Sunday, November 9, 2008
Saturday, November 8, 2008
Those Intrinsic Intellectuals - 1980 - Radio Iceland / Do The Executive 7''
Those Intrinsic Intellectuals - 1980 - Radio Iceland / Do The Executive 7''download
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From Scotland`s Western Isles.
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thanks to Punk Rock Picture Sleeves for the cover!
Hoax, The - 1979 - Only The Blind Can See In The Dark 7''
Hoax, The - 1979 - Only The Blind Can See In The Dark 7''download
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The Hoax were formed in Manchester in 1979. The first line up was Ian Chambers on vocals. Andy Farley (Fox) guitar and backing vocals, Steve Mardy (Sox) bass and backing vocals, and Mike Joyce on drums.
Steve Mardy tells the story: In February 1978 I bumped into a drunken heap called Ian Chambers in Rafters night club, and promptly sold him a 15” speaker bass speaker. Two months later, Ian invited me to plug it in and meet Andy Farley. The three of us formed an un-named band who went on to audition a number of drummers until late December 1978 when we played our first ever gig at The Highland Laddie pub, Ashton-u-Lyne. It was Tameside College’s Christmas party promoted by Brain Turner – of The Frantic Elevators and later going on to manage Happy Mondays in 1987/88.
Whilst rehearsing at TJM in March 1979, Mike Joyce joined what would be The Hoax. In December 1979, Ian fell out with Mike over a woman and promptly left before the release of the group’s first 7” EP ‘Only The Blind Can See In The Dark’ recorded two months earlier at the Cargo Studios in Rochdale.
In January 1980 and whilst recording at Cargo Studios the forthcoming eight track 12” EP ‘So What’, the band played in Manchester at such forgotten venues as: The Mayflower, M/C Polytechnic, The Cyprus Tavern, Band on the Wall, and across other North West venues. The Hoax flirted with the Manchester Musician’s Collective and recorded for its second album ‘Unzipping the Abstract’.
Between December 1980 and May 1981, the Hoax continued to play and recorded their final four track 12” single ‘Quite in the Sixpennys’ The final recording for the threesome was compilation track for the ’Ten from the Madhouse’ album.
Between May and July 1981, amidst an ‘arresting’ mini tour of Belgium, surfing the summer riots, a demoralised final gig at the Anti-Nazi League event at UMIST, and an anti-royal wedding gig debacle with Manchester Council, Mike decided drum lessons and not playing was his way forward, whilst Steve decided on another way to reach an audience.
Chris Corvette takes over the story. (Please note that this version of events maybe clouded by old age, alcohol, drugs etc.)
As I remember, I was playing bass guitar for my first punk rock band (c.1980) called ‘Random Gender’ in and around the Manchester area. I was also a massive fan of the legendry punk band ‘The Hoax’ (Farley/Mardy/Joyce) and attended many of their early gigs. I got talking to the guys and managed to blag some support slots with the them. We gigged mainly in the north west and even managed to get a third support slot with ‘The Exploited’ and ‘The Hoax’ at Cleopatra’s in Huddersfield on the ‘Army Life’ tour.
Shortly after that Steve Mardy (bass) left the band to pursue a career elsewhere and I was invited to join the band by Andy. Obviously I wasn’t going to refuse and got straight to work learning the songs. We rehearsed at TJM studios in central Manchester and the attic of a derelict shop in Ashton-Under-Lyne! During this period, Mike Joyce decided to leave and join a band called ‘The Smiths’. We thought he was fuckin’ mad to leave the ‘best’ punk band in Manchester to join some shitty pop band, how could we be so wrong!
Enter Peter Flannigan aka ‘Flannel’ on drums. The band had now taken on a new shape and direction, so Andy decided that he would hang up his guitar and concentrate on his vocals.Graham Atkinson aka ‘Aky’ was a very good friend of Flannels from a previous band, and he was now recruited to play guitar.
The band entered Hologramme Studios in Stockport (see single for date) to record the 4 track EP ‘Blind Panic’ which was later released on Holograme Records (no connection) with Chris Corvette appearing mysteriously as ‘5092’ & Aky as 'Sly' this collectors item EP sold well around the Manchester area and in the south via Rough Trade/Small Wonder etc.
The band then entered a local council sponsored battle of the bands event and preceded to totally upset the judges with a spitting and sneering punk rock performance, performing such classics as ‘Rich Royal’ and ‘Assassinate the Prime Minister’. The boys, on discovering they had been placed 22nd out of 23, confronted the judges in a beer fuelled rage and demanded they be placed last? - but the judges refused.
