Wednesday, May 13, 2009
Tuesday, May 12, 2009
Skids - 1980 - Strength Through Joy (UK)
Skids - 1980 - Strength Through Joy (UK)
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The Absolute Game was The Skids' 1980 third album (not counting the two different versions released of their second album, 1979's Days in Europa) and was produced by Mick Glossop.
The album continued the Skids' progression from a punky sound into a more mellow one - paralleled by many bands of the period. The album has a great deal in common with Days in Europa, but not much with its successor, Joy. Around this time the band were driven by internal rifts and disagreements, leading to various members coming and going. Soon after the release and live concert tour of The Absolute Game, Adamson and Baillie left the band. (Adamson had already played on one song from the album Joy before leaving, called Iona.) Adamson went on to launch the career of his new band, Big Country, and Baillie moved back to Scotland to live. A great deal of Big Country's future sound and style can be heard in this album. In particularly on Hurry On Boys, which features bagpipe simulations and real didgeridoo. Joy has a completely different sound to other Skids albums, and some fans consider The Absolute Game to be the last canonical Skids album. This was also the first album featured Richard Jobson and new bassist Russell Webb as a working duo, while Adamson and Jobson relationship was in decadence, reason the lead guitarist dropped out. Jobson and Webb as a constantly musical duo worked constantly until 1988, when their last band The Armoury Show failed to get hits and split up.
ControversyInitial copies came with a limited edition second disc entitled Strength through Joy. Richard Jobson, the Skids' lead singer, later stated that this title had been taken from Dirk Bogarde's autobiography and was not based on the Nazi slogan Kraft durch Freude. However it continued the controversial theme of the first release of Days in Europa, which had been withdrawn.
Strength through Joy – limited edition second disc available with initial copies only
The album continued the Skids' progression from a punky sound into a more mellow one - paralleled by many bands of the period. The album has a great deal in common with Days in Europa, but not much with its successor, Joy. Around this time the band were driven by internal rifts and disagreements, leading to various members coming and going. Soon after the release and live concert tour of The Absolute Game, Adamson and Baillie left the band. (Adamson had already played on one song from the album Joy before leaving, called Iona.) Adamson went on to launch the career of his new band, Big Country, and Baillie moved back to Scotland to live. A great deal of Big Country's future sound and style can be heard in this album. In particularly on Hurry On Boys, which features bagpipe simulations and real didgeridoo. Joy has a completely different sound to other Skids albums, and some fans consider The Absolute Game to be the last canonical Skids album. This was also the first album featured Richard Jobson and new bassist Russell Webb as a working duo, while Adamson and Jobson relationship was in decadence, reason the lead guitarist dropped out. Jobson and Webb as a constantly musical duo worked constantly until 1988, when their last band The Armoury Show failed to get hits and split up.
ControversyInitial copies came with a limited edition second disc entitled Strength through Joy. Richard Jobson, the Skids' lead singer, later stated that this title had been taken from Dirk Bogarde's autobiography and was not based on the Nazi slogan Kraft durch Freude. However it continued the controversial theme of the first release of Days in Europa, which had been withdrawn.
Strength through Joy – limited edition second disc available with initial copies only
tracklist:
1. "An Incident in Algiers"
2. "Grievance"
3. "Strength through Joy"
4. "Filming Africa"
5. "A Man for All Seasons"
6. "Snakes and Ladders"
7. "Surgical Triumph"
8. "The Bell Jar"
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source Wikipedia (link)
Ex, The - 1980 - Disturbing Domestic Peace (NL)
Ex, The - 1980 - Disturbing Domestic Peace (NL)download
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Originally released on vinyl in November 1980 by Eh Records (EX 004) and Verrecords (EX 005). European re-release on CD in May 1994 by Ex Records (EX004/005D). Official US release by Fist Puppet (Fist 027). Recorded October 10-12, 1980 at Joke's Koeienverhuurbedrijf. Tracks 11 to 14 are from "Live-skive" (EX 004), which came as a bonus 7" with the album. Recorded live at the Drieluyk, Zaandam on August 30, 1980.
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Monday, May 11, 2009
Sunday, May 10, 2009
Middle Class - 1982 - Homeland LP (US)
Middle Class - 1982 - Homeland LP (US)download
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Middle Class were always one of my fave LA bands and probably a band few people heard of anyway. They didn't have a big-mouth headman like Darby and didn't dress punk or anything, just plain looking no fashion so nobody picked up on them even though they played a lot and did some great music... The 'Out of Vogue' EP came out on Joke Records in 1978 and the funny thing is here's a thrash band 3-4 years before its time. I play songs like "You Belong" and "Insurgence" for people and they refuse to believe it's from 4 years ago, I mean it sounds like all the new bands. Grinding one-minute songs with an intense Discharge/Crass/Nihilistics sound... Two cuts on the 'Tooth and Nail' compilation followed in 1979, a great record that also included Germs, Flesheaters, UXA, Negative Trend, and Controllers... In 1980 the 'Scavanged Luxury" EP was released on Torture Garden (great name!). Uhoh, here's where the changes started, well not really, this was just as intense but a progression from their older sound, heavier on the bass and a more driving rhythm at a steady tempo not the 78rpm of the past and a much greater interest in instrumentation. Another great overlooked record... Finally the album, something I've looked forward to for a long time and, yeah well, the sound has changed a lot since the early days and I can't really blame them. Still, this record has the same distinctive Middle Class feel, maybe it's because of Jeff Atta's vocals. It continues devoloping the style of the last EP but its a lot more mellow and introspective, the cover and music bring to mind bands like the Cure, Joy Divison and the Banshees, I hope they don't mind those comparisons, studied I know but... A great bass sound and cutting guitars propelled along by a steady drumbeat. And the vocals have a far away sound that creates a quiet somber mood. Lyrics become more than words, a strange feeling, that strikes hard. "Out of My Hands", "Ritual and Deceit", "A Skeleton at the Feast"... I like listening to this album sometimes but I still miss the old Middle Class. Maybe they went too far. (JJ, from FLESH & BONES, 1982)
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source Kill from the Heart (link)
Spelling Mistakes, The - 2003 - Epileptic Apocalypse (1979-1999) (NZ)
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Spelling Mistakes, The - 2003 - Epileptic Apocalypse (1979-1999) (NZ)download pt. 1
download pt. 2
download pt. 3
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Despite being a popular live act with a Top 20 hit the Spelling Mistakes only managed to release one and a half singles in the late 70's.This 50 track double CD archives all The Spelling Mistakes material from their original 1979/1980 period, through to their critically acclaimed 1998/1999 reunion. Disc one covers 1979/1980 including all their original single sides and unreleased demos, plus remixes of the singles, a live-to-air and live recordings from the XS Cafe. Disc two covers 1998/1999 including a 12 track "lost" album of studio recordings as well as live recordings from two of their first reunion shows. Includes a 16 page colour booklet with detailed liner notes, rare photos and loads of original artwork and posters from band members' archives.
