Saturday, August 9, 2008
History records Eddie & the Hot Rods as the missing link between pub rock and punk, and their debut album, released at the tail end of 1976, proves that every word is true. Young, loud, snotty and incredibly fast, the riffs and rhythms are fuel-injected R&B, but the lyrics are teenaged disaffection with a forest on its shoulders. Even the album's covers, the Who's "The Kids Are Alright," Joe Tex's "Show Me," and Sam Cooke's "Shake," were selected for their swagger, while the title track is a proto-punk cry of anguish that makes the later new-wavers sound like a room full of spoiled children. The six-minute finale, "On the Run," is even stronger, a dead-end kid-style anthem about the ultimate outsider — "the boy should be pitied, but they're getting me committed." The FX that drench the song's closing minutes, meanwhile, capture all the rage and confusion of the lyric, and give a hint of the sheer brutal power that was the Hot Rods when they really let loose — a treat normally reserved for the live show. Isolated tastes of that particular beast do surface elsewhere on the album — both "The Kids Are Alright" and "Been So Long" were recorded live at the Marquee on a baking-hot night in July 1976; the dozen bonus tracks appended to the CD reissue include four more from that memorable night, in the form of the legendary Live at the Marquee EP. Mach 10 versions of Van Morrison's "Gloria," Bob Seger's "Get Out of Denver," ? Mark's "96 Tears," and the Rolling Stones' "Satisfaction" further amplify the linkage between '60s garage and '70s punk, but, far more importantly, they give at least a hint of why witnesses still describe that particular show among the greatest gigs they ever attended. Five further tracks date from a Rainbow show nine months later, previously immortalized on the aptly named Live at the Speed of Sound EP; the CD is completed by the band's first two singles, including a crunchy cover of "Wooly Bully," produced by Roxy Music's Andy Mackay. They, however, are simply the icing on the cake. In late 1976, with punk still a flood of records waiting to happen, Teenage Depression was one of the only things that made it worthwhile to get up in the morning. And the Hot Rods live was the only thing that stopped you from getting straight back into bed.
review by Dave Thompson (allmusic)
Friday, August 8, 2008
Thursday, August 7, 2008
Wednesday, August 6, 2008
All tracks recorded "live" in one session in Summer 1978.Produced By Geza X, recorded on a 4-track. The ideal intro to the Screamers. A high pitched whine is audible, but does not distract from overall good sound quality. A valid complaint, though, is the splitting of "122 Hours of Fear" in half over the seam of both sides of the record.
Tuesday, August 5, 2008
Founded in 1973 by Chris "C.P." Lee and Bruce Mitchell (drums), with Les Prior (vocals), Jimmy Hibbert (vocals, bass), Bob Harding (vocals, guitar, bass), Simon White (steel guitar, guitar), Tony Bowers (bass, guitar) and Ray Hughes (second drummer). Inventor of "Snuff Rock". Band lasted until about 1980. (found in Discogs)
The Desperate Bicycles were formed in March 1977 specifically for the purpose of recording and releasing a single on their own label. They booked a studio in Dalston (London) for three hours and with a lot of courage and a little rehearsal they recorded 'Smokescreen' and 'Handlebars' It subsequently leapt at the throat... They'd really like to know why you havn't made your single yet. "It was easy, it was cheap, go and do it" (the complete cost of "Smokescreen" was £153) The medium may very well have been tedium but it's changing fast. So if you can understand, go and join a band. Now it's your turn.............. (by Chickenhoss - discogs.com)
Both the A side and B side have the same pressing of both songs. This was intentional, as it was cheaper that way. The B side label is plain white. (by Office Music. )