Saturday, January 10, 2009
Friday, January 9, 2009
Eat, The - 2007 - It's Not The Eat, It's The Humidity
Eat, The - 2007 - It's Not The Eat, It's The Humidity.
The Alternative Tentacles "Reissues of Necessity" is back! We've hooked another live one from the swirling depths of the most obscure, desirable, and just plain deranged. Like many early punk pioneers The Eat operated in a near-total vacuum. This time in that infamous cesspool of clueless retirees and moronic sun worshippers known as South Florida. Their classic 7"s were rare and sought after from the moment they came out, distribution was nil, most were given away at shows and crushed on the spot, some even wound up lining a parrot cage. The result is "Communist Radio" and "God Punishes the Eat" are some of the most sought after and obscenely expensive Killed By Death items on eBay. Their angle on the world has a lot to do with this. Political concerns like "Communist Radio", "Nut Cops", Kneecappin'" and "Nixon's Biinoculars." Environmental awareness like "Manatee Smacker," "M-80 Ant Death," and "Living Like a Pig" and numerous celebrations of that seedy Florida lifestyle like "Catholic Love", "Silly Drug Songs", "Money for the Police" and "Psychotic McHale's Navy." The Eat reappeared sporadically clear through the mid-'90s, yet still seem unaware how wide their cult and notoriety has spread, especially among people who've never actually heard them. So now everyone can! Both early 7"s are here, the dropouts in the five "God Punishes" songs fixed up at last, followed by the entire "Scattered Wahoo Action" cassette album and all the unreleased songs from their aborted "Hialeah" album that was chopped down to their third and final seven inch. Sound is top-floor melodic punk 'n' roll - sort of a sped-up Real Kids with rock-bottom Angry Samoans-style lyrics. Disc One's a whopping 30+ studio tracks, many never before released. But That's not all folks. CD version comes with a bonus live disc with two dozen more songs and many a crude rude remark from band to audience. If that ain't all you can Eat, you must be as big as their drummer.
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source Amazon (link)
Thursday, January 8, 2009
Bodysnatchers, The - 1979 - Frantic 7''
Bodysnatchers, The - 1979 - Frantic 7''download
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from Australia
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Really fucked recording - the bass sounds like someone hitting acardboard box. Frantic is restrained, the vocals sound like early SeanKelly. Mystery steals all the lyrics from Venus In Furs and puts themto a new tune. The first three Savage singles were all recorded onthe same day!
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source CollectorScum (link)
Wednesday, January 7, 2009
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Monday, January 5, 2009
Heather Leather - 1985 - We Came To Destroy 7''
Heather Leather - 1985 - We Came To Destroy 7''.
I dunno if these girls really were sisters, if they did a "Ramones" or if it's just a case of good ol' southern inbreeding, but judging by the nifty promo-shot I received with the single I'd put my money on the 1st option. Having said that, one is tempted to dub HEATHER LEATHER the "THE SHAGGS of Metal!", but that would be unfair. True, they could barely play, Ruth weren't much of a singer and productionwise this 7" is a mess, but what they lack in perfection they more than make up for in charm and good looks. Is it just me who has a special place in my heart (or somewhere..) for voluptuous chicks in studded leather posing by tanks and palmtrees? Didn't think so."We came to destroy" makes a quaint impression with far too many breaks for the girls to handle, but the basic song is a good enough, heavy nwobhmic anthem. What a waste then to hurry into a recording studio after what must have been only a week or two of rehearsals.Perhaps it's just my sick sense of humor, but the flipside "child molester" is a total riot. If you want pure, unadulterated shock-value, leave it to the Garzas to deliver: "Child Molester, c'mon and show me WOW! what you do. Child Molester, c'mon and show me WOW! what you mean...". Something along the lines of "feel my hellish chainsaw gutfuck you, scum! and may Satan himself impale you on his throbbing, fiery member for all eternity!" may have been more appropriate, but oh so boring and predictably PC. Oh, the music? Pretty straight forward, rockin' Metal/HR not quite as sloppy as the A-side.The song "we came to destroy" was also featured on the HC/Crossover (!) compilation LP "Metal Moo Cow", in case anyone got the Completist Bug.
