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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Friday, April 24, 2009
Thursday, April 23, 2009
Chi-Pig - 1978 - Bountiful Living 7'' (US)
Chi-Pig - 1978 - Bountiful Living 7'' (US).
Chi-Pig was an Akron, OH-based new wave power trio consisting of guitarist and keyboard player Susan Schmidt, bassist Deborah Smith, and drummer Richard Roberts. Schmidt and Smith were already longtime mainstays of the Cleveland/Akron scene, having participated in the teen all-girl group the Poor Girls from the late '60s. In the mid-'70s they played in the Peter Laughner-led groups Cinderella's Revenge and Friction. Not long after Laughner died, Schmidt and Smith founded Chi-Pig, naming themselves after a local barbecue and rib joint. They performed in matching outfits modeled on the garb worn by 1940s Latin-American entertainers, but their music was in no way "Latin" and had no relation whatsoever to disco. Chi-Pig's music consisted of informed, literate, and exceedingly well-written pop songs that addressed the concerns of women living in a consumer society, with a dash of humor added for good measure. Schmidt and Smith's many long years of experience playing in various Cleveland and Akron groups paid off in the tight precision of their music-making; Deborah Smith deserves singling out as being an exceptionally able and imaginative bass player.
Both major and minor labels were swarming around Akron in the late '70s, picking up Devo and Tin Huey in the process. Despite self-producing an excellent single, "Bountiful Living"/"Ring Around the Collar," and recording a full-length album with producer Bruce Hensal in 1979, the band never managed to land a record deal. Chi-Pig hung on until about 1982, but ultimately tired of playing bars and decided to call it a day, and thus the album was scrapped. By that time, female-led groups that had developed a style similar to that of Chi-Pig were just starting to break out — for example, the Go-Go's and the Pretenders, featuring Chrissie Hynde, who as an Akron teenager had been an avid fan of the Poor Girls.
In 2004, 25 years after it was recorded, Chi-Pig's abandoned album, Miami, was dusted off and released. This is tremendously good news, as Chi-Pig truly was a pioneering and innovative band whose music stands exactly midway between the producer-driven 1960s heritage of girl groups such as the Shangri-Las and the more self-directed female groups of the 1980s. The emergence of Miami likewise helps to fill a major historical gap in listeners' knowledge of the extraordinary northern Ohio scene of the 1970s, which also brought listeners Devo and Pere Ubu — the first fruits of so-called "modern" rock.
Both major and minor labels were swarming around Akron in the late '70s, picking up Devo and Tin Huey in the process. Despite self-producing an excellent single, "Bountiful Living"/"Ring Around the Collar," and recording a full-length album with producer Bruce Hensal in 1979, the band never managed to land a record deal. Chi-Pig hung on until about 1982, but ultimately tired of playing bars and decided to call it a day, and thus the album was scrapped. By that time, female-led groups that had developed a style similar to that of Chi-Pig were just starting to break out — for example, the Go-Go's and the Pretenders, featuring Chrissie Hynde, who as an Akron teenager had been an avid fan of the Poor Girls.
In 2004, 25 years after it was recorded, Chi-Pig's abandoned album, Miami, was dusted off and released. This is tremendously good news, as Chi-Pig truly was a pioneering and innovative band whose music stands exactly midway between the producer-driven 1960s heritage of girl groups such as the Shangri-Las and the more self-directed female groups of the 1980s. The emergence of Miami likewise helps to fill a major historical gap in listeners' knowledge of the extraordinary northern Ohio scene of the 1970s, which also brought listeners Devo and Pere Ubu — the first fruits of so-called "modern" rock.
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by Uncle Dave Lewis at allmusic.com (link)
Wednesday, April 22, 2009
Tuesday, April 21, 2009
Mercenary God - 1981 - Burning Generation (IT)
Mercenary God - 1981 - Burning Generation (IT)download
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Born in Gemona del Friuli (UD – Italy) at the end of 1979, in full “punk” period, the Mercenary God have distinguished herself from several other Italian bands from the same time because they where able, in the two years of their short but intensive musical history, to perform outside the proper region borders, attaining to cut a record reviewed on the top musical magazines in that time. In some kind of "competition" with the more structured Great Complotto, the friulan punk circuit was developing himself already from 1977 around bands in continuos mutation (Metalshock, Alternative, Dial 113, Commandos), but was not able to get the creative and organizing homogeneity of the pordenonese scene. The Mercenary God history was from the beginning up for his own: geographically isolated , unconnected to all post-punk trends and too young and ingenuous to capitalize the fast growing celebrity, especially amongst insiders. Their music was starting from the English and American punk from the seventies, accurate avoiding the rising militant hardcore, and mix himself to a certain very personally psychedelically garage, dotted with noise experimentation's and good old rock’n’roll. After a few concerts, most completely self managed, the meeting with the trevigians No Submission and the reporter Claudio Sorge, brings the realization, in 1981, of the split-LP “Challenge”, produced by the Marco Melzi's already born Lombard records label Bootleg Records. He record was including, despite the Mercenary God and the No Submission, also the udineses No Suicide. In the same year 11 track where recorded, destined to the first LP of the band (Burning Generation), kept unpublished until the publication, happened at the end of 2004, thanks to the independent label Big Star Rolling in Preganziol (TV).
