The Embarrassment

Referred to by admirers as "the best band you never heard of," the Embarrassment earned recognition as Wichita, KS' most influential group. Their sound merged a post-punk foundation and deadpan humor with infusions from pop, country, disco, and metal, yielding tracks that stood alongside those of peers such as Gang of Four, Mission of Burma, and the Feelies. Active from their 1979 formation through their 1983 dissolution, the quartet attracted only a modest yet fiercely loyal audience during their initial run, though that following expanded steadily and prompted a late-'80s reunion plus two '90s anthologies.

Childhood companions vocalist/guitarist Bill Goffrier, vocalist/organist John Nichols, and drummer Brent "Woody" Geissman had already performed together in several school-era outfits before Geissman encountered bassist Ron Klaus at college; the four then adopted the name Embarrassment, drawn from a Kurt Vonnegut character in Bluebeard who declares "embarrassment" the single term encapsulating human life. Their first recording, the late-1979 Patio Set/Sex Drive single, showcased the band's jagged multi-guitar style and led to spots on anthologies issued by Bomp and the Kansas-based Fresh Sounds label.

Breakthrough arrived via the self-titled 1981 EP, which secured extensive college-radio and fanzine exposure, while the quartet's high-energy concerts secured support slots alongside Iggy Pop, John Cale, and William S. Burroughs. Their Lifespan and Sound of Wasps singles ranked among the earliest Sub Pop releases, issued when founder Bruce Pavitt still distributed fanzines and cassettes under that imprint. Although the dark, expansive Death Travels West EP of 1983 represented their most ambitious statement to date, favorable notices from outlets such as the Village Voice arrived only after the members had already disbanded to pursue separate interests; Geissman joined the Del Fuegos, Goffrier launched Big Dipper, and Klaus along with Nichols turned toward non-musical pursuits. The 1984 Embarrassment Retrospective Tape compiled unreleased studio work, live cuts, and covers, while three years later selected studio tracks from that collection were paired with the 1981 EP to form a full-length album.

Even after the original quartet ceased operating as a primary project, the members periodically reconvened for New Year's Eve shows in Kansas and continued co-writing material. A 1988 side-project reunion produced the 1989 Train of Thought/After the Disco single and the 1990 Bar None full-length God Help Us. Five years afterward, Hey Day: 1979–1983 assembled every early single, EP track, compilation appearance, cover, live recording, and rarity. Throughout the '90s Goffrier resided in Boston, painting and performing with the Boston Rock Opera; Geissman worked as a Los Angeles session musician following the Del Fuegos' breakup before relocating to Boston to drum for the Laurie Geltman Band; Nichols settled in Orlando as a manager for America West Airlines; and Klaus established himself in Arizona. My Pal God's 2001 release Blister Pop, which gathered previously unheard demos, live performances, and covers, underscored the Embarrassment's foundational role in shaping American indie rock's style, sonic approach, and D.I.Y. ethos.