Andy was now writing new material which was taking the band in a new, hardcore punk direction. The band members voiced there concerns at the style of music and were all promptly sacked by Andy. - R.I.P. ’The Hoax’.
Steve Mardy tells the story: In February 1978 I bumped into a drunken heap called Ian Chambers in Rafters night club, and promptly sold him a 15” speaker bass speaker. Two months later, Ian invited me to plug it in and meet Andy Farley. The three of us formed an un-named band who went on to audition a number of drummers until late December 1978 when we played our first ever gig at The Highland Laddie pub, Ashton-u-Lyne. It was Tameside College’s Christmas party promoted by Brain Turner – of The Frantic Elevators and later going on to manage Happy Mondays in 1987/88.
Whilst rehearsing at TJM in March 1979, Mike Joyce joined what would be The Hoax. In December 1979, Ian fell out with Mike over a woman and promptly left before the release of the group’s first 7” EP ‘Only The Blind Can See In The Dark’ recorded two months earlier at the Cargo Studios in Rochdale.
In January 1980 and whilst recording at Cargo Studios the forthcoming eight track 12” EP ‘So What’, the band played in Manchester at such forgotten venues as: The Mayflower, M/C Polytechnic, The Cyprus Tavern, Band on the Wall, and across other North West venues. The Hoax flirted with the Manchester Musician’s Collective and recorded for its second album ‘Unzipping the Abstract’.
Between December 1980 and May 1981, the Hoax continued to play and recorded their final four track 12” single ‘Quite in the Sixpennys’ The final recording for the threesome was compilation track for the ’Ten from the Madhouse’ album.
Between May and July 1981, amidst an ‘arresting’ mini tour of Belgium, surfing the summer riots, a demoralised final gig at the Anti-Nazi League event at UMIST, and an anti-royal wedding gig debacle with Manchester Council, Mike decided drum lessons and not playing was his way forward, whilst Steve decided on another way to reach an audience.
Chris Corvette takes over the story. (Please note that this version of events maybe clouded by old age, alcohol, drugs etc.)
As I remember, I was playing bass guitar for my first punk rock band (c.1980) called ‘Random Gender’ in and around the Manchester area. I was also a massive fan of the legendry punk band ‘The Hoax’ (Farley/Mardy/Joyce) and attended many of their early gigs. I got talking to the guys and managed to blag some support slots with the them. We gigged mainly in the north west and even managed to get a third support slot with ‘The Exploited’ and ‘The Hoax’ at Cleopatra’s in Huddersfield on the ‘Army Life’ tour.
Shortly after that Steve Mardy (bass) left the band to pursue a career elsewhere and I was invited to join the band by Andy. Obviously I wasn’t going to refuse and got straight to work learning the songs. We rehearsed at TJM studios in central Manchester and the attic of a derelict shop in Ashton-Under-Lyne! During this period, Mike Joyce decided to leave and join a band called ‘The Smiths’. We thought he was fuckin’ mad to leave the ‘best’ punk band in Manchester to join some shitty pop band, how could we be so wrong!
Enter Peter Flannigan aka ‘Flannel’ on drums. The band had now taken on a new shape and direction, so Andy decided that he would hang up his guitar and concentrate on his vocals.Graham Atkinson aka ‘Aky’ was a very good friend of Flannels from a previous band, and he was now recruited to play guitar.
The band entered Hologramme Studios in Stockport (see single for date) to record the 4 track EP ‘Blind Panic’ which was later released on Holograme Records (no connection) with Chris Corvette appearing mysteriously as ‘5092’ & Aky as 'Sly' this collectors item EP sold well around the Manchester area and in the south via Rough Trade/Small Wonder etc.
The band then entered a local council sponsored battle of the bands event and preceded to totally upset the judges with a spitting and sneering punk rock performance, performing such classics as ‘Rich Royal’ and ‘Assassinate the Prime Minister’. The boys, on discovering they had been placed 22nd out of 23, confronted the judges in a beer fuelled rage and demanded they be placed last? - but the judges refused.
Andy was now writing new material which was taking the band in a new, hardcore punk direction. The band members voiced there concerns at the style of music and were all promptly sacked by Andy. - R.I.P. ’The Hoax’.
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source Punk Domain (link)
Thanks to NDN Records for the cover!