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source New Zealand Cds (link)
Saturday, May 9, 2009
Venus And The Razorblades - 1978 - Songs From The Sunshine Jungle (US)
Venus And The Razorblades - 1978 - Songs From The Sunshine Jungle (US)download
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After Kim Fowley helped assemble the Runaways, he worked on Venus and the Razorblades, a less stable project along the same lines — finding young Los Angeles punks with promise and fashioning them into a band. Including, variously, guitarist Steven T. (with whom Fowley wrote the group's material), 14-year-old female wunderkind Dyan Diamond, Roxy Music bassist Sal Maida (sessions only) and others, Venus and the Razorblades managed a short but unsightly career. This posthumous record, cobbled together from miscellaneous tapes Fowley had produced, is their legacy — well-played, noisy-but-safe melodic punk that owes more to California wholesomeness than Bowery decadence. (Ira Robbins)
** Track 11 is additional to the original track listing.
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source Toruser Press (link)
Joy Division - 1980 - Komakino Flexi-disc 7'' (UK)
Joy Division - 1980 - Komakino Flexi-disc 7'' (UK)download
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A free flexi-disc given away in UK record stores. On release, Factory stated that this disc would never be deleted from its catalogue. However, it was.
The date shown on the centre, 18/4/80, is not the release date but the manufacturing date.
The date shown on the centre, 18/4/80, is not the release date but the manufacturing date.
Friday, May 8, 2009
Skids - 1980 - Days In Europa (UK)
Skids - 1980 - Days In Europa (UK)download
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Days In Europa, OVED 42, released 1980
© 1979 Virgin Music (Publishers) Ltd.
Side 1: Animation (4:27), Charade (4:0), "Dulce et Decorum Est (Pro Patria Mori)" (4:34), The Olympian (3:22), Home of the Saved (4:26)
Side 2: Working for the Yankee Dollar (3:52), Thantos (4:02), Masquerade (2:44), A Day in Europa (2:56), Peaceful Times (5:00)
Produced by Bill Nelson; WFTYD Remixed by Mick Glossop, Masquerade remixed by Bill Nelson & John Leckie, additional production and remix (except WFTYD) by Bruce Fairbairn
Dream Dates, The - 1979 - The Mess You're In 7'' (CAD)
Dream Dates, The - 1979 - The Mess You're In 7'' (CAD)download
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First off, I have to say that some of my favourite bands come from Hamilton, Ontario like the Forgotten Rebels, Teenage Head, and Simply Saucer. Hamilton has a solid history for breeding good bands.
Everyone knows of a kid who had a scab collection or something equally appealing in nature. Right? Well it seems now that those kids are unearthing those timeless collections selling them and printing up some cool vinyl with the rewards. Treasures for pleasures baby. As each year goes by more stones are overturned and another obscure punk crab goes scuttling out only to be caught by the net of the scab kid.
You have to love these bands that are being dug out and immortalized for a wider audience. This is piece of 79-style rock and roll punk. “The Mess You’re In” spreads it’s wings and takes flight like some weird strain of Asian Bird Flu. Countless repetitions only makes you want to hear it one more time.
The flip is the Iggy and the Stooges classic “ Search and Destroy”. The Dream Dates manage to do the song justice. Personally, it’s a song I feel has been covered one too many times in recent years. Shit wasn’t it used in some Nike advertisement? Regardless this is one blistering hot version.
I have to mention that if the cover looks familiar I believe it is an outtake from the “Last Pogo”(a lp documenting essentially Canadian Punk).
Keep this stuff coming. Vinyl Nerds love it.
Everyone knows of a kid who had a scab collection or something equally appealing in nature. Right? Well it seems now that those kids are unearthing those timeless collections selling them and printing up some cool vinyl with the rewards. Treasures for pleasures baby. As each year goes by more stones are overturned and another obscure punk crab goes scuttling out only to be caught by the net of the scab kid.
You have to love these bands that are being dug out and immortalized for a wider audience. This is piece of 79-style rock and roll punk. “The Mess You’re In” spreads it’s wings and takes flight like some weird strain of Asian Bird Flu. Countless repetitions only makes you want to hear it one more time.
The flip is the Iggy and the Stooges classic “ Search and Destroy”. The Dream Dates manage to do the song justice. Personally, it’s a song I feel has been covered one too many times in recent years. Shit wasn’t it used in some Nike advertisement? Regardless this is one blistering hot version.
I have to mention that if the cover looks familiar I believe it is an outtake from the “Last Pogo”(a lp documenting essentially Canadian Punk).
Keep this stuff coming. Vinyl Nerds love it.
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source SugarBuzz (link)
Thursday, May 7, 2009
Wednesday, May 6, 2009
Pupils Of Love - 1983 - Rock 'n' Roll (AUD)
Pupils Of Love - 1983 - Rock 'n' Roll (AUD)download
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"I could do without Hound Dog, Rock`n' Roll is ok and Golden Memories is great.Gruff, grungey punk. This came out in 1985, it says 1981 on the sleeve butthat refers to when the song was written and possibly recorded. Two later singles are abysmal." (Henry Weld)
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source CollectorScum (link) and thanks very much to Graham for this rip and the scans!
Tuesday, May 5, 2009
Urchin - 1977 - Black Leather Fantasy 7'' (UK)
Urchin - 1977 - Black Leather Fantasy 7'' (UK).
