BULL RUN ( LP ) US

Hard - rock 

Po raz pierwszy na LP

Ever wondered what Sabbath would sound with Lemmy singing? Then look no further! Bull Run's only ever full-album release on Peppermint is a hard acid rock piece of perfection, a rare and excellent album. The songs, created in 1971, reflect the creativity, musicianship, and artistry that defined Bull Run. Though many versions exist, these tracks represent the album Jimmy Conner, the visionary behind the band intended, but never released. Ready to move beyond pop and cover tunes, the trio dove into original, heavier material, and the Youngstown seasoned musicians immersed themselves in creating original lyrics and arrangements, forging a new sound. One that exemplified their dedication. Despite hard work and signing contracts with regional bookers and labels, mainstream success eluded them. However, their creative muse remained local in Youngstown. Bull Run hits us hard with twisted rhythms, heavy, doom-filled riffs, and a chaotic tone, evoking the feel of an undiscovered proto-metal gem from the past.

Tracklist

side A 

1.Race For Death 06:51
2.Just A Dream 05:15
3.Intruder 05:25

side B
1.Leper's Castle 09:02
2.Flag 06:28

BULL RUN:

Jim Connor: vocals, drums, acoustic guitars, organ
Craig Davis: lead guitar, background vocals
Frank Zoccole: bass guitar, background vocals

All songs written by Jim Connor and Craig Davis, except "Leper's Castle" (Jim Connor / Craig Davis / Michael DeLaney)

Produced by Jim Connor
Recorded August-September 1971 at Peppermint Productions, GS Productions and at home, Youngstown, OH
Arrangements by Jim Connor and Craig Davis
Compiled by Kim Connor, Dean Anshutz, and Anthony LaMarca
Tape transfer by Gary Rhamy at Peppermint Productions, Youngstown, OH
Audio restoration and Remastering by Adam Boose, Cauliflower Audio, Cleveland, OH
Illustrations by Jim Connor
Layout design by David Pokrivnak

Bull Run was the vision of my dad, Jimmy Connor. He had been leading bands in the Youngstown music scene since the 1960s, with the likes of Jimmy and The Continentals, Robins Hoods (which not only featured Glass Harp/Human Beinz member Steve Markulin but also full-on Renaissance costumes) and The Pill. By 1970, Jimmy was ready to move into more original and heavier material rather than remain ‘pop and cover-oriented’. Bringing on 21- year-old guitar virtuoso Craig Davis, and 17-year-old bass player Frank Zoccole who had been around the Youngstown music scene, Bull Run embarked on showcasing original lyrics and arrangements, totally immersing themselves into the new sound. Thanks to my dad’s meticulous archiving of everything associated with the band, we know that this did not serve them commercially. There’s a rejection letter from Columbia Records suggesting that they “get into a top 40 bag (keep it heavy if you like) and write some commercial tunes.” There’s also a note that must have been passed to him by an upset club owner during a gig that says, “Nobody’s dancing! Did you notice? Play some of the top 40 (if you know how)”.

Undeterred, the band found themselves sharing the bill with many of the top Youngstown bands like Glass Harp, Morley Grey, and Biggie Rat (who would become Poobah) at the hippest venues such as The Zodiac Club, The Greene, and Mickey’s. They snagged gigs in Pennsylvania, Indianapolis and Chicago. One show flier has them getting the same billing as Bo Diddley at a club in New Jersey. They clearly worked their asses off with the blue-collar ethics of home, signing contracts with regional bookers and labels, though nothing much ever came of it. When it came to making an album though, Youngstown was always their muse.They recorded some demos (their “Oldie Moldies” as was marked on the tape box) on Halloween of 1970 at GS Productions, which was a small voice-over studio that came about after United Audio became Peppermint. However the bulk of this album was meticulously recorded mixed and edited in the basement at home. “Leper’s Castle” is the clearest example of how deep Jim and the guys were willing to go to create their sound and true sonic journey; from the phone call intro, to the slamming of the “castle gates” (the garage door), to dragging chains across the floor. They found a way to make it themselves they way they envisioned. They also found their way to Peppermint Studios, trading studio time for in-studio construction work (my dad built the drum booth). Fortunately for the band, Peppermint’s founder and engineer Gary Rhamy was attuned to the changing musical vibe of the area, working with those talented, raw power trios like LAW, Glass Harp, and Morley Grey who were becoming prominent and popular at the time.

This album features the songs that Bull Run so diligently and creatively worked on August - September 1971. Though many versions, demos and arrangements of all the songs exist, what’s compiled here is what I believe to be the album my dad intended but never got to release . These songs showcase the creativity, songwriting, musicianship, artistry in chords and arrangements that were the hallmark of Bull Run.Jimmy always offered food and shelter to the band members and whomever was associated with Bull Run. He would walk in the door announcing, “This is (whomever he was bringing in for whatever band he was leading at the time). He’s moving in. He’s with the band.” I was “the kid” who was always underfoot. From the time I was around 2 years old, our home was available for a meal or a bed or even having my Mom doing their laundry. I had built-in babysitters, but I also had the beginnings of something more powerful. I was always listening. I heard Jimmy encourage the band to push their boundaries musically, spiritually and existentially. Many a symbiotic relationship was formed back then, all with the same vision. As I was growing up, I was also watching these young men grow in their own way. Some are still my friends to this very day, and have provided invaluable support and pieces of the puzzle. These very early influences have stayed with me through the years and truly shaped my appreciation for chasing a dream, working hard and having blue-collar ethics, let alone my musical preferences. Looking back, I realize I was privy to some really great talent and some really great people.

Experientially, I feel the vision, the enthusiasm, the disappointments and the sacrifices made by all in Bull Run as I not only pursue my creative endeavors, but in life as a whole. Seems to me that the message is this: Music IS Life. Recognition and acknowledgement in the music business is so very complex and arduous; however, perhaps the best way I can honor these guys is to use my energy to somehow, someway, send up the message that they were truly on the right track. Thanks for the memories, boys, and thanks for the life influences…

Kim Connor creditsreleased April 1, 2024