• Head For The Shallow (2005)
  - Gold & Cyan "a-side/b-side" color configuration.
  - 12" 150gm virgin vinyl, limited to 500.
  - Packaged in deluxe gatefold casewrapped tip-on jackets, with new interior art.
• Here Come The Waterworks (2007)
  - Gold & Oxblood "a-side/b-side" color configuration.
  - 12" 150gm virgin vinyl, limited to 500.
  - Packaged in deluxe gatefold casewrapped tip-on jackets.
• Mind the Drift (2009)
  - Gold & Olive "a-side/b-side" color configuration.
  - 12" 150gm virgin vinyl, limited to 500.
  - Packaged in deluxe gatefold casewrapped tip-on jackets, with printed interior sleeve.
• Tour EPs 1-3 (2004-2008)
  - Picture disc.
  - 12" 150gm virgin vinyl, limited to 500.
  - Packaged in single pocket jacket, with new artwork based on the original hand-made CD-Rs.
  - First and only time this will be available on vinyl.

Jared and I started Big Biz in Seattle in February of 2003. We were both without bands, working in bars. The Pacific Northwest is famous for its gloom, and with the hours we were keeping at the time I remember it as being particularly gloomy. Personally and literally.

We needed some fun in a big way.

We were anxious to get some songs recorded and get out on the road, but we needed a little time to figure things out before we committed to doing a full length album. So the Tour EP series was born. We recorded the first e.p. at our friend Ben’s basement studio. In one day, if I remember right. We made a bunch of cd’s and hand stamped the covers. Josh Vanek at WÄNTAGE records of Missoula helped us distribute and get the word out. We were in business with a product to sell! Happy days. It was a great way to demo the early songs and tour on them. By the time we got back, we were pretty solid and ready to record a full length. We repeated this process two more times.

HEAD FOR THE SHALLOW
Jared and I had both recorded with Phil Ek previously. Phil did a KARP 7” and a DEAD LOW TIDE full length. We both really liked Phil as a person as well as his production sensibilities. Head For The Shallow was recorded at AVAST! studios in Seattle. It’s a tiny room packed with really nice gear. Phil had made many records there and was right at home, which made us feel a lot more comfortable. I remember listening to the rough mixes of O.G. in the van and getting super excited. It was sounding great, just like a real record! I still feel proud of this album, it made me feel confident that we could do more.

HERE COME THE WATERWORKS
The timeline of writing and recording this one is a little harder to remember as we had moved to LA to play with the Melvins just before the session. We had not yet toured with the Melvins, but were living and practicing in LA, and had just recorded (a)Senile Animal. Most of the songs on Waterworks were already fully formed at this point. We headed back up to Seattle to record with Phil at AVAST! again. David Scott Stone was playing guitar with us with the idea that he would be in the band playing live as well. As the recording progressed, it became clear that Dave would be unable to tour and play live with us so that kind of put the kibosh on him being in the band. But I think we made a good record, the songs are starting to get a little more ambitious here.

MIND THE DRIFT
Toshi Kasai had been our guitar player for awhile at this point. We had been touring pretty heavily with Melvins in the time before this one was made. I think we wanted to elevate the songs and make it really grand like a Queen record. It was definitely the hardest record we have made to this day. The session was plagued with technical glitches from the get go, so it never felt like we picked up any momentum. To my memory, it always felt like we were under this insane time crunch every step of the way. So as you can imagine the fun factor was pretty low. I think we learned an important lesson about how we best operate in the studio, and what we need to have fun and feel creative and comfortable.

- Coady Willis, 2017