Urchin originally Stone Free was formed in 1972 by childhood friends Dave Murray and Adrian Smith. Along with bassist John Hoye and various drummers, they learnt their first songs and entered a few local talent competitions and played their first gig's in John's school. Early in 1974 Dave decided to leave and join a 'proper' band and Adrian and John met up with guitarist Maurice Coyne who was a friend of a friend. After a jam session in John's school hall, they decided to form a band and Evil Ways was born. The next step was to audition drummers and Barry Tyler joined the band. After gigging around local pubs they decided that they needed a singer/front man and recruited Dubliner Dave Hall. By this time Evil Ways were playing regularly at most of the well known London venues and in August 1976 they were signed by Nomis/Morgan (owned by Simon Napier Bell who later managed Japan and Wham) who changed the band's name to Urchin and got them a contract with DJM Records. Their first single was going to be Without Love written by Dave Hall with Rocka Rolla (the Judas Priest song) as the B side, they were recorded in a studio in Tin Pan Alley, Denmark Street, London but were never released. Soon after, John Hoye left the band and was replaced by Alan Levett (an old school friend of Barry's). The seminal NWOBHM track Black Leather Fantasy, was released on Friday 13 May 1977 and is now a collectors item. Dave Hall left the band in July 1977, followed by Maurice Coyne in January 1978. Maurice was replaced, briefly, by Dave Murray who had left Iron Maiden after an argument. Dave decided not to stay and after playing on the recording of the band's second single - She's A Roller/Long Time No Woman - he returned to Iron Maiden. Urchin carried on and recruited guitarist Andy Barnett and later keyboard player Richard (Dick) Young. However, the advent of punk rock led to the loss of their recording contract and meant that live work was drying up as their brand of hard rock was no longer fashionable. Eventually the band broke up and in early 1980 Adrian and Andy formed The Broadway Brats - a 'punkier' sounding band - with ex members of Blazer Blazer. Later that year Adrian was invited to replace guitarist Dennis Stratton in Iron Maiden and the rest, as they say, is history.
On 19 December 1985 Adrian organised a reunion of his mates and performed the live recording The Entire Population of Hackney at the Marquee Club in London along with Nicko McBrain. Later in this recording, the rest of his bandmates from Iron Maiden appear on stage.
In 1989, Adrian got some of his Urchin bandmates and some friends together to form his separate project with Adrian on vocals, ASAP (Adrian Smith and Project). They produced two singles, Silver and Gold and Down the Wire and ne album, Silver and Gold. They did not tour and split after Adrian left Iron Maiden in 1990.
In 1992, Adrian once again got together some of the ASAP bandmates to form the band The Untouchables (Adrian once again on vocal duties) which lasted until 1994 when he decided to re-name the band and hire a lead singer. This was called Psycho Motel.
In 2004, High Roller Records released limited and handnumbered to 330 copies, silver vinyl incl. 4 Single Tracks, 1 x Live + 5 (!!!) unreleased songs.
On 19 December 1985 Adrian organised a reunion of his mates and performed the live recording The Entire Population of Hackney at the Marquee Club in London along with Nicko McBrain. Later in this recording, the rest of his bandmates from Iron Maiden appear on stage.
In 1989, Adrian got some of his Urchin bandmates and some friends together to form his separate project with Adrian on vocals, ASAP (Adrian Smith and Project). They produced two singles, Silver and Gold and Down the Wire and ne album, Silver and Gold. They did not tour and split after Adrian left Iron Maiden in 1990.
In 1992, Adrian once again got together some of the ASAP bandmates to form the band The Untouchables (Adrian once again on vocal duties) which lasted until 1994 when he decided to re-name the band and hire a lead singer. This was called Psycho Motel.
In 2004, High Roller Records released limited and handnumbered to 330 copies, silver vinyl incl. 4 Single Tracks, 1 x Live + 5 (!!!) unreleased songs.
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source Wikipedia (link)
Joy Division - 1979 - The Peel Sessions (UK)
Joy Division - 1979 - The Peel Sessions (UK).
"The Peel Sessions" is a collection of the two Peel Sessions recorded by Joy Division in 1979. Previously the recordings were available on two EPs of the same title, released in 1986 (31 January session) and in 1987 (26 November session). None of the songs had been released before the transmission.
Tracks 1 to 4 recorded 31 January 1979 at the BBC Studios, Maida Vale, London. Tracks 5 to 8 recorded 26 November 1979 at the BBC Studios, Maida Vale, London.
Tracks 1 to 4 recorded 31 January 1979 at the BBC Studios, Maida Vale, London. Tracks 5 to 8 recorded 26 November 1979 at the BBC Studios, Maida Vale, London.
Monday, May 4, 2009
Sunday, May 3, 2009
Quick, The - 1978 - In Tune With Our Times 7'' (US)
Quick, The - 1978 - In Tune With Our Times 7'' (US)download
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Around late 1974 the name of "The Quick" was picked, the Young Republicans was never used until a song was licensed many years later and Steven Hufsteter wanted to separate the 2 bands. The Quick is another example of how fast things can happen. And how quickly they can get bogged down again. The quintet, mostly graduates of Van Nuys High School, had been together just a few weeks when Kim Fowley (also working with stablemates The Runaways) spotted them. Fowley, son of actor Douglas Fowley, has been as much a part of the Los Angeles rock scene over the years as the Whisky. Like Rodney Bingenheimer, he has been friend and confidant of the stars, but he has also written songs for such bands as Kiss and Blue Oyster Cult. In 1975, Hufsteter, Benair, Ainsworth and Bizeau cut a demo with Leonard Phillips (later with The Dickies) on keyboards, then the band fell apart until Steven met Danny (Thomas) Wilde who was fronting his band "The Kixs" with Chuck Wagon (later with The Dickies), "The Kixs" were doing some Bowie covers. Danny joined the band and Steven tested his limits. James Lowe who had engineered Sparks and produced their second LP was called but he was not really committed, so next pick had to be Earle Mankey, who had left Sparks for engineering / producing records with the Beach Boys. Earle produced the Quick's excellent first album "Mondo Deco" (Mercury 1976). Their lineup included guitarist/songwriter Steve Hufsteter, vocalist Danny Wilde, drummer Danny Benair, keyboardist Billy Bizeau, and bassist Ian Ainsworth. They gathered a following among critics for their progressive, yet still classic power pop sound influenced by some powerful packages of British late 60's art pop in the tradition of Move, Idle Race, John's Children, as well as audiences amused at their good-natured habit of inviting spectators on stage made them one of the first L.A. bands to record for a major label (Mercury), but it proved to be the only such release.If Steven was the songwriter, Danny was the arranger, he had some strong ties with Elektra and he wanted to secure a deal, this is when "The Quick" landed in the San Fernando Valley Elektra studio "The Annex", at this place were recorded some terrific songs : "Pretty Please Me", "You, Yeah You", "You Give Me Heat"....and more. The demo tapes were produced by David Campbell, ace arranger and father of the now famous Beck (Hansen , nee Campbell), between September 1977 and February 1978. One session was even engineered by the legendary Emitt Rhodes, the superlative neo-Beatles songwriter and the ex-The Merry Go-Round leader. The results of the "Elektra" sessions were released to the band's fan club as a 7" EP : "Alpha-Beta" and a 10" EP called "In Tune With Our Times".