Friday, November 7, 2008
Critical Mass - 1978 - Silver Screen 7''
Critical Mass - 1978 - Silver Screen 7''download
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These days — that is, more than a dozen years after the first volume of Killed By Death (a bootleg compilation series of rare early punk releases) — it's extremely rare to find an "unknown" record, much less a good one. CRITICAL MASS has proven that there is still hope for the world of punk fans craving previously unheard late 70's punk rock. Let's put it this way: the record inspired me to drive over 1000 miles from Texas to Florida to find out more about the band!
The nucleus of CRITICAL MASS formed in Miami, Florida in fall 1973 around singer-guitarist Mick Fazz. The original line-up included Mick's brother, a friend from junior high on guitar, and another friend, Al ("the proverbial kid next door") on bass. As with so many punk bands (especially true in Texas anyway), Critical Mass found their punk footing in 1977 upon hearing the Sex Pistols "Never Mind The Bollocks" LP. Mick reports that a lukewarm recommendation from a better-than-you record clerk ("it's all right if you don't like your teachers or something") brought the LP to his attention. He, in turn, grabbed his cronies by the collars and dragged them into his room for listening sessions.
It wasn't too much longer till Critical Mass was heading into a Hialeah studio to lay down their own revved-up punk & roll tracks. The band only recorded two songs, both originals. "Silver Screen" and "No One Left To Blame" would comprise the band's first and only single. One spin of the record reveals Mick's appreciation of Johnny Rotten's vocals and Johnny Thunders' guitar — you'd never guess the record was from Florida. 200 copies of the Critical Mass 7in. were released sans picture sleeve in the summer of 1978. Mick found that the other band members didn't share his enthusiasm for the record's release. "I was excited that we finally did something substantial as far as our musical existence was concerned, and I couldn't get any of the other guys to share in my jubilation. The drummer wanted to go play tennis, the bass player had to go to a barbecue, and the other guitarist didn't give a shit!" The local reception to the record was as expected in the days where Eagles cover bands reigned supreme. "I'll never forget some bimbo kicking the jukebox at one club, trying to make the record skip to the end so she could hear the song SHE wanted to hear... 'Hot Legs' by Rod Stewart!"
Over two decades later, it's clear to any who've heard the Critical Mass 7in. that the jukebox bimbo deserved nothing less than a swift kick in the ass. The "Silver Screen" 7in. is a hands-down classic, and nd it preceded The Eat's "Communist Radio" by at least a year. Critical Mass is a swamplands gem indeed.
Epilogue: the revolving door for band members continued its spin with Mick Fazz remaining the only constant throughout. Critical Mass eventually landed a record deal with MCA and released their It's What Inside That Counts LP (an appropriate caption for the band photo above, I might add). With different band members, different aspirations, and different people at the studio controls, the LP is but a shadow of the "Silver Screen" era Critical Mass. It's hard to imagine capturing the 45's energy recording at the studio of a Yes member. Critical Mass continued playing intermittently through 1993, having moved from Miami to Orlando.
The nucleus of CRITICAL MASS formed in Miami, Florida in fall 1973 around singer-guitarist Mick Fazz. The original line-up included Mick's brother, a friend from junior high on guitar, and another friend, Al ("the proverbial kid next door") on bass. As with so many punk bands (especially true in Texas anyway), Critical Mass found their punk footing in 1977 upon hearing the Sex Pistols "Never Mind The Bollocks" LP. Mick reports that a lukewarm recommendation from a better-than-you record clerk ("it's all right if you don't like your teachers or something") brought the LP to his attention. He, in turn, grabbed his cronies by the collars and dragged them into his room for listening sessions.
It wasn't too much longer till Critical Mass was heading into a Hialeah studio to lay down their own revved-up punk & roll tracks. The band only recorded two songs, both originals. "Silver Screen" and "No One Left To Blame" would comprise the band's first and only single. One spin of the record reveals Mick's appreciation of Johnny Rotten's vocals and Johnny Thunders' guitar — you'd never guess the record was from Florida. 200 copies of the Critical Mass 7in. were released sans picture sleeve in the summer of 1978. Mick found that the other band members didn't share his enthusiasm for the record's release. "I was excited that we finally did something substantial as far as our musical existence was concerned, and I couldn't get any of the other guys to share in my jubilation. The drummer wanted to go play tennis, the bass player had to go to a barbecue, and the other guitarist didn't give a shit!" The local reception to the record was as expected in the days where Eagles cover bands reigned supreme. "I'll never forget some bimbo kicking the jukebox at one club, trying to make the record skip to the end so she could hear the song SHE wanted to hear... 'Hot Legs' by Rod Stewart!"
