Sunday, October 19, 2008
Friday, October 17, 2008
Numbers, The - 1979 - Add Up
Numbers, The - 1979 - Add Updownload
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With Canadian record label Attic Records always on the cutting edge of new, innovative ways of developing talent while keeping costs low, they hit on the idea of a no-frills label called Basement Records. Their first signing was Toronto act, The Numbers, in 1979. The band went into the Soundstage studios in Toronto in October of that year with Jack Richardson's son Garth Richardson producing.
Attic co-owner Tom Williams wanted the Numbers to be the first album released in 1980 so, at 9:00 AM on New Year's day, key radio music directors and journalists were sent a copy of the album 'Add Up' to their homes along with a Bloody Caesar alcoholic beverage. The ploy worked as The Numbers received a bit of activity with the first single, "Sideways Elevator", but when it came time to follow that up with a second album the band demanded a larger production defeating the ability for Basement Records to live up to its mandate. As a result the band made a deal to re-sign with Attic Records under the new name Hot Tip (whereby Jim Kennedy was replaced by keyboardist Colin Gerrard). Unfortunately, the band broke up shortly after its two singles could be released in 1981.
Attic co-owner Tom Williams wanted the Numbers to be the first album released in 1980 so, at 9:00 AM on New Year's day, key radio music directors and journalists were sent a copy of the album 'Add Up' to their homes along with a Bloody Caesar alcoholic beverage. The ploy worked as The Numbers received a bit of activity with the first single, "Sideways Elevator", but when it came time to follow that up with a second album the band demanded a larger production defeating the ability for Basement Records to live up to its mandate. As a result the band made a deal to re-sign with Attic Records under the new name Hot Tip (whereby Jim Kennedy was replaced by keyboardist Colin Gerrard). Unfortunately, the band broke up shortly after its two singles could be released in 1981.
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With notes from Kevin Shea and Michael Coxe (link).
Thursday, October 16, 2008
Stoat, The - 1977 - Office Girl 7''
Stoat, The - 1977 - Office Girl 7''.
City records had some good releases and some not so good. They released the UK Subs debut single C.I.D and Girlschools first single Take It All Away. They also however, released The Others single Birmingham Reggie. Midway between the sublime and farcical they released this little ditty byThe Stoat Office Girl / Little Jenny ( 1977 City Records). Passable uptempo power punk whatever that means. They also released in the same year Up To You / Loving a Killer (City 1978) and had a session on John Peel's radio show on 17.10.78 with Don't Say Nothing, Escorts, No Way To Say Goodbye & Tears Run Dry.
Band: Richard Wall - Bass & Vocals; John Waters - Guitar & Vocals; George Decsy - Drums.
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source Punk77.co.uk (link)
Legionaire's Disease Band - 1979 - Downtown 7''
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A Texas punk clasic. The evil shrieking between verses on "Rather See You Dead" will make the hair on your neck stand up - it's absolutely vicious and is reinforced with killer guitar playing.
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source FLEX! (link)
Wednesday, October 15, 2008
Tuesday, October 14, 2008
Victim - 2003 - Everything
Victim - 2003 - Everything**.
Formed in Belfast in mid-1977, Victim soon became familiar faces on the fast-emerging Belfast punk scene. Rehearsing in a garage, it wasn’t long before the neighbours objected and the band relocated to a printing works, but were soon in further trouble when worshippers at the church next door were forced to abandon an evening service due to ear-splitting noise of Victim rehearsing. Following their appearance on the legendary UTV punk documentary ‘It Makes You Want To Spit’ and a rapidly increasing live following, Terri Hooley signed the band to his Good Vibrations label. The second release on the label, ‘Strange Thing By Night’ cost just £90 to record, it proved to be an excellent single it and has become something of a collectors item. In early 1978, prompted by a lack of venues, Victim made a trip to a local Belfast city centre pub because they heard it had a stage! They secured a gig and the legendary Harp Bar was born as a punk venue. In July 1979 Victim were offered a modest record deal by TJM Records and decided to depart to England, settling in Manchester. Early gigs saw them play with The Fall, Revillos, John Cooper-Clarke etc. as well as playing the legendary Factory club to accompany the screening of Shellshock Rock, a film on Irish punk featuring Victim. Victim then released their second single ‘Why Are Fire Engines Red’ on TJM. It received numerous good reviews and plenty of radio support from John Peel. In November 1979 Victim supported The Damned (a package that also included The Misfits for a while) on an extensive UK tour. A friendship was born and Rat Scabies produced the bands third single ‘The Teen Age’ released on Illuminated Records in 1980. A new drummer of Irish descent was recruited - Mike Joyce - who would later receive worldwide fame as drummer for The Smiths. More gigs and a tour with Rudi followed, but in 1983 Mike Joyce left to join The Smiths, He was replaced by Kev Williams, drummer with Mick Hucknall’s Frantic Elevators. The band recorded several more tracks with the new line-up, which also included keyboard player Toni Isaac, but after a couple more years together they decided to call it a day.