The Quick's songs, written by Steven Hufsteter, had the wry humor and melodic charm of Sparks. On stage, lead singer Danny Wilde had a slight David Bowie aura about him that added an extra dimension. Most of the group's themes had a teasingly naughty tinge to them. "No No Girl". , for instance, is about a young girl's questionable inclinations. Besides its own tunes, the band included stylish versions of such varied material as "Somewhere Over the Rainbow", "Twist and Shout" and the Beatles' "It Won't Be Long" - the arrangements of that Beatles cover would later be used by Redd Kross.
In April 1978, with no manager to call a meeting, the band broke up without sitting in the same room. Danny Wilde and Ian Ainsworth joined Great Buildings (Apart From the Crowd 1980) and later, Danny found success with Phil Solem as the Rembrandts (with Friends' Theme) ; Steve Hufsteter became a member of the Dickies covering his own Quick powerpop masterpiece "Pretty Please Me" (Stukas Over Disneyland - 1983), and also covered by Redd Kross, he then joined the Cruzados on their first and best album, wrote film music for Alex Cox's midnight movie perennial "Repo Man" and for Nick Cassevetes among others. Danny Benair joined the Weirdos and later played with Three O'Clock (another band produced by Earle Mankey). In 2003, british label Rev-Ola, with the help of drummer Danny Benair, released "Untold Rock Stories" compiling all the Mercury and Elektra demos recorded between May 1976 and March 1978, plus 2 live songs.In 2005, the reissue of the classic 1978 7" EP that was made after they were dropped from Mercury and contained some of their best songs, included the truly amazing "Pretty Please Me" which features some of the most ripping lead guitar work in a power pop song ever and two other songs " You Yeah You" and "Jimmy Too Bad". alas confusing thing for fans familiar with the original, the cover of "Over The Rainbow" on the original was not included.
The Quick's songs, written by Steven Hufsteter, had the wry humor and melodic charm of Sparks. On stage, lead singer Danny Wilde had a slight David Bowie aura about him that added an extra dimension. Most of the group's themes had a teasingly naughty tinge to them. "No No Girl". , for instance, is about a young girl's questionable inclinations. Besides its own tunes, the band included stylish versions of such varied material as "Somewhere Over the Rainbow", "Twist and Shout" and the Beatles' "It Won't Be Long" - the arrangements of that Beatles cover would later be used by Redd Kross.
In April 1978, with no manager to call a meeting, the band broke up without sitting in the same room. Danny Wilde and Ian Ainsworth joined Great Buildings (Apart From the Crowd 1980) and later, Danny found success with Phil Solem as the Rembrandts (with Friends' Theme) ; Steve Hufsteter became a member of the Dickies covering his own Quick powerpop masterpiece "Pretty Please Me" (Stukas Over Disneyland - 1983), and also covered by Redd Kross, he then joined the Cruzados on their first and best album, wrote film music for Alex Cox's midnight movie perennial "Repo Man" and for Nick Cassevetes among others. Danny Benair joined the Weirdos and later played with Three O'Clock (another band produced by Earle Mankey). In 2003, british label Rev-Ola, with the help of drummer Danny Benair, released "Untold Rock Stories" compiling all the Mercury and Elektra demos recorded between May 1976 and March 1978, plus 2 live songs.In 2005, the reissue of the classic 1978 7" EP that was made after they were dropped from Mercury and contained some of their best songs, included the truly amazing "Pretty Please Me" which features some of the most ripping lead guitar work in a power pop song ever and two other songs " You Yeah You" and "Jimmy Too Bad". alas confusing thing for fans familiar with the original, the cover of "Over The Rainbow" on the original was not included.
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source Fred Pop Com (link)
Saturday, May 2, 2009
Basura - 1978 - No Seas Lesbiana Mi Amor 7'' (SPN)
Basura - 1978 - No Seas Lesbiana Mi Amor 7'' (SPN).
Another sample of the origins of Punk in Spain. This very rare single was originally released in 1978 by the Belter label, and is the only recorded work this short-lived band from Barcelona ever put out. BASURA translates for "garbage", and the songs included for "Don't Be A Lesbian, Honey", and "Waiting At The W.C. Door". Sounds like PUNK, uhhhh???. Well, don't get fooled. They were in fact marketed as "punk" by their label, and they played the Alianza del Poble Nou festival (considered the kickstart of spanish Punk), but truth is they were some sort of working class rock band ("rock de barrio" as it was called here) with musical influences of earlier 70s guitar rock bands, and only the anger and bad manners of Punk. No doubt La Banda Trapera del Rio were the best, most popular, and legendary band outta Barcelona, but along with them there a few others that tried to set the world on fire in those days of Spain's young democracy. BASURA were one of them, and this was their only single. Original copies are always sold for big money on collectors'fairs and internet sites, but it's easier to get our reissue, from the original master tapes, and in an exact reproduction of the original artwork.
