Biography
Superdrag has often been labeled a punk-pop or power pop outfit, yet the group’s output consistently rises above those classifications. Drawing equally from the melodic British Invasion leanings of the Beatles and the Zombies as from the sonic density of My Bloody Valentine and Hüsker Dü, the band fused tuneful hooks with layers of distortion in a manner all its own. Observers have likened frontman John Davis—no relation to Korn’s Jonathan Davis or Folk Implosion’s John Davis—to Big Star’s Alex Chilton because of his raspy delivery, occasionally acerbic words, and chord choices that alternate between major and minor keys; the two Tennessee ensembles also share a history of operating as musicians’ bands that frequently remained underappreciated by wider audiences.
The core lineup of Davis, guitarist Brandon Fisher, bassist Tom Pappas, and drummer Don Coffey, Jr. had previously collaborated in Punch Wagon and 30 Amp Fuse before coalescing as the Used in the early 1990s. At that stage the configuration placed Davis behind the drums, Pappas on vocals and guitar, Fisher on lead guitar, and Chris Hargrove on bass, until Coffey took over the drum stool once Davis departed to develop Superdrag as a vehicle for his own compositions. Although Davis proved capable of performing every instrument on his material, as evidenced by widely circulated home demos, he recruited Fisher, Pappas, and Coffey to realize the songs in a live setting. Through steady performances in Knoxville and farther afield, the band generated considerable interest with its 1995 debut EP, The Fabulous 8-Track Sounds of Superdrag, issued by Darla Records. Strong notices in outlets such as CMJ ignited a major-label bidding war that concluded with a contract at Elektra Records.
Following the summer 1996 appearance of Regretfully Yours, the opening single “Sucked Out” achieved substantial airplay on both alternative and crossover stations and was designated an MTV “Buzz Clip.” The album ultimately reached approximately 300,000 units sold, even though the follow-up single and video “Destination Ursa Major” failed to replicate that success. Hundreds of concerts in support of the record established Superdrag as a formidable live act, yet Davis’s newer material grew darker and more piano-oriented, standing in direct contrast to the ringing guitar rock that had first brought the band mainstream attention.
Produced in Los Angeles by Jerry Finn—known for work with Green Day, Rancid, and blink-182—Head Trip in Every Key emerged as a loosely conceptual effort marked by intricate arrangements and an expanded instrumental palette. While the other members maintained their customary roles, Davis broadened his contributions by adding piano, organ, theremin, and sitar. Upbeat tracks such as “Hellbent” and “Do the Vampire” received limited radio exposure, but more introspective pieces like “She Is a Holy Grail” and “The Art of Dying,” the latter inspired by The Tibetan Book of the Dead, better reflected the album’s character, with every song exceeding five minutes. Despite favorable notices from several critics, Elektra showed little enthusiasm for the March 1998 release, providing minimal promotional support and even withdrawing funding for a “Do the Vampire” video; touring assistance proved equally scant, prompting an abbreviated road schedule.
Disappointed by the commercial fate of Head Trip in Every Key, Superdrag issued the independent compilation Stereo 360 Sound on its own Superdrag Sound Laboratories imprint, collecting early demos, alternate mixes, and unreleased material. Heartened by modest sales, the quartet relocated to Nashville’s Woodland Studios to begin work on an untitled third album under a newly negotiated two-record extension with Elektra. Label pressure to craft “hit songs,” however, alienated the musicians, who requested and received their release from the roster. Frustrated, Pappas departed in 1999 to concentrate on Flesh Vehicle, a power trio blending Rolling Stones and Johnny Thunders influences for which he served as principal songwriter. Davis, Fisher, and Coffey nevertheless appeared on Flesh Vehicle’s Elastic Prose, issued later that year on Green Point Music Works, while Superdrag continued by enlisting bassist Sam Powers of the Nashville band Who Hit John.
Establishing their own Stealth Studios, Superdrag tracked In the Valley of Dying Stars with producer and longtime associate Nick Raskulinecz, who had contributed to every recording since the group’s 1993 formation. Issued in fall 2000 by the New York indie Arena Rock Recording Company—originally launched in 1995 with the exclusive Superdrag 7-inch N.A. Kicker—the album merged the expansive arrangements of the Elektra period with the feedback-laden pop that had initially attracted the band’s earliest listeners. Prolonged touring had nevertheless taken a toll on Davis, whose alcoholism peaked during the initial sessions for Last Call for Vitriol. The 2002 album was followed by further road work, yet Davis embraced Christianity near the end of the recording process; Powers left in May 2003 to prioritize family time. Confronted with these shifts, the band played a final show in September 2003 and disbanded.