Over two decades later, it's clear to any who've heard the Critical Mass 7in. that the jukebox bimbo deserved nothing less than a swift kick in the ass. The "Silver Screen" 7in. is a hands-down classic, and nd it preceded The Eat's "Communist Radio" by at least a year. Critical Mass is a swamplands gem indeed.
Epilogue: the revolving door for band members continued its spin with Mick Fazz remaining the only constant throughout. Critical Mass eventually landed a record deal with MCA and released their It's What Inside That Counts LP (an appropriate caption for the band photo above, I might add). With different band members, different aspirations, and different people at the studio controls, the LP is but a shadow of the "Silver Screen" era Critical Mass. It's hard to imagine capturing the 45's energy recording at the studio of a Yes member. Critical Mass continued playing intermittently through 1993, having moved from Miami to Orlando.
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by Ryan Richardson (link)
Thursday, November 6, 2008
Wednesday, November 5, 2008
Tuesday, November 4, 2008
Rikki And The Last Days Of Earth - 1978 - 4 Minute Warning
Rikki And The Last Days Of Earth - 1978 - 4 Minute Warningdownload
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Thanks to NDN Records for the cover!
Monday, November 3, 2008
Martin And The Brownshirts - 1978 - Taxi Driver/Boring 7''
Martin And The Brownshirts - 1978 - Taxi Driver/Boring 7''download
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Thanks to Punk Rock Picture Sleeves for the cover!
Sunday, November 2, 2008
Saturday, November 1, 2008
Friday, October 31, 2008
Negatives, The - 1979 - Love Is Not Real 7''
Negatives, The - 1979 - Love Is Not Real 7''download
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Thanks to The ModPopPunk Archives for the cover!
Thursday, October 30, 2008
Fraebbblarnir - 1981 - Bjor 7''
Fraebbblarnir - 1981 - Bjor 7''.
Fræbbblarnir were formed in Iceland 1978 and released a number of records until they quit early 1983. A punk / pop band in the happy-go-lucky “sector” of the punk era playing short, melodic songs fast and raw. Inspired by the Ramones, Clash, Stranglers, Jam, Sex Pistols, Damned, Alberto Y Lost Trios Paranoias, Stiff Little Fingers, Undertones, Buzzcocks, Crass, Elvis Costello, Ian Dury and many, many more of the early punk / "new wave" scene as well as 60's bands like the Kinks, Troggs, etc... The album “Viltu nammi væna?” is already a classic.
It’s members continued playing on and off under various names until a compilation album was released by Smekkleysa (“Bad Taste”) in 1996 when the original name was reinstated.
It’s members continued playing on and off under various names until a compilation album was released by Smekkleysa (“Bad Taste”) in 1996 when the original name was reinstated.
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source Fraebbblarnir official site (link)
Wednesday, October 29, 2008
Neon - 1978 - Bottles / I'm Only Little / Anytime, Anyplace, Anywhere 7''
Neon formed in early 1978 and were from County Durham and they really did sound like no other band at that time. Originally coming from the remains of a band called The Hephalumps they weren't going to be your bog standard 1234 merchants. However as Tim Jones recalls "We were immediately labelled punk from our first gig so that's what we thought we were although in retrospect there were so many other influences that eventually became known as New Wave." and he accurately describes their sound as "progressive punk.... Fast and furious guitar riffs." I'll add weird time signatures verging on jazz to that! Live their "playing jerks with danceable tension" opined Phil Sutcliffe in Sounds to complete the description of their sound. They supported fellow North East bands such as Penetration and Punishment Of Luxury and toured with The Pretenders. In their live set at the time were songs such as Wuh Wuh, I'm A Gents (at your convenience), Hunny Bunny and Life's A Downer and other tracks heading towards Devo weird territory! Lenny Love of Sensible Records (home initially of The Rezillos) liked the band and put out their first single. A John Peel radio session on 22/3/79 featuring Confuse The News, Eying Up Diddies, Plum Plum Crazy and Exterminate helped get a deal with Radar. This produced one more single and that was it for this strange (and some say the worst dressed ever) band. I've probably not sold the band that well but if you can, check out the two singles below. You won't be disappointed. You can even buy a CDR of their stuff straight from the band.
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source punk77.co.uk (link)
Raincoats, The - 1979 - The Raincoats
Raincoats, The - 1979 - The Raincoats.