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source Soundflat (link)
Friday, May 1, 2009
Lyres - 1979 - How do You Know 7'' (US)
Lyres - 1979 - How do You Know 7'' (US).
Lyres (sometimes credited as The Lyres) are a Boston-area alternative rock musical group led by Jeff "Monoman" Conolly. Lyres were founded in 1979 following the breakup of DMZ. Their most popular songs included "What A Girl Can't Do" and "Help You Ann". The original lineup of the band featured DMZ guitarist J.J. Rassler.
Former DMZ members Rassler, Rick Coraccio, Paul Murphy, and Peter Greenberg had rejoined Connolly in Lyres over the course of their existence (from 1979 to the early 2000s). Miriam Linna, former drummer of The Cramps and The A-Bones, played in Lyres in 1986. Stiv Bators of The Dead Boys and Lords of the New Church, and Wally Tax of The Outsiders also recorded with Lyres in the late 1980s.
Lyres were less active in the 1990s, due to Conolly living in California and in Europe for brief periods of time. After a renewed period of activity in the early 2000s, the band went through another dormant period up until 2005. The band has been playing regularly during the last two years. Conolly is the only member who has been in every lineup during the large number of personnel changes that Lyres have gone through over the years.
Former DMZ members Rassler, Rick Coraccio, Paul Murphy, and Peter Greenberg had rejoined Connolly in Lyres over the course of their existence (from 1979 to the early 2000s). Miriam Linna, former drummer of The Cramps and The A-Bones, played in Lyres in 1986. Stiv Bators of The Dead Boys and Lords of the New Church, and Wally Tax of The Outsiders also recorded with Lyres in the late 1980s.
Lyres were less active in the 1990s, due to Conolly living in California and in Europe for brief periods of time. After a renewed period of activity in the early 2000s, the band went through another dormant period up until 2005. The band has been playing regularly during the last two years. Conolly is the only member who has been in every lineup during the large number of personnel changes that Lyres have gone through over the years.
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source Wikipedia (link)
Beat, The - 1979 - The Beat (US)
Beat, The - 1979 - The Beat (US)download
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The Beat, sometimes referred to as The Paul Collins Beat or Paul Collins' Beat, were an American power pop group from Los Angeles, California that formed in the late 1970s. The Beat resurfaced in the 1990s and continues to tour and record new material as Paul Collins' Beat.
The roots of The Beat lie in The Nerves, a seminal power pop combo featuring Paul Collins (born 1956, New York City), Peter Case (the future frontman of The Plimsouls), and Jack Lee. Collins played the drums; all three members composed and sang. Collins contributed one song, "Working Too Hard", to the group's only release, a 1976 self-titled four-song EP distributed by independent Bomp! Records. The Nerves are most famous for Lee's "Hanging on the Telephone". Though it went unnoticed when it was originally released, Blondie turned the song into a UK top 5 single off their breakthrough album Parallel Lines. After The Nerves' demise, Collins and Case formed The Breakaways with guitarist Pat Stengl. The Breakaways swiftly dissolved as well and Case and Collins (both now on guitar) recruited Steve Huff (bass & backing vocals) and Mike Ruiz (drums) into what would later become The Beat. Case left the then unnamed group after a few months of rehearsals to pursue a solo career (although recent accounts more than hint at a darker reason) which led to the eventual formation of The Plimsouls. Collins now took lead vocals on all of the songs and with the addition of Larry Whitman (lead guitar & backing vocals) resurfaced with The Beat.
The LA power pop scene was beginning to garner national attention and with the help of Collins' friend from The Nerves days in San Francisco, Eddie Money and his Producer Bruce Botnick, Collins was able to ink a deal with Columbia/CBS and Bill Graham Management. CBS released their self-titled debut in October 1979. All 12 songs were Collins originals; Steven Huff, Peter Case, and Eddie Money had one co-writing credit each, all on different songs. Continuing in The Nerves' vein, the album consisted of harmony-laden, driving guitar pop songs, including a re-recorded version of "Working Too Hard". The album was critically acclaimed and is today remembered as a classic of the power pop genre (see this 4.5-star review in Allmusic). The group appeared on Dick Clark's American Bandstand on March 8, 1980 and that same year contributed a song to the soundtrack LP of the massively popular movie Caddyshack. Despite this promotion, diligent touring alongside such popular artists as Ian Gomm and The Jam and a tour of Europe, The Beat found little commercial success. The British ska group of the same name were first to establish themselves as "The Beat" in Europe forcing Collins' "Beat" to be referred to as "Paul Collins' Beat" there. The Collins' "Beat" was first to release their album in their home territory in turn forcing the British group to use the name "The English Beat" in the U.S.