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source The Corroseum (link)
Sunday, January 4, 2009
Raxola - 1978 - Raxola
Raxola - 1978 - Raxola.
Belgium, 1977 : Yke had just recovered from the split of Bastard, which made history being the very first band to perform punk rock outside the USA (in the wake of The Stooges and MC5). Brian James had flew back in UK to form The Damned. His pal Louis (Royal Flash) and him wondered : "Time has come to get ourselves aware; are we ready to fight?" That's how Raxola decided to make the scene. They were the first so-called "punk" band in Belgium performing real raw power pop tunes. Guts and harmonies: the cocktail took Belgium by storm. "84 Man" became an hymn for the generation. The album released in 1978 by Philips has become legendary and Raxola gained great popularity throughout Belgium, France and Germany. In 1979 Yke and Louis were working on new material, within funky influences enlarging the punkpop basis. But Philips broke up the contract. That's how Yke, Louis and Snikkey splitted in 1980 into other musical experiences. Finally, Raxola regained fame and international success through the "Bloody Belgium" and "Bloodstains across Belgium" series. In 2003, Raxola reissued their album on CD and sold it out within 2 months. Nowadays they are back with a new single and work on a new album.
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source Discogs (link)
Saturday, January 3, 2009
Rudi - 1978 - Big Time 7''
Rudi - 1978 - Big Time 7''.
Big Time b/w N°1 Good Vibrations Records GOT 1) Released April 1978..original sleeve Karloff mummy/ lipstick design - several colours of sleeve exist - depending on what colour of paper it was printed on. Re released in October 1979 in a completely different sleeve. 7” format only.
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Thanks to Brian Young for the info and cover!
Urinals, The - 1979 - Another E.P. 7''
Urinals, The - 1979 - Another E.P. 7''.
The Urinals are a punk rock band from Southern California. Known for their minimalist approach to songwriting and recording--their lyrics have been called "punk haiku"--the band influenced other punk rockers of the 1970's and 1980's including the Minutemen.
The band's first performance, in 1978, was a parody of punk rock performed for a talent show at their UCLA dorm. Though none could play their instruments, three of the original members continued to perform in on-campus venues. Their songs were usually short, and seldom utilized more than two chords--if that.
The band’s first off-campus show was at Raul’s in Austin, Texas. Returning to L.A., they appeared with such groups as The Go-Go's and Black Flag. A roughly-recorded, four-song EP followed. After developing a somewhat more sophisticated sound, the band changed its name to 100 Flowers (inspired by Chairman Mao's famous quote), but disbanded in 1983.
In 1996, the band reformed as the Urinals, releasing a CD of new material in 2003. In 2005, they performed at the Chaoyang International Pop Festival in Beijing, in what is believed to be the first punk rock performance in China[1]. They later took the name Chairs of Perception (presumably a parody of Huxley's The Doors of Perception) before again becoming the Urinals in 2008.
The band’s first off-campus show was at Raul’s in Austin, Texas. Returning to L.A., they appeared with such groups as The Go-Go's and Black Flag. A roughly-recorded, four-song EP followed. After developing a somewhat more sophisticated sound, the band changed its name to 100 Flowers (inspired by Chairman Mao's famous quote), but disbanded in 1983.
In 1996, the band reformed as the Urinals, releasing a CD of new material in 2003. In 2005, they performed at the Chaoyang International Pop Festival in Beijing, in what is believed to be the first punk rock performance in China[1]. They later took the name Chairs of Perception (presumably a parody of Huxley's The Doors of Perception) before again becoming the Urinals in 2008.
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source Wikipedia (link)
Friday, January 2, 2009
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Thursday, January 1, 2009
Wednesday, December 31, 2008
Tuesday, December 30, 2008
Bodysnatchers, The - 1980 - Easy Life 7''
Bodysnatchers, The - 1980 - Easy Life 7''.
