"As I was reviewing V3's cycle of works from early 1986 to the end of Roxanne Newman's' tenure in late 1991, I became increasingly flabbergasted at the band. At the time I just wasn't paying attention to the writing and production. I was focused on trying to keep the balance between our love of exploration and our focus on creating what I would call weirdo pop. In hind sight I see where I greatly underestimated our advance way of making music. What ended up on the 3 releases of that era was only the tip of the iceberg. Hopefully with this release a glimpse into the inner workings of that era can be evaluated. Basically V3 can be divided into two parts: with Roxanne and without Roxanne. After Rudy and I left the band Jim chose to slowly move away from V3 and focus more on his solo work. While Leland Cain and Sam Brown brilliantly held up the Flag of the old material, the creative experimentation and exploration was gone. Once Jimbo acquiesced to the need for sales he was faced with a choice. He had to either become an artistic renegade, or become the major label organ grinder's monkey tipping its hat for spare coin. Even though Jim and I could write pop till the cows came home that was not our strict passion. Roxanne on the other hand focused more on the substance and meaning of her occult training; which shined like refracted light through the prism of her love for Jim. I've always said that she never got credit for her achievement. Just listen to her guitar work on Prime Mister Keys or Forever Low Man. Keep in mind that she had no training in playing guitar at that point. Or, add to this her songwriting skill that can be seen in songs like The Mystic or I Heard It, It Calls Me and you'll soon grasp her highly refined skill-set. She had the whole package. She could play, write and sing. Plus, she was sexy eye candy for the boys. Hopefully this peek will provide fans and critics alike a re-evaluation of the early V3 phenomena. Truly, Rudy, Roxanne, me and Jim were a rare blend of artistic equals the world will be hard pressed to duplicate, let alone supersede." -Nudge Squidfish 2021.
"Nudge Squidfish’s liner notes spell it out in perfect Squid fashion. This period of V-3 wasn't focusing exclusively on The J-Man. Please don't get me wrong Jim Shepard’s incendiary riffs and reptilian vocal dalliances swerve in and out of these recordslike a drunken Cubist painter taking revenge on post modern art, but this original line-up of V-3 had a secret-siren-weapon in fishnets and black leather named Roxanne Newman. Her Breathless New Wave vocals add not only another layer to thiscarnivorous band's sound, but there's no question that Jim and Roxanne were the Frankie & Albert of the late '80s musical menagerie in Columbus, Ohio. On these three new V-3 releases everything generates and is ultimately destroyed. From Rudy Crash 'n' Burn’s King Kong drumming to Squid's omnipresentbass lines engulfing you in their Baby Jane treachery and Bo Peep loneliness, the music holds you hostage on a Dog Day Afternoon in Hell. This is a band record. Roxanne and Squid wrote or co-wrote many of these songs taking us to other territories where fear bottoms out and hopelessness swallows you whole. You have no choice but to listen as V-3 drives you into a ditch and fucks you in your skullbank for good measure." -Charles Cicirella
After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.
This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).
Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.
Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.
Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).
So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.