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source iSOUND (link)
Monday, April 20, 2009
Saucers - 2002 - What We Did ('78-80) (US)
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Saucers - 2002 - What We Did ('78-80) (US)download
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Any act following on the heels of Mirrors and Rocket From The Tomb's bound to come off like an episode of SHIRLEY TEMPLE THEATER after a few hours of TWILIGHT ZONE, but despite the anticipation of letdown I must say that these Saucers were an excellent late-seventies bunch that took the best that the early-seventies proto-punk era hadda offer (Cle first wave "demonic intensity", Roxy/Eno, Sparks...) and made sure it didn't become obsolete in the anything-goes latter portion of that decade. From Craig Bell's Cle re-dos ("Frustration", "Muckraker", "Annie" and the excell-o "Slow Down") to Malcolm Marsden's pure pop for someoneorother you can't go wrong with this Golden Age of Underground Rock collection that'll bring back tingly memories of just how great it was hearing all this long-gone energy the first time 'round. And if you think I didn't buy it because of the presence of one Seth Tiven (future Dumptruck/ex-NEW HAVEN ROCK PRESS scribbler) and all of the psychic vibrations emanating from my earlier writeup on his brother then you'd be wrong as usual!
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source Black2com (link)
Silver Chalice - 1979 - Wasted 7'' (US)
Silver Chalice - 1979 - Wasted 7'' (US)download@rapidshare
download@multiupload
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An alternate sleeve turned up allegedly in the mid-80's with the singer on stage holding a naked unconscious woman.
LA "supergroup" feat. Geza X plus some 45 Grave people. Catchy LA punk w/ a slight glam/wave touch, still powerful due to the noisy Geza X production. B side is a punk ballad, still OK. Good one.
LA "supergroup" feat. Geza X plus some 45 Grave people. Catchy LA punk w/ a slight glam/wave touch, still powerful due to the noisy Geza X production. B side is a punk ballad, still OK. Good one.
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source Flex! (link)
Sunday, April 19, 2009
Prljavo Kazaliste - 1979 - Moj Je Otac Bio U Ratu 7'' (HRK)
Prljavo Kazaliste - 1979 - Moj Je Otac Bio U Ratu 7'' (HRK)download
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Prljavo kazalište (meaning in Croatian language: Dirty Theatre) is a rock band from Zagreb, Croatia. Since its formation in 1977, the group changed several music styles and line ups but remained one of the top acts of both the Croatian and the former Yugoslav rock scenes.
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source Wikipedia (link)
New 5 - 1983 - Life without Lulu 7'' (AUD)
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Thanks again to Graham for sharing this rip and scans over here!
Saturday, April 18, 2009
News - 1979 - Dirty Secrets 7'' (AUD)
News - 1979 - Dirty Secrets 7'' (AUD)download
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The first Melbourne punk record had been the Babeez 3 track EP and this 1 Sided 7` is 2 tracks or one side of that Babeez 7` rubber stamped. The flexi was originally to appear with Pulp #5 magazine, which was never printed. In my opinon the flexi is the better part of this.....Tell Me Why is a great track
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source Punk Rock Picture Sleeves (link) and thanks very much to Graham for this rip and the scans!
Friday, April 17, 2009
Thursday, April 16, 2009
Cane - 1978 - 3x3 7'' (UK)
Cane - 1978 - 3x3 7'' (UK)download
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A brief history of Cane by Kip - May 2005."Got together with drummer Dave 'Pixie' Parker in 1975, found bass player Steve Jefford and guitarist Chris Battersby and started rehearsing. We did a few of our own songs and covers of stuff like Mott the Hoople and Bowie. In 1976 I got straight into the Pistols, Damned etc, and knew that I wanted to move into that direction.
New songs started to come together, one of the first being 'College Girls', which was written after a gig in early '77 at Cassio College in Watford. On a very pissed night Pixie started coming out with the words and I put some chords to it. Other songs that came along were Teachers Pet, Cadillac Lady, D K Dance, Suburban Guerilla, Wormwood Scrubber and Dice. We never played Dice live 'cos it was so different to the rest of our material, how the fuck it got released as a single I'll never know, it's about five minutes long ! We started playing more gigs at pubs and stuff and hung out and played at Carey Place in Watford along with The Bears. I gave Lightning a ring and they came along to see us rehearse. I guess, like so many other labels, they were keen to sign anything that resembled Punk! They put us into Berry Street studios and we recorded some demos, 'College Girls' being one of them, that Lightning managed to place on the 'Streets' album. Unfortunately Chris couldn't cut the mustard and decided to leave. We did more gigs, one at the Red Cow in Hammersmith supporting The Doll and then went back to the studio to do the single. I was writing more of the songs by this time and somehow Dice came out as the A side.