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**One of Belfast’s first punk bands and the second band to release a record on Good Vibrations. This 22 track CD includes all three singles and 15 unreleased studio recordings packaged in a 12 page booklet. Drummer Mike Joyce would later achieve worldwide fame in The Smiths.
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source Amazon (link)
Monday, October 13, 2008
Ice 9 - 1979 - Out Out Out 7''
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Portland, Oregon. Released on their own label . Danny Dungeon, Guitar and keyboards later played in Miracle Workers. Bassist John Sogge died in a car wreck a year after this record. Count Vertigo plays drums. There is a later Member of Condemned To Death. Several color PS exist and all are original, yellow (Most common) blue and green. Ice 9 is from Kurt Vonnegut's book "Cat's Cradle."
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Thanks to Punk Rock Picture Sleeves (link)
Sunday, October 12, 2008
Saturday, October 11, 2008
Dils - 1978 - I Hate The Rick 7''
Dils - 1978 - I Hate The Rick 7''download
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Soon after forming in 1977 the band relocated to San Francisco, where they would have a significant influence on that city's embryonic punk scene (bassist Tony Kinman would play very briefly with San Francisco punk band The Avengers during 1977), and then Los Angeles, becoming one of the major bands in the early Los Angeles punk scene too. They were known for their conspicuous radical left politics, and for a strong melodic sense that earned them the nickname "punk rock Everly Brothers".
Their debut single was "I Hate The Rich" / "You're Not Blank" (the latter most famously covered by Minneapolis punk band Dillinger Four), on Los Angeles-based label What? Records (also home to The Germs, amongst others), originally released in 1977 in what collectors refer to as the "Oils" sleeve - the lettering chosen for the band's logo looking more like "The Oils" than "The Dils" at first glance. This was later reissued by the same label in a more easy-to-decipher font. Their next record was their critical high-point, 1977's "Class War" / "Mr.Big" (the former most famously covered by Canadian punks D.O.A., issued on L.A.'s groundbreaking Dangerhouse label, in a pressing of 1500 copies entitled "198 Seconds Of The Dils". The last contemporary release was a three-sided double-7", "Made In Canada", which showed a gathering roots rock orientation. The Dils broke up in 1980.
Music from the Dils (including material unreleased during the band's lifetime) remains available.
In their early years, Stephen Schwartz was manager of the Dils.
Their debut single was "I Hate The Rich" / "You're Not Blank" (the latter most famously covered by Minneapolis punk band Dillinger Four), on Los Angeles-based label What? Records (also home to The Germs, amongst others), originally released in 1977 in what collectors refer to as the "Oils" sleeve - the lettering chosen for the band's logo looking more like "The Oils" than "The Dils" at first glance. This was later reissued by the same label in a more easy-to-decipher font. Their next record was their critical high-point, 1977's "Class War" / "Mr.Big" (the former most famously covered by Canadian punks D.O.A., issued on L.A.'s groundbreaking Dangerhouse label, in a pressing of 1500 copies entitled "198 Seconds Of The Dils". The last contemporary release was a three-sided double-7", "Made In Canada", which showed a gathering roots rock orientation. The Dils broke up in 1980.
Music from the Dils (including material unreleased during the band's lifetime) remains available.
In their early years, Stephen Schwartz was manager of the Dils.