The Bodysnatchers were a seven-piece all-female band involved in the British ska revival of the early 1980s.
Formed in London by Nicky Summers in 1979, they released two ska/rocksteady singles on the 2 Tone record label. The Bodysnatchers' first concert was at the Windsor Castle pub in London, on 24 November 1979. After signing to 2 Tone, they undertook a tour supporting The Selecter. They appeared in the Dance Craze documentary film, featuring live performances by various British 2 Tone bands.
The Bodysnatchers played together for less than two years, with the group disbanding in 1981 and no album released. Some of the Bodysnatchers' members evolved into another all-girl band, The Belle Stars. After The Specials' original vocalists left the band, the Bodysnatchers' lead singer, Rhoda Dakar, went on to sing with The Special AKA.
In 1984, Sarah Jane Owen and Penny Layton formed the all girl ska band, The Deltones, who released an album and two singles on Unicorn Records in 1989. The group disbanded in 1991.
In late 2007, Dakar released a solo album on Moon Ska World. Cleaning In Another Woman's Kitchen is an acoustic album, which features new material, plus covers of The Bodysnatchers hits, "Do Rocksteady" and "Easy Life". These days she can also be seen playing in the outfit, Skaville UK, alongside former Bad Manners members Martin Stewart and Louis Alphonso. Dakar has also contributed vocals on their debut album, 1973, which was released in July 2007.
The Bodysnatchers played together for less than two years, with the group disbanding in 1981 and no album released. Some of the Bodysnatchers' members evolved into another all-girl band, The Belle Stars. After The Specials' original vocalists left the band, the Bodysnatchers' lead singer, Rhoda Dakar, went on to sing with The Special AKA.
In 1984, Sarah Jane Owen and Penny Layton formed the all girl ska band, The Deltones, who released an album and two singles on Unicorn Records in 1989. The group disbanded in 1991.
In late 2007, Dakar released a solo album on Moon Ska World. Cleaning In Another Woman's Kitchen is an acoustic album, which features new material, plus covers of The Bodysnatchers hits, "Do Rocksteady" and "Easy Life". These days she can also be seen playing in the outfit, Skaville UK, alongside former Bad Manners members Martin Stewart and Louis Alphonso. Dakar has also contributed vocals on their debut album, 1973, which was released in July 2007.
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source Wikipedia (link)
Monday, December 29, 2008
Metal Boys - 1980 - Tokio Airport
Metal Boys - 1980 - Tokio Airport.
The Acute label is dedicating itself to two channels of reissue forum: the Glenn Branca axis, and French punk/new-wave. Following the label's Métal Urbain reissue of late last year is post-Urbain outfit Metal Boys’ Tokio Airport album from 1980. Eric Débris and Charlie Hurbier form the nexus of the outfit, fleshed out by mysterious English vocalist China. The sound on the recordings shares headspace with Métal Urbain’s machine-rock, though it trades in the single-minded purpose of Urbain’s music for a more inclusive sphere of activity, which proves to be both its strength and its downfall.
Tokio Airport stumbles at the first hurdle: lyrics and vocals. As with a lot of post-punk, or ‘avant new-wave’, the Metal Boys’ occasional lapses into lyrical dogmatism are hardly becoming: it’s not the content/context of the lyrics, but the way they’re rendered. Large parts of Tokio Airport are rather gauche, evoking the ‘just-out-of-college’ clumsiness that hamstrung a lot of post-punk artists. You can find a similar cringe-worthiness in the Gang of Four’s well-intentioned-but-slightly-trite class struggle polemic, The Pop Group’s Nietzschean abandon, and the declamatory surface-intent politics of some of the Rough Trade label crew. Sometimes it’s hard to decide whether that light, broth-of-language political rhetoric is, at least, easier to swallow than lyric-as-personal-indulgence, but tracks like “X-Mas Day” or “Suspenders in the Park” lose out on text.