I must say we were all pretty naive at the time, and Alan Davison, Lightning A&R and producer, didn't push the band as he might have. A Lightning employee called Simon started to get us some gigs, top geezer, and we played with The Raincoats and a few others that I've forgotten. We did one more studio session which included 'Wormwood Scrubber' and it felt like we'd hit a brick wall so I decided to move on. Then I joined The Vibrators." Allegedly Kirk Brandon was once a member of Cane. This is true - but of another band called Cane from Torquay. Not this one!
New songs started to come together, one of the first being 'College Girls', which was written after a gig in early '77 at Cassio College in Watford. On a very pissed night Pixie started coming out with the words and I put some chords to it. Other songs that came along were Teachers Pet, Cadillac Lady, D K Dance, Suburban Guerilla, Wormwood Scrubber and Dice. We never played Dice live 'cos it was so different to the rest of our material, how the fuck it got released as a single I'll never know, it's about five minutes long ! We started playing more gigs at pubs and stuff and hung out and played at Carey Place in Watford along with The Bears. I gave Lightning a ring and they came along to see us rehearse. I guess, like so many other labels, they were keen to sign anything that resembled Punk! They put us into Berry Street studios and we recorded some demos, 'College Girls' being one of them, that Lightning managed to place on the 'Streets' album. Unfortunately Chris couldn't cut the mustard and decided to leave. We did more gigs, one at the Red Cow in Hammersmith supporting The Doll and then went back to the studio to do the single. I was writing more of the songs by this time and somehow Dice came out as the A side.
I must say we were all pretty naive at the time, and Alan Davison, Lightning A&R and producer, didn't push the band as he might have. A Lightning employee called Simon started to get us some gigs, top geezer, and we played with The Raincoats and a few others that I've forgotten. We did one more studio session which included 'Wormwood Scrubber' and it felt like we'd hit a brick wall so I decided to move on. Then I joined The Vibrators." Allegedly Kirk Brandon was once a member of Cane. This is true - but of another band called Cane from Torquay. Not this one!
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Wednesday, April 15, 2009
Doubt, The - 2002 - Contrast Disorder (UK)
Doubt, The - 2002 - Contrast Disorder (UK)download
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One of Bangor, Northern Ireland’s few (if not only) contributions to the punk movement of the late 70’s was in the form of The Doubt, a haphazard teenage four-piece who briefly did their bit to enliven the boredom of growing up in a dead-on-its-arse seaside town.
Along with many others in small towns across Britain and Ireland at the time their immediate musical influences were Bowie, the Pistols, The Ramones, Clash etc blah blah blah. However, a more significant inspiration was a bunch of friends who had formed The Standards, a band comprising Mark Armstrong (drums), Brian Shaw (guitar), John ‘Rat’ Clarke (bass) and David Shannon (vocals). I’m not sure if they even ever played live and I can only remember one original song of theirs , ‘ Don’t Just Watch’, but the fact that they actually got together at all was a MASSIVE inspiration for others to do it.
The original Doubt line-up featured John Clarke from the disbanded Standards together with Hugh ‘Chad’ Cairns, Paul Corken and Steven Clarke. After going on for far too long about Cream, John Clarke was replaced on bass by Robert Scott who had recently disbanded The Skis because of a similar problem with a drummer obsessed by cymbals to an unhealthy degree.
So, armed with an amplifier with three inputs and a drum-kit worth about 28 pence (unpaid), The Doubt were ready to take on the world, or at least annoy the world from their rehearsal room with ever-so-slight sound leakage (i.e. the singer’s living room with the windows wide open).
Now The Doubt rocked, and they rocked to an unchanging beat, such was the drummer’s dedication to his craft. Fuelled by nothing more than cider and ham sandwiches The Doubt sound began to take shape. By the end of their illustrious career they’d even managed to get their Woolworth’s own-brand guitars (almost) in tune.
The Doubt played as many gigs as possible (i.e. not very many) using teenage enthusiasm and stupidity to overcome obstacles such as not having any transport and being underage for licensed premises. On one particularly memorable occasion a human train of ‘roadies’ carried all the equipment necessary a couple of miles to a beach where dozens of purloined extension leads were run across a main road from a friend’s house and the band risked life and limb to play a few songs.
