Cassette Culture - United States

United States

In the US, cassette culture activity extended through the late '80s and into the '90s. Although larger operators made use of commercial copying services, anybody who had access to copying equipment (such as the portable tape to tape cassette players that first became common around the early 1980s) could release a tape, and publicize it in the network of fanzines and newsletters that existed around this scene. Therefore cassette culture was an ideal and very democratic method for making available music that was never likely to have mainstream appeal. Many found in cassette-culture music that was more imaginative, challenging, beautiful, and groundbreaking than output released on vinyl.

In the United States, Cassette Culture was associated with DIY sound collage, riot grrrl, and punk music and blossomed across the country on cassette labels like Ladd-Frith Psyclones, Tellus Audio Cassette Magazine, Swinging Axe, Pass the Buck, E.F. Tapes, Mindkill, Happiest Tapes on Earth, Apraxia Music Research, and Sound of Pig (which released over 300 titles), Portland's label From the Wheelchair to the Pulpit, and in Olympia, Washington on labels like K Records and brown interiour music. Artists such as PBK, Big City Orchestra, Alien Planetscapes, Don Campau, Ken Clinger, Dino DiMuro, Tom Furgas, The Haters, Zan Hoffman, If, Bwana, Hal McGee, Minóy, Dave Prescott, Dan Fioretti, dk, Jim Shelley, and hundreds of others recorded numerous albums available only on cassette throughout the late '80s and well into the '90s.

A notable pioneer of cassette culture and 'outsider' music in the United States is R. Stevie Moore, who, through the 'R. Stevie Moore Cassette Club', has been releasing DIY, home-recorded music steadily since the 1970s. Moore lives in Nashville and continues to make many releases in the cassette-only format.

The Grateful Dead allowed their fans to record their shows. For many years the tapers set up their microphones wherever they could. The eventual forest of microphones became a problem for the official sound crew. Eventually this was solved by having a dedicated taping section located behind the soundboard, which required a special "tapers" ticket. The band allowed sharing of tapes of their shows, as long as no profits were made on the sale of their show tapes. Sometimes the sound crew would allow the tapers to connect directly to the soundboard, which created exceptional concert recordings. Taping and trading became a Grateful Dead sub-culture.