In subsequent years the members pursued separate paths, with Davis releasing a Christian record, Powers serving as a substitute bassist for Guided by Voices, and Coffey moving into production. The classic lineup nevertheless reunited for select dates in 2007 and a full-scale return in 2008 that brought them back into the studio. Industry Giants, their fifth album and the first by the original members since 1998, appeared in early 2009.
The core lineup of Davis, guitarist Brandon Fisher, bassist Tom Pappas, and drummer Don Coffey, Jr. had previously collaborated in Punch Wagon and 30 Amp Fuse before coalescing as the Used in the early 1990s. At that stage the configuration placed Davis behind the drums, Pappas on vocals and guitar, Fisher on lead guitar, and Chris Hargrove on bass, until Coffey took over the drum stool once Davis departed to develop Superdrag as a vehicle for his own compositions. Although Davis proved capable of performing every instrument on his material, as evidenced by widely circulated home demos, he recruited Fisher, Pappas, and Coffey to realize the songs in a live setting. Through steady performances in Knoxville and farther afield, the band generated considerable interest with its 1995 debut EP, The Fabulous 8-Track Sounds of Superdrag, issued by Darla Records. Strong notices in outlets such as CMJ ignited a major-label bidding war that concluded with a contract at Elektra Records.
Following the summer 1996 appearance of Regretfully Yours, the opening single “Sucked Out” achieved substantial airplay on both alternative and crossover stations and was designated an MTV “Buzz Clip.” The album ultimately reached approximately 300,000 units sold, even though the follow-up single and video “Destination Ursa Major” failed to replicate that success. Hundreds of concerts in support of the record established Superdrag as a formidable live act, yet Davis’s newer material grew darker and more piano-oriented, standing in direct contrast to the ringing guitar rock that had first brought the band mainstream attention.
Produced in Los Angeles by Jerry Finn—known for work with Green Day, Rancid, and blink-182—Head Trip in Every Key emerged as a loosely conceptual effort marked by intricate arrangements and an expanded instrumental palette. While the other members maintained their customary roles, Davis broadened his contributions by adding piano, organ, theremin, and sitar. Upbeat tracks such as “Hellbent” and “Do the Vampire” received limited radio exposure, but more introspective pieces like “She Is a Holy Grail” and “The Art of Dying,” the latter inspired by The Tibetan Book of the Dead, better reflected the album’s character, with every song exceeding five minutes. Despite favorable notices from several critics, Elektra showed little enthusiasm for the March 1998 release, providing minimal promotional support and even withdrawing funding for a “Do the Vampire” video; touring assistance proved equally scant, prompting an abbreviated road schedule.
Disappointed by the commercial fate of Head Trip in Every Key, Superdrag issued the independent compilation Stereo 360 Sound on its own Superdrag Sound Laboratories imprint, collecting early demos, alternate mixes, and unreleased material. Heartened by modest sales, the quartet relocated to Nashville’s Woodland Studios to begin work on an untitled third album under a newly negotiated two-record extension with Elektra. Label pressure to craft “hit songs,” however, alienated the musicians, who requested and received their release from the roster. Frustrated, Pappas departed in 1999 to concentrate on Flesh Vehicle, a power trio blending Rolling Stones and Johnny Thunders influences for which he served as principal songwriter. Davis, Fisher, and Coffey nevertheless appeared on Flesh Vehicle’s Elastic Prose, issued later that year on Green Point Music Works, while Superdrag continued by enlisting bassist Sam Powers of the Nashville band Who Hit John.
Establishing their own Stealth Studios, Superdrag tracked In the Valley of Dying Stars with producer and longtime associate Nick Raskulinecz, who had contributed to every recording since the group’s 1993 formation. Issued in fall 2000 by the New York indie Arena Rock Recording Company—originally launched in 1995 with the exclusive Superdrag 7-inch N.A. Kicker—the album merged the expansive arrangements of the Elektra period with the feedback-laden pop that had initially attracted the band’s earliest listeners. Prolonged touring had nevertheless taken a toll on Davis, whose alcoholism peaked during the initial sessions for Last Call for Vitriol. The 2002 album was followed by further road work, yet Davis embraced Christianity near the end of the recording process; Powers left in May 2003 to prioritize family time. Confronted with these shifts, the band played a final show in September 2003 and disbanded.
In subsequent years the members pursued separate paths, with Davis releasing a Christian record, Powers serving as a substitute bassist for Guided by Voices, and Coffey moving into production. The classic lineup nevertheless reunited for select dates in 2007 and a full-scale return in 2008 that brought them back into the studio. Industry Giants, their fifth album and the first by the original members since 1998, appeared in early 2009.
Albums