The Raincoats, The Raincoats (Geffen 1993) -- The Raincoats, a four-woman rock band from the late 70's, have had their debut release, The Raincoats (originally released on Rough Trade in 1979) re-pressed on Geffen. The songs sound remarkably fresh, as the ladies show that their punk-liberated sound will endure.The band, consisting of Ana Da Silva on vocals and guitars, Vicki Aspinall on vocals, violin and guitar, Gina Birch on vocals and bass, and Palmolive on drums, enjoyed their greatest success in New York and London a decade ago. Ana reports that the band's primary influences included The Clash, The Sex Pistols, Patti Smith, and The Slits.
With their cheeky, revved-up sound and imperfect harmonies, this group can only be described as seriously underground.
Still, with a cover of The Kinks' "Lola" tucked in the middle of the album, it's clear that the ladies had some music inside of them that needed to be delivered to the public -- and fortunately they hit the studio when the songs were at their freshest. If you can't handle the poppishness of Bananarama, then try The Raincoats -- it's a refreshing re-issue.
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source Randy Krbechek's Metronews Music Reviews (link)
Tuesday, October 28, 2008
Victims, The - 1978 - 4 Tracks 7''
Victims, The - 1978 - 4 Tracks 7''download
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VICTIMS: 4 track (Annette / I Want Head / Behind The Times / Nervous ) EP (Plan 9: PL1005) 1978. 1000 Copies. This is the more common black and white sleeve, there is also a scarce red and white sleeve. From NY. Vocalist Rick Riley played guitar for The Misfits a few times
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Thanks to Punk Rock Picture Sleeves for the cover! (link)
Monday, October 27, 2008
Boyfriends, The - 1978 - Don't Ask Me To Explain - Jenny 7''
Boyfriends, The - 1978 - Don't Ask Me To Explain/Jenny 7''.
Thanks to The ModPopPunk Archives for the cover!
Joe Cool And The Killers - 1977 - I Just Don't Care 7''
Joe Cool And The Killers - 1977 - I Just Don't Care 7''
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Lets face it, its a cheesy name for a band and god knows how they ended up on major label Ariola who were more famed for disco style bands. In the punk gold rush of 1977 someone must have thought it a clever idea or an idea for a tax loss !!!! 'I Just Don't Care' (Ariola 1977) is palatable Eddie & The Hot Rods style uptempo rock but that's about it. An album - Killer - was trumpeted in music papers in 1978 as an '...album that will destroy you m***** f*****' by which time they were known as The Killers. However it, along with the band, sank without a trace and without a tear in anyone's eye in the latter part of 1978 as their guitarist, Tony Mayberry, departed for the Depressions, another sinking ship..
source punk77.co.uk (link)
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thanks to NDN Records for the cover!
Sunday, October 26, 2008
Saturday, October 25, 2008
Friday, October 24, 2008
Thursday, October 23, 2008
Wednesday, October 22, 2008
Tuesday, October 21, 2008
Nervebreakers - 1981 - I'd Much Rather Be With The Boys/Girls Girls Girls Girls Girls 7''
Nervebreakers - 1981 - I'd Much Rather Be With The Boys/Girls Girls Girls Girls Girls 7''download
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The Nervebreakers A Dallas-area punk rock band in the late 1970s. Well known for their melodic, rocking punk with a liberal smattering of George Jones, they have the distinction of being one of the only bands to open for The Sex Pistols.
The Nervebreakers began life as a cover band doing avant' garde songs from the sixties. As the Ramones and the Sex Pistols became big in America, the band was finally able to find a sustaining audience. The Nervebreakers first big break came when they opened for the Ramones on December 31, 1977 at The Electric Ballroom, a dance hall in the industrial district of Dallas. In 1978 The Nervebreakers opened for the Sex Pistols at The Longhorn Ballroom, and a photo of Barry made it into the March 1979 issue of Rolling Stone Magazine. Later that year the band recorded their debut EP "Politics", and the song "My Girlfriend is A Rock" became a runaway hit in San Francisco, Sacramento, and Boston and was later covered by the Angry Samoans and Wool, among others. They also opened for The Clash, John Cale, The Police and The Boomtown Rats.
The Nervebreakers contacted legendary Psychedelic rock pioneer and Texas native, Roky Erickson and opened several shows as the Nervebreakers and doing double duty by being Roky's backing band.
