Saturday, November 15, 2008
Captain Sensible - 1981 - This Is Your Captain Speaking 7''
Captain Sensible - 1981 - This Is Your Captain Speaking 7''download
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Former Guitarist with 70's Punk Goth band 'The Damned'. Towards the end of 1981, the good Captain decided to do some solo stuff, which turned out to be more poppy and mainstream than The Damned's records. Also, his solo stuff sold more records, with Happy Talk jumping from No 33 straight to No 1 in the UK top 40 in June 1982.
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source Discogs (link)
Thursday, November 13, 2008
Bureaucrats - 1999 - Roi (Recorded In '78-'79)
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Bureaucrats - 1999 - Roi (Recorded In '78-'79).
The Bureaucrats formed in ‘78 and disbanded in ‘81. The band managed to scrape together a cult following with their original Clash-cum-new wave material, echoing similar rebel sentiments rising out of the likes of New York and London in the late 70’s. The Bureaucrats performed with the likes of Teenage Head, Demics, Bauhaus, Payolas among others. They began their musical legacy by opening and closing the now infamous “Rotter’s Club” and eventually did the same with its successor “The 80’s Club”. The band during its existence released the following; Rot n Roll 12” LP (’79), Feel the Pain/Grown Up Age 45rpm (’80), ROI CD recorded in ’78-‘79 (released ’99) and The Bureaucrats 12” LP recorded in ’78-’80 (released 2000).
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source Punk History Canada (link)
Wednesday, November 12, 2008
Big Balls And The Great White Idiot - 1977 - Same 12''
Big Balls And The Great White Idiot - 1977 - Same 12''download
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Big Balls and the Great White Idiot was one of the first and best known German punk rock bands. They were founded in Hamburg in 1975 by Wolfgang "Wolle" Lorenz (guitar), "Baron Adolf Kaiser" (vocals), and the Grund brothers Peter (drums, vocals), Alfred (bass, vocals) and Atli (guitar).
"Baron Adolf" provoked the audience by wearing a Nazi uniform and a black moustache as an expression of anarchy. Performances on stage were highly aggressive; the band was known to shout at the audience to go home. Punk News magazine called the sound "mean and ugly."
The first album was released in 1977 by Teldec, named Big Balls. Among the 17 songs were a cover version of the Sex Pistols' "Anarchy in the U.K.", in this case "Anarchy in Germany," and another of Velvet Underground. In 1978 the second album Foolish Guys followed. The next two albums, Artikel 1 and Creepy Shades, were released by their own label Balls Records, the latter bringing a change in sound away from punk.
The decline of punk rock did not affect the close ties between the band and their fans, but the 1980s saw the "Balls" more often in theaters contributing their music to various stageplays.
"Baron Adolf" provoked the audience by wearing a Nazi uniform and a black moustache as an expression of anarchy. Performances on stage were highly aggressive; the band was known to shout at the audience to go home. Punk News magazine called the sound "mean and ugly."
The first album was released in 1977 by Teldec, named Big Balls. Among the 17 songs were a cover version of the Sex Pistols' "Anarchy in the U.K.", in this case "Anarchy in Germany," and another of Velvet Underground. In 1978 the second album Foolish Guys followed. The next two albums, Artikel 1 and Creepy Shades, were released by their own label Balls Records, the latter bringing a change in sound away from punk.
The decline of punk rock did not affect the close ties between the band and their fans, but the 1980s saw the "Balls" more often in theaters contributing their music to various stageplays.
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source Wikipedia (link)
Tuesday, November 11, 2008
Lockjaw - 1978 - Journalist Jive! 7''
Lockjaw - 1978 - Journalist Jive! 7''download
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Formed out of the ashes of 'The Guernsey Flowers', then changing their name to 'The Amazing Doctor Octopuss' before settling on 'Lockjaw'. The first ever gig was under the name of 'The Guernsey Flowers' and it was at 'St Francis' Church Hall, Balcombe Road in Horley. For a laugh we put a load of confetti in a cardboard box over the stage. It was my idea of special effects!! What we didn't realise that earlier in the day, the box had contained flowers from Guernsey, and this was actually printed on the side of the box!!! These special effects (or not as the case was...) lead the audience (one man and his dog with a few Hippies chucked in for good measure) led to a slight misunderstanding. The upshot was, the assumption we were called 'The Guernsey Flowers' ... Not the best name for a young well 'ard Punk band starting out in those days! It took ages to shake off this name but thinking back it was a good old larf...