But the Metal Boys generally win out on sound. There’s something obdurate about their songs, a completely unyielding fascination with the analog sound processing and the eternal endless pulse of Teutonic technology. “Carbone 14” sounds as future-perfect, yet completely of its age, as the early works of Severed Heads, or the Human League’s The Dignity of Labour EP; in these recordings you can hear DIY tactic grappling with then-modern electronics. The final bonus tracks, “Disco Future” and “Outer Space”, stretch things further - manic, streamlined gushes of sound breached by China’s mantric repetitions. The liner notes here want you to believe that songs like “Carbone 14” and “Suspenders in the Park” could be dropped in some electro-clash club without anyone batting an eyelid, but drawing that parallel skips the rock/punk part of the equation. The Metal Boys, like their predecessors Métal Urbain, were never rigid about ‘opposing all rock’n’roll’. If their relationship with the Rough Trade label contextualized the band within the feverish non-/anti-rock action of the post-punk collective, Debris and Hurbier were never shy of throwing a monstrous riff into their songs, roughed-up through tinny, overdriven production. The Ramones meets Cabaret Voltaire? Perhaps only for a few songs, like the opening “Colt 45”, but they make for nice jolts of energy among Tokio Airport’s more ruminative instrumentals, and the side-glances at warped pop, cabaret, and various other forms. If the record fails at any point, it’s thanks to the neo-new-wave stumbling of songs like “Wah Lee Bomp Dee Bomp”.
Were the Metal Boys prescient? That depends on how you view the tributaries that have run from the late 1970s and early 1980s. Electronic/industrial exploration has been taken up again by acts like Wolf Eyes, the post-punk/disco micro-revolution is being revisited by The Rapture, the itchy guitar non-pop by Erase Errata. But the Metal Boys’ aesthetic was too combinatory to be mimicked or followed, and modern practitioners of this music are too caught up following only one path to interpolate other genres into their constructs. And even if Tokio Airport is much less than perfect, if it falls and loses its way, doesn’t manage to fully transcend its era, it still sounds like little else.
(Oh, and the soon-come reissue of Eric Débris’ Dr Mix and the Remix’s Greatest Hits album, I’d queue in torrential rain for that.)
Tokio Airport stumbles at the first hurdle: lyrics and vocals. As with a lot of post-punk, or ‘avant new-wave’, the Metal Boys’ occasional lapses into lyrical dogmatism are hardly becoming: it’s not the content/context of the lyrics, but the way they’re rendered. Large parts of Tokio Airport are rather gauche, evoking the ‘just-out-of-college’ clumsiness that hamstrung a lot of post-punk artists. You can find a similar cringe-worthiness in the Gang of Four’s well-intentioned-but-slightly-trite class struggle polemic, The Pop Group’s Nietzschean abandon, and the declamatory surface-intent politics of some of the Rough Trade label crew. Sometimes it’s hard to decide whether that light, broth-of-language political rhetoric is, at least, easier to swallow than lyric-as-personal-indulgence, but tracks like “X-Mas Day” or “Suspenders in the Park” lose out on text.
But the Metal Boys generally win out on sound. There’s something obdurate about their songs, a completely unyielding fascination with the analog sound processing and the eternal endless pulse of Teutonic technology. “Carbone 14” sounds as future-perfect, yet completely of its age, as the early works of Severed Heads, or the Human League’s The Dignity of Labour EP; in these recordings you can hear DIY tactic grappling with then-modern electronics. The final bonus tracks, “Disco Future” and “Outer Space”, stretch things further - manic, streamlined gushes of sound breached by China’s mantric repetitions. The liner notes here want you to believe that songs like “Carbone 14” and “Suspenders in the Park” could be dropped in some electro-clash club without anyone batting an eyelid, but drawing that parallel skips the rock/punk part of the equation. The Metal Boys, like their predecessors Métal Urbain, were never rigid about ‘opposing all rock’n’roll’. If their relationship with the Rough Trade label contextualized the band within the feverish non-/anti-rock action of the post-punk collective, Debris and Hurbier were never shy of throwing a monstrous riff into their songs, roughed-up through tinny, overdriven production. The Ramones meets Cabaret Voltaire? Perhaps only for a few songs, like the opening “Colt 45”, but they make for nice jolts of energy among Tokio Airport’s more ruminative instrumentals, and the side-glances at warped pop, cabaret, and various other forms. If the record fails at any point, it’s thanks to the neo-new-wave stumbling of songs like “Wah Lee Bomp Dee Bomp”.
