on the fourth album, Minx: “a ferocious force to be reckoned with, and when it scales its highest peaks, many songs still pack one f*ck of a wallop. Furthermore, in I Want The Moon, Leatherface had written at least one bona fide punk-rock classic.” According to AllMusic, Mush is “one of the most intense records of the 90s, with some of the fiercest playing and song dynamics … it’s now considered one of the best albums of the decade. In 1991, Stubbs, Hammond, Laing (with yet another bass player Steven Charlton on board), recorded their third album Mush at the Greenhouse in London. Leatherface moved to Roughneck Records (a subsidiary of Fire Records of London) for their next three albums, starting with Fill Your Boots in 1990 with a change of bassist and location.
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