Stretch Marks by The Blue Balls: A Raw, Unfiltered Blast from 1969
Man, oh man, Stretch Marks is one of those albums that just grabs you by the collar and doesn’t let go. Released in ’69 on Destroy All Records (how badass is that name?), this US-born gem blends Rock & Roll, Garage Rock, and a dash of Punk into something so raw it feels like they recorded it live in someone’s basement—maybe they did. Produced by Rusty & the Rippers, with credits like Bass-Wade, Drums-Brandon, and Vocals-Dan, this thing bleeds authenticity. It’s messy, loud, and kinda perfect.
Now, I gotta talk about “(Let’s Do) The Ball Gag.” Yeah, yeah, I know what you’re thinking—what kind of title is that? But trust me, it’s unforgettable. From the opening riff, Lead Guitar-The Bastard comes out swinging, hitting notes that feel like a punch to the gut but in a good way. And Dan’s vocals? Dude sounds like he’s having the time of his life—or maybe losing his mind. Either way, it works. There’s something about how unapologetic it is, like these guys didn’t care if anyone liked it as long as they had fun making it.
Then there’s “Drag,” which hits different. It starts off slow, almost teasing you, before exploding into this chaotic burst of energy. Nathan Randell kills it on guitar here, especially during that solo—it’s sloppy yet somehow brilliant, like watching a car crash in slow motion. You can’t look away. This track sticks because it feels personal, like it’s telling a story only The Blue Balls could tell. Honestly, I don’t even know what the lyrics mean half the time, but who cares when it hits this hard?
You’d think an album called Stretch Marks would be forgettable, right? Like some random relic lost in the shuffle of the late ‘60s rock explosion. But nope. This thing has teeth. It’s not trying to impress anyone; it’s just being itself, warts and all. And honestly, isn’t that what makes great music?
Funny thing though—listening to this now, I can’t help but wonder what Mom would say if she caught me blasting "(Let's Do) The Ball Gag" at full volume. Probably not much, tbh. She was a flower child back then anyway. Still, for an album over 50 years old, Stretch Marks holds up weirdly well. Maybe too well.