Were the Metal Boys prescient? That depends on how you view the tributaries that have run from the late 1970s and early 1980s. Electronic/industrial exploration has been taken up again by acts like Wolf Eyes, the post-punk/disco micro-revolution is being revisited by The Rapture, the itchy guitar non-pop by Erase Errata. But the Metal Boys’ aesthetic was too combinatory to be mimicked or followed, and modern practitioners of this music are too caught up following only one path to interpolate other genres into their constructs. And even if Tokio Airport is much less than perfect, if it falls and loses its way, doesn’t manage to fully transcend its era, it still sounds like little else.
(Oh, and the soon-come reissue of Eric Débris’ Dr Mix and the Remix’s Greatest Hits album, I’d queue in torrential rain for that.)
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By Jon Dale from Dusted Reviews (link)
Guilty Razors - 1978 - I Don't Wanna Be A Rich 7''
Guilty Razors - 1978 - I Don't Wanna Be A Rich 7''download
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from France
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Oriundos da França, os Guilty Razors são das pérolas perdidas do Punk Rock europeu. Lançaram um single de topo (Don't Wanna Be a Rich b/w Provocate) e logo em seguida preparavam-se para lançar um LP pela Polydor Records que foi... recusado.
Terminou assim a história de uma das mais promissoras bandas de punk rock da Europa (e das mais talentosas também, diga-se).
No entanto, já no novo século a editora francesa Seventeen teve a genial ideia de lançar o álbum que havia sido gravado em 78 e chumbado pela Polydor. E em boa hora o fizeram porque é bastante razoável.
Para quem espera um LP todo com a qualidade das músicas do single... não o vai encontrar. Vai encontrar sim mais 9 músicas de qualidade, mas com menos agressividade e com um som de guitarras que podia estar muito melhor, deambulando pelo Punk In Your Face e músicas mais arrastadas e trabalhadas.
O ponto alto do álbum é mesmo "Don't Wanna be a Rich", um tema simplesmente brutal que devia figurar nas melhores compilações de Punk Rock. No entanto, o álbum é bastante consistente e tem outras músicas bastante interessantes como as rápidas"Hurts and Noise" ou "Wake Up" ou as mais calmas "Terrorist Bad Heart" ou "Stupid".
Há poucas cópias desta re-edição (em vinil colorido) por isso apressem-se nem que seja por um motivo óbvio: o álbum tem as duas músicas que compoem o single e não o encontram facilmente nem a preços acessíveis.
No entanto, um aviso a quem espera deste disco uma bomba: ouçam com calma porque podem-se desiludir .
Terminou assim a história de uma das mais promissoras bandas de punk rock da Europa (e das mais talentosas também, diga-se).
No entanto, já no novo século a editora francesa Seventeen teve a genial ideia de lançar o álbum que havia sido gravado em 78 e chumbado pela Polydor. E em boa hora o fizeram porque é bastante razoável.
Para quem espera um LP todo com a qualidade das músicas do single... não o vai encontrar. Vai encontrar sim mais 9 músicas de qualidade, mas com menos agressividade e com um som de guitarras que podia estar muito melhor, deambulando pelo Punk In Your Face e músicas mais arrastadas e trabalhadas.
O ponto alto do álbum é mesmo "Don't Wanna be a Rich", um tema simplesmente brutal que devia figurar nas melhores compilações de Punk Rock. No entanto, o álbum é bastante consistente e tem outras músicas bastante interessantes como as rápidas"Hurts and Noise" ou "Wake Up" ou as mais calmas "Terrorist Bad Heart" ou "Stupid".