A misguided change of Producer, a personnel change and the proverbial "sophomore slump" resulted in their second CBS LP, The Kids Are The Same, to be released two years later in 1982. To confuse matters even more it was decided to bill the group as "Paul Collins' Beat" worldwide. Not as critically successful as its predecessor, it was also a commercial flop. After being dropped from CBS the group self-financed the production of 3 videos featuring songs from the LP now abandoned by the label. One of these videos "On The Highway", which had been modestly promoted to AOR radio by CBS, was put on medium rotation for several months on the then fledgling MTV network much to the chagrin of their former label. The MTV exposure kept the group working to the point of burnout. With an overhauled New York City line-up (Ruiz and Whitman left and were replaced by Jay Dee Daugherty and Jimmy Ripp) the group reclaimed the name "The Beat" and released the 5 song 12" Mini-Album To Beat or Not To Beat in 1983 on the independent Jem/Passport label in the U.S.. One song from the album, "Dance, Dance", was made into a music video in 1984 and received limited exposure on MTV. To Beat or Not To Beat, with an additional song, was released in Europe where the group relocated (and would remain for the next several years) to promote the release and tour. In 1985 another 6 song 12" Mini-Album "Longtime Gone" was recorded in London with UK musicians and released only in Europe. An energetic live album recorded in Madrid, Spain with Spanish members titled Live At The Universal followed in 1986. After returning to the U.S. in 1988 and settling in San Francisco the album One Night, with yet another incarnation of an all American Beat, this time credited as "Paul Collins + The Beat", was released by Sony in 1989 (again only in Europe). This was their final studio album. Due to numerous personnel changes and a lack of interest in the group stateside, the band threw in the towel, calling it quits altogether. Collins embarked on a solo career in the 1990s, releasing "Paul Collins" in 1992, featuring numerous guest appearances by S.F. Bay Area notables. Collins then returned to his "hometown" of New York City. Focusing his songwriting on Country and Americana he formed "The Paul Collins Band" which produced the 1993 release "From Town To Town". Collins continues to tour, while retaining a cult following; he is particularly popular in Spain. The music videos "On The Highway" and "Dance, Dance" are occasionally aired on the VH1 Classic and MTV2 television networks. In 2006 Collins resurrected "Paul Collin's Beat" with a young Spanish lineup and recorded a live album entitled Live In Europe, released as a free MP3 CD album download on their official website followed by a CD of all new original material, "Flying High", recorded in Madrid, Spain. During March 2008, Paul Collins released Ribbon Of Gold as the follow-up to 2007's critically acclaimed Flying High. This album contains several songs the band performs live in concert, including Falling In Love With Her, I Still Want You, Big Pop Song and She Doesn't Want To Hang Around With You. Paul Collins' Beat next release will be a split 7" with the italian powerpop band Radio Days. The split will be released by the italan label Surfin ki Records in march 2009. Today, Collins continues to tour and record new material, playing dates in the USA (most recently SXSW in Austin, Texas), France, Germany, UK, Sweden, Italy and Spain.
A misguided change of Producer, a personnel change and the proverbial "sophomore slump" resulted in their second CBS LP, The Kids Are The Same, to be released two years later in 1982. To confuse matters even more it was decided to bill the group as "Paul Collins' Beat" worldwide. Not as critically successful as its predecessor, it was also a commercial flop. After being dropped from CBS the group self-financed the production of 3 videos featuring songs from the LP now abandoned by the label. One of these videos "On The Highway", which had been modestly promoted to AOR radio by CBS, was put on medium rotation for several months on the then fledgling MTV network much to the chagrin of their former label. The MTV exposure kept the group working to the point of burnout. With an overhauled New York City line-up (Ruiz and Whitman left and were replaced by Jay Dee Daugherty and Jimmy Ripp) the group reclaimed the name "The Beat" and released the 5 song 12" Mini-Album To Beat or Not To Beat in 1983 on the independent Jem/Passport label in the U.S.. One song from the album, "Dance, Dance", was made into a music video in 1984 and received limited exposure on MTV. To Beat or Not To Beat, with an additional song, was released in Europe where the group relocated (and would remain for the next several years) to promote the release and tour. In 1985 another 6 song 12" Mini-Album "Longtime Gone" was recorded in London with UK musicians and released only in Europe. An energetic live album recorded in Madrid, Spain with Spanish members titled Live At The Universal followed in 1986. After returning to the U.S. in 1988 and settling in San Francisco the album One Night, with yet another incarnation of an all American Beat, this time credited as "Paul Collins + The Beat", was released by Sony in 1989 (again only in Europe). This was their final studio album. Due to numerous personnel changes and a lack of interest in the group stateside, the band threw in the towel, calling it quits altogether. Collins embarked on a solo career in the 1990s, releasing "Paul Collins" in 1992, featuring numerous guest appearances by S.F. Bay Area notables. Collins then returned to his "hometown" of New York City. Focusing his songwriting on Country and Americana he formed "The Paul Collins Band" which produced the 1993 release "From Town To Town". Collins continues to tour, while retaining a cult following; he is particularly popular in Spain. The music videos "On The Highway" and "Dance, Dance" are occasionally aired on the VH1 Classic and MTV2 television networks. In 2006 Collins resurrected "Paul Collin's Beat" with a young Spanish lineup and recorded a live album entitled Live In Europe, released as a free MP3 CD album download on their official website followed by a CD of all new original material, "Flying High", recorded in Madrid, Spain. During March 2008, Paul Collins released Ribbon Of Gold as the follow-up to 2007's critically acclaimed Flying High. This album contains several songs the band performs live in concert, including Falling In Love With Her, I Still Want You, Big Pop Song and She Doesn't Want To Hang Around With You. Paul Collins' Beat next release will be a split 7" with the italian powerpop band Radio Days. The split will be released by the italan label Surfin ki Records in march 2009. Today, Collins continues to tour and record new material, playing dates in the USA (most recently SXSW in Austin, Texas), France, Germany, UK, Sweden, Italy and Spain.
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source Wikipedia (link)
Thursday, April 30, 2009
Wednesday, April 29, 2009
Ze Popes - 1979 - Sexy Pyjamas 7'' (NL)
Ze Popes - 1979 - Sexy Pyjamas 7'' (NL)download
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In 1978, Orpheus formed Ze Popes with Erik Eysbouts and another member of The Gravity, Jan Bloemers. The most famous track of Ze Popes was ‘Sexy pyjamas’. In fact, one evening in the late 1970s, Orpheus was listening to the radio and heard John Peel playing, and commenting very favourably, on this single. "We would be interested to hear what John Peel thought of the title as we can’t imagine that he did not comment on it.."
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source Orpheus Roovers (link)
Tuesday, April 28, 2009
Penetration - 1979 - Danger Signs 12'' (UK)
Penetration - 1979 - Danger Signs 12'' (UK)download
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Penetration were a punk rock band from County Durham originally formed in 1976. They re-formed in 2001 with several new members.
Their debut single, "Don’t Dictate", is now acknowledged as a classic punk rock single and their debut album, Moving Targets (1978), is still widely admired.
“ A decidedly more “rawk” proposition than many of the three-chord trainee anarchists on the scene, Murray drawing inevitable comparisions with both Patti Smith and Siouxsie Sioux for her force of personality and the strength / style of her voice.
Their debut single, "Don’t Dictate", is now acknowledged as a classic punk rock single and their debut album, Moving Targets (1978), is still widely admired.
“ A decidedly more “rawk” proposition than many of the three-chord trainee anarchists on the scene, Murray drawing inevitable comparisions with both Patti Smith and Siouxsie Sioux for her force of personality and the strength / style of her voice.