In 1979 they recorded "Hijack the Radio" and "Why Am I So Flipped", and contributed 2 songs ("So Sorry" (Barry Kooda) and "I Love Your Neurosis") to the ESR Compilation "Are We Too Late For The Trend?" They recorded another song "I Don't Believe In Anything" but it was not released. By 1980, The Nervebreakers were one of the biggest bands in Dallas. They began recording their Debut album "We Want Everything" on May 27, but the album was not released for another fourteen years and then by the French record company, New Rose Records. After the departure of Mike and Bob, Paul Quigg and James Flory joined and the band won the "Agora's Battle of the Bands" in Dallas. Their prize was recording time at Pantego Studios and they recorded an original "Girls, Girls, Girls, Girls, Girls," along with an obscure Rolling Stones cover "I'd Much Rather Be With The Boys". The band parted company shortly before the single was released on black and blue vinyl in a clear sleeve. Mike, Tex, Bob, Barry and Carl have recently (2007) re-entered the studio to record and release many of the songs they never were able to at the time and, as usual, the release date is yet to be determined.
The Nervebreakers began life as a cover band doing avant' garde songs from the sixties. As the Ramones and the Sex Pistols became big in America, the band was finally able to find a sustaining audience. The Nervebreakers first big break came when they opened for the Ramones on December 31, 1977 at The Electric Ballroom, a dance hall in the industrial district of Dallas. In 1978 The Nervebreakers opened for the Sex Pistols at The Longhorn Ballroom, and a photo of Barry made it into the March 1979 issue of Rolling Stone Magazine. Later that year the band recorded their debut EP "Politics", and the song "My Girlfriend is A Rock" became a runaway hit in San Francisco, Sacramento, and Boston and was later covered by the Angry Samoans and Wool, among others. They also opened for The Clash, John Cale, The Police and The Boomtown Rats.
The Nervebreakers contacted legendary Psychedelic rock pioneer and Texas native, Roky Erickson and opened several shows as the Nervebreakers and doing double duty by being Roky's backing band.
In 1979 they recorded "Hijack the Radio" and "Why Am I So Flipped", and contributed 2 songs ("So Sorry" (Barry Kooda) and "I Love Your Neurosis") to the ESR Compilation "Are We Too Late For The Trend?" They recorded another song "I Don't Believe In Anything" but it was not released. By 1980, The Nervebreakers were one of the biggest bands in Dallas. They began recording their Debut album "We Want Everything" on May 27, but the album was not released for another fourteen years and then by the French record company, New Rose Records. After the departure of Mike and Bob, Paul Quigg and James Flory joined and the band won the "Agora's Battle of the Bands" in Dallas. Their prize was recording time at Pantego Studios and they recorded an original "Girls, Girls, Girls, Girls, Girls," along with an obscure Rolling Stones cover "I'd Much Rather Be With The Boys". The band parted company shortly before the single was released on black and blue vinyl in a clear sleeve. Mike, Tex, Bob, Barry and Carl have recently (2007) re-entered the studio to record and release many of the songs they never were able to at the time and, as usual, the release date is yet to be determined.
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source Wikipedia (link)
Monday, October 20, 2008
Sunday, October 19, 2008
Trash - 1977 - Priorities 7''
Trash - 1977 - Priorities 7''.
Formed in 1977 with Brian Devoil and Mick Brophey. In October of 1977, Trash recorded a single Priorities / Look, which was released on Polydor (catalog number 2058-939). Priorities is a pretty good song, not standard punk fair but with some nice hooks. Look is a bit of a stupid stomp-along, so check it out for the a-side.
After Brian left to play with Andy Revell, Trash released one other single called N-N-E-R-V-O-U-S/ Page 3 (Dumb Blondes), produced by Shel Talmy. The band now consisted of Mick Brophey, Keith Oswald Jeyes, Simon Wright, Simon Butler Smith.
Brian Devoil later formed progressive rock band Twelfth Night.
How the band got signed to a major label Polydor I have no idea. Polydor obviously had some faith in them as they hired Shel Talmy producer of some of the best work by the Kinks and The Who (to name just two) to produce the band. Unfortunately they had no success with either single.
After Brian left to play with Andy Revell, Trash released one other single called N-N-E-R-V-O-U-S/ Page 3 (Dumb Blondes), produced by Shel Talmy. The band now consisted of Mick Brophey, Keith Oswald Jeyes, Simon Wright, Simon Butler Smith.
Brian Devoil later formed progressive rock band Twelfth Night.
How the band got signed to a major label Polydor I have no idea. Polydor obviously had some faith in them as they hired Shel Talmy producer of some of the best work by the Kinks and The Who (to name just two) to produce the band. Unfortunately they had no success with either single.
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source punk77.co.uk (link)
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