Há poucas cópias desta re-edição (em vinil colorido) por isso apressem-se nem que seja por um motivo óbvio: o álbum tem as duas músicas que compoem o single e não o encontram facilmente nem a preços acessíveis.
No entanto, um aviso a quem espera deste disco uma bomba: ouçam com calma porque podem-se desiludir .
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source Killed by Death - O Punk em Português (link)
Sunday, December 28, 2008
Saturday, December 27, 2008
Rudi - 2000 - The Pressure's On 7''
Rudi - 2000 - The Pressure's On 7''download
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The pressure's on b/w Who? You (Bad Vibrations Records - Last Year's Youth Records LAST 2) Quasi bootleg 45 issued in summer 2000. This 45 was originally to have been issued by Good Vibrations Records to coincide with the Belfast edition of the highly rated BBC TV show ‘Something Else' on which RUDI played both songs! Amazingly it remained unreleased until last year! Comes in a snappy ‘Good Vibes' style wraparound pic sleeve - 5 colours. Limited pressing of 500 all numbered. 7”
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Thanks to for the Brian Young info and covers (link)
Depressions, The - 1977 - Living On Dreams 7''
Depressions, The - 1977 - Living On Dreams 7''download
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In the mid-70's, this Brighton-based 4-pieces was, like so many of their contempories, searching for the rea soul in rock'n'roll, covering the songs of The Who, the Small Faces and the likes. When punk happened, Tonge, as they were known back then, presto changed their name to the more fitting-with-the-times The Depressions and focused on their own songwriting abilities. And the result wasn't long in the waiting, as the band soon found themselves snapped up by Chas Chandler's Barn label who relesed the first 7" "Living On Dreams"/"Family Planning" in October of '77. the first 5,000 copies were housed in a picture sleeve and was a joint 'Sounds' 'Single of the Week" along with the Sex Pistols "Holidays In The Sun". To celebrate the deal, Barnard and Smith went out to leterally paint the town red, and, as reported in the Daily Mirror, were arrested on the dot and fined for spray painting "The Depressions" on various city walls. Legend also has it that The Depressions during a live performance at the Vortex Club so impressed Keith Moon that he was pogoing and singing along. and they embarked on UK tour supporting Steve Gibbons and followed this up with support tours to The Motors and Slade. They also headlined a few gigs themselves.
"Living On Dreams" and their next 45s "Messing With Your Heart" and "Get Of This Town, which were both taken from their debut album "The Depressions", all showed up well in the indie charts. Soon after the Depressions changed their name to the DP's after an audience member got killed during fight betwen two groups of football supporters at Preston Poly, whilst they were supporting The Vibrators on UK tour. this incident also caused Frank Smith to leave the band. His replacement was ex-Joe Cool and The Killers guitarist Tony Mayberry.
They finally split in early 1979 when was a disappointing response to the DP's album "If You Know What I Mean". Dave Barnard went on to form the mod band VANDELLS and also toured with Steve Ellis Love Affair for a while. Later in 1983, he teamed up with Eric Wright to compose "The Goldstone Rap", a single written to commemorate Brighton and Hove Albion's run to the 1983 FA Cup Final.
"Living On Dreams" and their next 45s "Messing With Your Heart" and "Get Of This Town, which were both taken from their debut album "The Depressions", all showed up well in the indie charts. Soon after the Depressions changed their name to the DP's after an audience member got killed during fight betwen two groups of football supporters at Preston Poly, whilst they were supporting The Vibrators on UK tour. this incident also caused Frank Smith to leave the band. His replacement was ex-Joe Cool and The Killers guitarist Tony Mayberry.
They finally split in early 1979 when was a disappointing response to the DP's album "If You Know What I Mean". Dave Barnard went on to form the mod band VANDELLS and also toured with Steve Ellis Love Affair for a while. Later in 1983, he teamed up with Eric Wright to compose "The Goldstone Rap", a single written to commemorate Brighton and Hove Albion's run to the 1983 FA Cup Final.