In our two year existence, we recorded many tracks for 'Lee Wood's' "Raw Records" and managed to release two singles on his label. The first being 'Radio Call Sign' which was actually written by our faithful Van Driver / Roadie come Manager 'Dave Gallup', the older brother to 'Simon Gallup'. The label actually credited a 'D. Gallot' but this was a typing error. The follow up single was 'Journalist Jive'. Unfortunately, the other studio recorded tracks have been lost in time......or have they? It would be good if we could track down the masters to all these tracks, or good quality versions so that we could release then as a retrospective release and actually make a little dosh as we never saw a penny from Lee Wood!!!
When we were gigging as 'Lockjaw' we used to play with another local band called "Easycure". We used to play under the heading of "I KNOW AN EASYCURE FOR LOCKJAW". A year later they dropped the 'Easy' and became 'The Cure' and we changed our name to the "The Magazine Spies" or just Mag/Spys.
Just as the 'The Cure' were breaking, the band were invited to support 'The Specials' in Paris so a few members of the 'Mag/Spys went along as roadies for them.
Sadly, the Mag/Spys wasn't really in existence that long as things were really taking off for the other local band The Cure' as they had just been signed to 'Fiction Records' and 'Mick Dempsy' has just left and his space needed filling. So 'Robert Smith' asked 'Simon Gallup' & Matthieu Hartley' if they would like to join The Cure. Sadly that was the last time we saw those two for many years!
Years later, I went on 'Head On The Door' tour with 'The Cure' and Robert Smith ponced a fiver from me....I suppose some things never change!
The rest is history so to speak....
In our two year existence, we recorded many tracks for 'Lee Wood's' "Raw Records" and managed to release two singles on his label. The first being 'Radio Call Sign' which was actually written by our faithful Van Driver / Roadie come Manager 'Dave Gallup', the older brother to 'Simon Gallup'. The label actually credited a 'D. Gallot' but this was a typing error. The follow up single was 'Journalist Jive'. Unfortunately, the other studio recorded tracks have been lost in time......or have they? It would be good if we could track down the masters to all these tracks, or good quality versions so that we could release then as a retrospective release and actually make a little dosh as we never saw a penny from Lee Wood!!!
When we were gigging as 'Lockjaw' we used to play with another local band called "Easycure". We used to play under the heading of "I KNOW AN EASYCURE FOR LOCKJAW". A year later they dropped the 'Easy' and became 'The Cure' and we changed our name to the "The Magazine Spies" or just Mag/Spys.
Just as the 'The Cure' were breaking, the band were invited to support 'The Specials' in Paris so a few members of the 'Mag/Spys went along as roadies for them.
Sadly, the Mag/Spys wasn't really in existence that long as things were really taking off for the other local band The Cure' as they had just been signed to 'Fiction Records' and 'Mick Dempsy' has just left and his space needed filling. So 'Robert Smith' asked 'Simon Gallup' & Matthieu Hartley' if they would like to join The Cure. Sadly that was the last time we saw those two for many years!
Years later, I went on 'Head On The Door' tour with 'The Cure' and Robert Smith ponced a fiver from me....I suppose some things never change!
The rest is history so to speak....
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Martin "Oddie" Ordish - 8th January 2006 (link)
Dirt Shit - 1979 - Rattenloch 7''
Dirt Shit - 1979 - Rattenloch 7''.
Dirt Shit’s “Rattenlock” EP was released in Austria, 1979, in a reported edition of 200 copies. It is one of the most unreal, over the top artifacts of punk music I have ever heard (and is an all-time, top ten record). Here the record has been legitimately reissued for another 666 people to enjoy. The A-side of the record has three punk scorchers that make my hair stand on end every time. The abrasive guitar sound is lifted from a construction site while the producer was surely an idiot savant on an exchange program from Bedlam. The recording has fades and tape manipulations that add another layer to the songs. “Discoscheisser” and “Exit” are paint-peeling originals while the third song is a great take on the Rolling Stone’s “Jumpin’ Jack Flash”. The flipside of the record is a weird, extended reggae influenced song that doesn’t get spun often by me, but certainly makes the record even more interesting. The reissue does not have the hand colored sleeve or all of the inserts with the original, but is incredibly well done. This should be in everyone’s collection.
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source Frontcore (link)
Monday, November 10, 2008
Sunday, November 9, 2008
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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!
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