The lead singer is Pauline Murray. Other members included Robert Blamire, Gary Smallman, and Gary Chaplin, and later Neale Floyd and Fred Purser. Steve Wallace and Paul Harvey were drafted in as new guitarists in 2001.
The band took their name from an Iggy Pop song and played their first gig in October 1976. Their second gig was supporting The Stranglers at Newcastle City Hall. Significantly, the band also played at the now-legendary punk club The Roxy during its first 100 days. On 9 April 1977, the band appeared on the same bill as Generation X. Early in their career, the band also supported The Vibrators and toured with the Buzzcocks.
After the release of their second single, Penetration recorded the first of two sessions for John Peel at BBC Radio 1 in July 1978. Later that year, the band released their debut album. Moving Target was number 6 in the Sounds Critics’ albums of the year; and it made number 13 in the NME critics’ chart.
In 1979, they toured Europe, the US and Britain but the gruelling schedule began to take its toll. A disappointing reaction to Coming Up For Air, the second album, was the final nail in the coffin of the original band. After the band had split an album called Race Against Time was released, which was a collection of early demos and live tracks.
Pauline Murray featured briefly with The Invisible Girls, which also included Robert Blamire as well as other Manchester musicians who drifted in and out such as Vini Reilly, guitarist in the The Durutti Column. John Maher from Buzzcocks drummed for the band. The album that resulted, produced by Martin Hannett, spawned the singles "Dream Sequence" and "Mr.X". Murray also provided vocal for The Only Ones on their track, "Fools".
Pauline Murray worked sporadically as a solo artist under the name 'Pauline Murray and The Storm' with Robert Blamire, Tim Johnston and Paul Harvey. Paul Harvey is also a Stuckist artist. Blamire also worked as a producer for various groups, including the Scars, whose sole LP (1981's Author! Author!) he produced.
The band took their name from an Iggy Pop song and played their first gig in October 1976. Their second gig was supporting The Stranglers at Newcastle City Hall. Significantly, the band also played at the now-legendary punk club The Roxy during its first 100 days. On 9 April 1977, the band appeared on the same bill as Generation X. Early in their career, the band also supported The Vibrators and toured with the Buzzcocks.
After the release of their second single, Penetration recorded the first of two sessions for John Peel at BBC Radio 1 in July 1978. Later that year, the band released their debut album. Moving Target was number 6 in the Sounds Critics’ albums of the year; and it made number 13 in the NME critics’ chart.
In 1979, they toured Europe, the US and Britain but the gruelling schedule began to take its toll. A disappointing reaction to Coming Up For Air, the second album, was the final nail in the coffin of the original band. After the band had split an album called Race Against Time was released, which was a collection of early demos and live tracks.
Pauline Murray featured briefly with The Invisible Girls, which also included Robert Blamire as well as other Manchester musicians who drifted in and out such as Vini Reilly, guitarist in the The Durutti Column. John Maher from Buzzcocks drummed for the band. The album that resulted, produced by Martin Hannett, spawned the singles "Dream Sequence" and "Mr.X". Murray also provided vocal for The Only Ones on their track, "Fools".
Pauline Murray worked sporadically as a solo artist under the name 'Pauline Murray and The Storm' with Robert Blamire, Tim Johnston and Paul Harvey. Paul Harvey is also a Stuckist artist. Blamire also worked as a producer for various groups, including the Scars, whose sole LP (1981's Author! Author!) he produced.
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source Wikipedia (link)
Leftovers, The - 1979 - Cigarettes and Alcohol 7'' (AUD)
Leftovers, The - 1979 - Cigarettes and Alcohol 7'' (AUD)download
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Brisbane punk rock band The Leftovers, formed in 1976, had acquired local cult punk hero status in Australia over the years due to their acknowledged reputation in the past for excessive anti social practices, constant harassment by the Queensland Police Force and self destructive deeds. Their musical style fitted the generic conventions of punk but they also paid live homage to earlier proto–punk influences such as Lou Reed and Patti Smith. Image wise, the band was often attributed as being “in the Sex Pistols mould,” even though Leftover’s singer Warren Lamond, loathed Sid Vicious, bassist for the Sex Pistols and admired The Clash.
Originally from Sandgate, Queensland, the band mostly played self promoted hall shows, such as at the Hamilton Hall and the Sandgate Town Hall. From Brisbane punk’s infancy in 1975 to its eventual demise around 1984, these hall venues were seen to be an important and essential part of the developing character of the Brisbane punk rock scene, especially as regular band venues gave only limited or no stage access to punk bands to play their music on.
Like The Saints, they encountered at these hall venues, the disproportionate attention of the law. “Many Leftover gigs were never finished – police would often pull the plug before they had a chance to get through a full set.” The Leftovers had been quoted as saying. However, unlike The Saints, the group never achieved critical success for the duration of their career; only managing to release one E.P. in 1979. The A-side was called Cigarettes and Alcohol and now is considered an Australian punk “classic.”
The band started out with members Warren Lamond on vocals, Jim Shoebridge on guitar, Glenn Smith on bass and Graeme ‘Hutch’ Hutchinson on drums but also had a plethora of other musicians filling in vacant roles. They included also at various times Michael Hiron on drums, Mark Troy on saxophone, Johnny Burnaway, guitar and Ed Wreckage, first drums and then guitar. Some of these members went on to join up with The Riptides at various times.
The Leftovers went to tour Sydney but before their first live show there, they were thrown out by the hotel Manager, their guitarist Jim Shoebridge was viciously assaulted and had to be hospitalized, receiving numerous stitches to his eye and mouth, their drum kit was no longer usable and singer Warren Lamond overdosed on drugs. After this they became disillusioned with Sydney and vowed to never return. “We decided we were never gonna play in Sydney again no matter what. They could all go and get fucked. Brisbane was fun and they were all a pack of cockhead yobbos. They were the same as all the fucken yobbos as far as we were concerned. There wasn't one bit of artistic culture down there. Didn't matter who they were for years, we just thought, Nup!” said Ed Wreckage on his opinion of Sydney.