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source The Mod Pop Punk Archives (link)
Supernaut - 1976 - I Like It Both Ways 7''
Supernaut - 1976 - I Like It Both Ways 7''download
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Supernaut were an Australian glam/punk rock band from Perth, Australia formed in 1974 and disbanded in 1980.
HistoryFormed in 1974 in Perth, Western Australia, Supernaut (originally named Moby Dick) had a short but successful career which yielded two straight top twenty singles (including a number one hit) and gold album status for their self titled debut album.
Supernaut were quickly signed up by Polydor after a recommendation from Ian "Molly" Meldrum (who produced their debut album) and burst on to the Australian charts with a number one hit in July, 1976 with "I Like It Both Ways". A follow up hit came in November, 1976 with "Too Hot To Touch", which reached number 19, from their self-titled album Supernaut.
In 1978 Supernaut relocated to Sydney and shortened their name, their hair and changed their attitude. They opted for punk/new wave garage style and became "The Nauts". They released an album (produced by Robie Porter) under that name in 1978. The album was widely acclaimed by critics but sales weren't forthcoming and they disbanded in 1980.
HistoryFormed in 1974 in Perth, Western Australia, Supernaut (originally named Moby Dick) had a short but successful career which yielded two straight top twenty singles (including a number one hit) and gold album status for their self titled debut album.
Supernaut were quickly signed up by Polydor after a recommendation from Ian "Molly" Meldrum (who produced their debut album) and burst on to the Australian charts with a number one hit in July, 1976 with "I Like It Both Ways". A follow up hit came in November, 1976 with "Too Hot To Touch", which reached number 19, from their self-titled album Supernaut.
In 1978 Supernaut relocated to Sydney and shortened their name, their hair and changed their attitude. They opted for punk/new wave garage style and became "The Nauts". They released an album (produced by Robie Porter) under that name in 1978. The album was widely acclaimed by critics but sales weren't forthcoming and they disbanded in 1980.
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source Wikipedia (link)
Friday, December 26, 2008
Savage Circle - 1982 - Savage Circle 7''
Savage Circle - 1982 - Savage Circle 7''.
These guys sound good, musically they're the East Coast version of WASTED YOUTH. Unfortunately they seem to have no real purpose other than trying to sound as hardcore as possible. Song titles like "Kill Yourself" and "Hardcore Rules" c'mon, we've heard it before. But they have potential - a strong dose of originality could make this a great band. (Tim Tonooka, from Ripper #7, 1982)
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Sounds like Donald Duck on vocals, if the song was long enough to detect it. From Guillotine #6, 1983 )
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source Kill from the Heart (link)
Thursday, December 25, 2008
White SS - 1978 - A Mercy Killing 7''
White SS - 1978 - A Mercy Killing 7''download
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Bit of an odd one this. Atrocious cover, atrocious name and an even more atrocious dress sense ! You would be forgiven for thinking it would be some racist claptrap. Instead you get a paean to youthanasia 'A Mercy Killing' over a semi acoustic jazzy track sounding more like Caravan. The same applies to the last track 'Pornography' which has extra weird noises to boot. The middle track, the live 'I'm The One', is the pick of the bunch. A fuzzed up psychedelic rocker.
All very strange if you ask me and sounds like musos disguised as punks. Released on White SS Records 1978. Weird!
All very strange if you ask me and sounds like musos disguised as punks. Released on White SS Records 1978. Weird!
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source punk77.co.uk (link)
Wednesday, December 24, 2008
Alley Cats - 1978 - Nothing Means Nothing Anymore 7''
Alley Cats - 1978 - Nothing Means Nothing Anymore 7''.
ALLEYCATS ~ Nothing Means Nothing Anymore b/w Give Me A Little Pain 7in.
(LOM22 — released March 1978)
Dianne Chai: vox, bass
Randy Stodola: vox, guitar
John McCarthy: drums
DB: The Alleycats were from Lomita in South Bay. Michigan emigre Randy Stodola was the songwriter/guitarist and driving force, with a penchant for surreal narrative in his lyrics. His wife, Dianne Chai, on bass, and John McCarthy on drums made for one of the tightest outfits around. Musically they probably most resembled meat 'n' potatoes more than any other Dangerhouse punk act.