Other illustrious gigs included Hunter’s bar in Bangor where the band were unable to take ‘the stage’ until they’d moved the pool table out of the way. Playing at a birthday party in the Ward Rooms, Groomsport, The Doubt managed to utilise their specially-commissioned long leads to play several sections of the gig with only the drummer left in the same room as the bemused audience. The shy singer was in a yard by himself doing his bedroom Iggy, the guitarist was trying to get served at the bar and the bassist was heading up the queue for the buffet.
The Boxing Day Blarge which featured a full and varied line-up including Boker the Poet and Ricky Rubshite, took place outside a public shelter / toilet where the band were usually to be found imbibing cider and arguing. Perhaps their best show ever was a charity gig arranged by the band which also featured slots by Fifth Column and Belfast bands Ruefrex and The Androids. For the first (and last) time The Doubt had use of a proper PA and played a storming set to a crowd of several hundred.
Inevitably, the band fell out with each other and split up. As the principal songwriters, Corken and Scott decided to go ahead with the release of an EP and roped in Adrian Maddox (Fifth Column’s guitar player) to play drums on the recording while Corken took over vocal duties. During the recording the snare on the snare drum broke. The fact that no spare was available at four in the morning explains the Doubt’s early pioneering use of the 2-Tone drum sound.
The Doubt EP was eventually released on Solo Records in early 1980 after numerous delays and sold a couple of hundred copies locally. It featured the tracks ‘Contrast Disorder’, ‘Time Out’, ’Lookaway’ and ‘Fringes’.
Along with many others in small towns across Britain and Ireland at the time their immediate musical influences were Bowie, the Pistols, The Ramones, Clash etc blah blah blah. However, a more significant inspiration was a bunch of friends who had formed The Standards, a band comprising Mark Armstrong (drums), Brian Shaw (guitar), John ‘Rat’ Clarke (bass) and David Shannon (vocals). I’m not sure if they even ever played live and I can only remember one original song of theirs , ‘ Don’t Just Watch’, but the fact that they actually got together at all was a MASSIVE inspiration for others to do it.
The original Doubt line-up featured John Clarke from the disbanded Standards together with Hugh ‘Chad’ Cairns, Paul Corken and Steven Clarke. After going on for far too long about Cream, John Clarke was replaced on bass by Robert Scott who had recently disbanded The Skis because of a similar problem with a drummer obsessed by cymbals to an unhealthy degree.
So, armed with an amplifier with three inputs and a drum-kit worth about 28 pence (unpaid), The Doubt were ready to take on the world, or at least annoy the world from their rehearsal room with ever-so-slight sound leakage (i.e. the singer’s living room with the windows wide open).
Now The Doubt rocked, and they rocked to an unchanging beat, such was the drummer’s dedication to his craft. Fuelled by nothing more than cider and ham sandwiches The Doubt sound began to take shape. By the end of their illustrious career they’d even managed to get their Woolworth’s own-brand guitars (almost) in tune.
The Doubt played as many gigs as possible (i.e. not very many) using teenage enthusiasm and stupidity to overcome obstacles such as not having any transport and being underage for licensed premises. On one particularly memorable occasion a human train of ‘roadies’ carried all the equipment necessary a couple of miles to a beach where dozens of purloined extension leads were run across a main road from a friend’s house and the band risked life and limb to play a few songs.
Other illustrious gigs included Hunter’s bar in Bangor where the band were unable to take ‘the stage’ until they’d moved the pool table out of the way. Playing at a birthday party in the Ward Rooms, Groomsport, The Doubt managed to utilise their specially-commissioned long leads to play several sections of the gig with only the drummer left in the same room as the bemused audience. The shy singer was in a yard by himself doing his bedroom Iggy, the guitarist was trying to get served at the bar and the bassist was heading up the queue for the buffet.
The Boxing Day Blarge which featured a full and varied line-up including Boker the Poet and Ricky Rubshite, took place outside a public shelter / toilet where the band were usually to be found imbibing cider and arguing. Perhaps their best show ever was a charity gig arranged by the band which also featured slots by Fifth Column and Belfast bands Ruefrex and The Androids. For the first (and last) time The Doubt had use of a proper PA and played a storming set to a crowd of several hundred.
Inevitably, the band fell out with each other and split up. As the principal songwriters, Corken and Scott decided to go ahead with the release of an EP and roped in Adrian Maddox (Fifth Column’s guitar player) to play drums on the recording while Corken took over vocal duties. During the recording the snare on the snare drum broke. The fact that no spare was available at four in the morning explains the Doubt’s early pioneering use of the 2-Tone drum sound.
The Doubt EP was eventually released on Solo Records in early 1980 after numerous delays and sold a couple of hundred copies locally. It featured the tracks ‘Contrast Disorder’, ‘Time Out’, ’Lookaway’ and ‘Fringes’.
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source PunkModPop Archives (link)
Tuesday, April 14, 2009
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