The band’s misfortune continued in a downward spiral which led them to disband in 1979. After the split, came a string of tragedies to the band ex-members with suicide attempts, prison for drug offences and premature deaths.
In 1983, they managed to reform for one last live show.
In the early 2000’s a retrospective CD of Leftovers was released called The Fucken Leftovers Hate You. The material included recorded songs including Patti Smith’s Hermine and a collection of live recordings.
Like The Saints, they encountered at these hall venues, the disproportionate attention of the law. “Many Leftover gigs were never finished – police would often pull the plug before they had a chance to get through a full set.” The Leftovers had been quoted as saying. However, unlike The Saints, the group never achieved critical success for the duration of their career; only managing to release one E.P. in 1979. The A-side was called Cigarettes and Alcohol and now is considered an Australian punk “classic.”
The band started out with members Warren Lamond on vocals, Jim Shoebridge on guitar, Glenn Smith on bass and Graeme ‘Hutch’ Hutchinson on drums but also had a plethora of other musicians filling in vacant roles. They included also at various times Michael Hiron on drums, Mark Troy on saxophone, Johnny Burnaway, guitar and Ed Wreckage, first drums and then guitar. Some of these members went on to join up with The Riptides at various times.
The Leftovers went to tour Sydney but before their first live show there, they were thrown out by the hotel Manager, their guitarist Jim Shoebridge was viciously assaulted and had to be hospitalized, receiving numerous stitches to his eye and mouth, their drum kit was no longer usable and singer Warren Lamond overdosed on drugs. After this they became disillusioned with Sydney and vowed to never return. “We decided we were never gonna play in Sydney again no matter what. They could all go and get fucked. Brisbane was fun and they were all a pack of cockhead yobbos. They were the same as all the fucken yobbos as far as we were concerned. There wasn't one bit of artistic culture down there. Didn't matter who they were for years, we just thought, Nup!” said Ed Wreckage on his opinion of Sydney.
The band’s misfortune continued in a downward spiral which led them to disband in 1979. After the split, came a string of tragedies to the band ex-members with suicide attempts, prison for drug offences and premature deaths.
In 1983, they managed to reform for one last live show.
In the early 2000’s a retrospective CD of Leftovers was released called The Fucken Leftovers Hate You. The material included recorded songs including Patti Smith’s Hermine and a collection of live recordings.
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source Wikipedia (link)
Monday, April 27, 2009
Wire - 1997 - Coatings (UK)
Coatings is essentially WMO's answer to Mute's The A List, providing a compilation of Wire's '80s and '90s output. However, in keeping with the label's mandate of supplying rare or unreleased material, Coatings offers B-sides and curiosities rather than parading the most popular Wire tracks from the second part of the band's history.
It fares a lot better than you might think. Ignore the poor opener (the hard-to-tolerate, feedback-drenched Ambulance Chasers) and start the listening experience proper with an alternative A Serious of Snakes. Harder and more dissonant than the Snakedrill version, you will probably wonder why this version didn't appear instead of the officially released one. Other highlights include an eerie, ambient version of It's a Boy that leaves little of original intact, and the original mix of Kidney Bingos, lacking the slick overcoat it wears on A Bell is a Cup. The entire '80s Peel session is also included, comprising German Shepherds, Boiling Boy, and a decidedly quirky and effects-laden version of Drill.
Four decidedly electronic tracks finish the album: a somewhat dodgy club-mix of In Vivo that's probably best avoided, and three pieces that never saw the light of day in the UK. These are all Life in the Manscape B-sides and the best of them is a cynical look at advertising and the media, entitled It Can't be True Can it?
Generally, this album is more 'A list' than The A List itself and is an essential purchase for any fan of Wire's Mute output. A second disc is available separately with the sole track being an 18 minute reworking of Ambitious, commissioned by choreographer Stephen Petronio. While not essential, this is also worth a listen if you're partial to Wire's extended rhythmic offerings. (Craig Grannell, 1998)
It fares a lot better than you might think. Ignore the poor opener (the hard-to-tolerate, feedback-drenched Ambulance Chasers) and start the listening experience proper with an alternative A Serious of Snakes. Harder and more dissonant than the Snakedrill version, you will probably wonder why this version didn't appear instead of the officially released one. Other highlights include an eerie, ambient version of It's a Boy that leaves little of original intact, and the original mix of Kidney Bingos, lacking the slick overcoat it wears on A Bell is a Cup. The entire '80s Peel session is also included, comprising German Shepherds, Boiling Boy, and a decidedly quirky and effects-laden version of Drill.
Four decidedly electronic tracks finish the album: a somewhat dodgy club-mix of In Vivo that's probably best avoided, and three pieces that never saw the light of day in the UK. These are all Life in the Manscape B-sides and the best of them is a cynical look at advertising and the media, entitled It Can't be True Can it?
Generally, this album is more 'A list' than The A List itself and is an essential purchase for any fan of Wire's Mute output. A second disc is available separately with the sole track being an 18 minute reworking of Ambitious, commissioned by choreographer Stephen Petronio. While not essential, this is also worth a listen if you're partial to Wire's extended rhythmic offerings. (Craig Grannell, 1998)
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source Wireviews (link)
Sunday, April 26, 2009
Teenage Jesus And The Jerks - 1978 - Orphans 7'' (US)
Teenage Jesus And The Jerks - 1978 - Orphans 7'' (US)download
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Recording info: Recorded in a studio, New York City in Feb-78. Produced by Robert Quine [The Voidoids].
Notes: First ever release by Lydia Lunch. Lust/Unlust was Charles Ball's (short-lived) label. Migraine was Lydia's sub-label of Lust/Unlust.
Line-up: Lydia Lunch (guitar and vocals)/ Gordon Stevenson (bass) and Bradley Field (on just 1 drum).
Notes: First ever release by Lydia Lunch. Lust/Unlust was Charles Ball's (short-lived) label. Migraine was Lydia's sub-label of Lust/Unlust.
Line-up: Lydia Lunch (guitar and vocals)/ Gordon Stevenson (bass) and Bradley Field (on just 1 drum).
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source From the Archives (link)
Saturday, April 25, 2009
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