The Alleycats was really my first opportunity to really get to run a session and everything they did just ran like clockwork. We just basically stood there letting the tape run. It was amazing how professional some of these bands were. At this point we were starting to get recognition for the fact that other people had tried to put out things like that but had a very hard time getting them to sound professional. BMF: Black vinyl only. 2500 pressed in two batches January 1978 - April 1978. Two picture sleeves issued: a black & white "live shot" foldover PS and a color "lounge" PS which is simply a double-sided 7" x 7" square.
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source Break my Face (link)
Red Rockers - 1981 - Condition Red
Red Rockers - 1981 - Condition Reddownload
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The Red Rockers were a New Wave band from New Orleans, Louisiana. They formed in 1979 and disbanded in 1985. They are best known for their 1983 hit single "China". They toured the United States opening for The Cars, Men at Work, U2, Joan Jett, The Go Go's.
Lead singer John Thomas Griffith now plays guitar and sings in the band Cowboy Mouth, which he co-founded in 1990 with Paul Sanchez and Fred LeBlanc. Bassist Darren Hill currently has a management company called Ten Pin Management; he manages The New York Dolls, Paul Westerberg and others.
Lead singer John Thomas Griffith now plays guitar and sings in the band Cowboy Mouth, which he co-founded in 1990 with Paul Sanchez and Fred LeBlanc. Bassist Darren Hill currently has a management company called Ten Pin Management; he manages The New York Dolls, Paul Westerberg and others.
Tuesday, December 23, 2008
Grupo Parlamentar - 1982 - Na Minha Terra 7''
Grupo Parlamentar - 1982 - Na Minha Terra 7''
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from Portugal
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Thanks to Rock em Portugal for the cover!
Now, The - 1978 - Im Eating Off A Fashion Plate 7''
Now, The - 1978 - Im Eating Off A Fashion Plate 7''
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NOW: Im Eating Off A Fashion Plate (Out Of Print 1102) 1978. Rochester NY. Before the NOW some of these guys went under the name of Marley and recorded "It's Rock-n-Roll / Killer" which only made as a acetate. After the NOW 45 came out the changed their name to the TIMES and recorded a 45 which was a tribute to Magda Gabor (sister of Eva and Zsa-Zsa)
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source Punk Rock Picture Sleeves (link)
Monday, December 22, 2008
Subverts - 1981 - Independet Study 7''
Subverts - 1981 - Independet Study 7''download
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The Subverts were one of the earlier Chicago punk bands around, forming in 1979. Originally from Dekalb, they are most well known for playing lots of shows in the early 80s and being on the Busted at Oz compilation.
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Sunday, December 21, 2008
Doctor Feelgood - 1978 - Private Practice
Doctor Feelgood - 1978 - Private Practice.
Dr. Feelgood are a British pub rock band, which was formed in mid 1971. The name of the band, Dr. Feelgood, is slang for heroin, or for doctors who are prepared to overprescribe drugs. In 1962 the name was adopted by the American blues pianist and singer Willie Perryman (also known as "Piano Red") who recorded his song "Dr Feel-Good" as "Dr Feelgood & The Interns". The song was covered by several British beat groups including Johnny Kidd & The Pirates, who used it as the b-side to their 1964 single "Always and Ever", from where it was chosen by the band. (Wikipedia)
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Although producer Richard Gottehrer gives Private Practice a sound that's just a little too clean and restrained, the album nevertheless is a fine set of professional R&B and rock & roll. The material on the album is a little uneven, but with the assistance of Nick Lowe, the Feelgoods wrote a pair of tight, catchy rockers in Milk and Alcohol and It Wasn't Me, which stood out among the entertaining, yet generally generic, songs.
from Stephen Thomas Erlewine, All-Music Guide
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para quem quiser saber mais em português, aqui.
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