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source Wikipedia (link)
Friday, October 10, 2008
Elton Motello - 1978 - Jet Boy Jet Girl 7''
Elton Motello - 1978 - Jet Boy Jet Girl 7''download
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"Jet Boy, Jet Girl" is a risqué song by Elton Motello about a 15-year-old boy's sexual relationship with another guy, who then rejects him for a girl. With its chorus of "ooh ooh ooh ooh, he gives me head," it has been embraced as something of a gay punk anthem.
Elton Motello "2" : Alan Ward (real name Timms aka Alan Warst as sound engineer), vocals; Mike Butcher (aka Jet Staxx), guitar; Yves Kengen (aka Yke N. Raxola), bass; Nobby Goff (from Crawley, UK, drums then replaced by Bertr' alias Roger Jouret and very well known as Plastic Bertrand. Elton Motello "1" : Brian James, guitar; Nobby Goff, drums; Alan Ward, vocals and Yves Kengen, bass. (fake group = no recordings issued) It has the same backing track as Plastic Bertrand's "Ça plane pour moi" because after "Jet Boy Jet Girl" was recorded, Bertrand used Motello's musicians to record his track. The producer and lyricist at RKM Publishing at the time deemed the original song's lyrics too controversial to be adapted, so Yvan Lacomblez created the stew of words that became "Ça plane pour moi' to the tune of "Jet Boy Jet Girl".
Alan Ward, the singer/songwriter behind Elton Motello, was circumspect about the song's adaptation by Plastic Bertrand. "We have all been ripped off at some point in our lives," he said in a magazine interview, "but judging by the emails I receive, my lyric has touched many more people and seems to ring a chord in many more hearts than the French one will ever do. That's why I wrote it. If I was meant to be rich it would have happened. But I am rich in the knowledge that my thoughts will never disappear."
In 1989, the FCC, acting on a complaint from activist Jack Thompson fined radio station WIOD $10,000 for allowing talk host Neil Rogers to play the song. Thompson considered the song obscene and the FCC agreed with him.
The song has been covered by numerous bands, including The Damned; Captain Sensible and The Softies and Chron Gen. The Bertrand version "Ça Plane Pour Moi" was covered by Thee Headcoatees, Leila K, Sonic Youth, Telex, and The Presidents of the United States of America. It is currently being featured in an American television commercial campaign for Pepsi. There is also a German version entitled "Bin wieder frei" performed by Benny. The original version received renewed attention when it was included on John Waters' 2007 compilation CD A Date With John Waters.
Elton Motello "2" : Alan Ward (real name Timms aka Alan Warst as sound engineer), vocals; Mike Butcher (aka Jet Staxx), guitar; Yves Kengen (aka Yke N. Raxola), bass; Nobby Goff (from Crawley, UK, drums then replaced by Bertr' alias Roger Jouret and very well known as Plastic Bertrand. Elton Motello "1" : Brian James, guitar; Nobby Goff, drums; Alan Ward, vocals and Yves Kengen, bass. (fake group = no recordings issued) It has the same backing track as Plastic Bertrand's "Ça plane pour moi" because after "Jet Boy Jet Girl" was recorded, Bertrand used Motello's musicians to record his track. The producer and lyricist at RKM Publishing at the time deemed the original song's lyrics too controversial to be adapted, so Yvan Lacomblez created the stew of words that became "Ça plane pour moi' to the tune of "Jet Boy Jet Girl".
Alan Ward, the singer/songwriter behind Elton Motello, was circumspect about the song's adaptation by Plastic Bertrand. "We have all been ripped off at some point in our lives," he said in a magazine interview, "but judging by the emails I receive, my lyric has touched many more people and seems to ring a chord in many more hearts than the French one will ever do. That's why I wrote it. If I was meant to be rich it would have happened. But I am rich in the knowledge that my thoughts will never disappear."
In 1989, the FCC, acting on a complaint from activist Jack Thompson fined radio station WIOD $10,000 for allowing talk host Neil Rogers to play the song. Thompson considered the song obscene and the FCC agreed with him.
The song has been covered by numerous bands, including The Damned; Captain Sensible and The Softies and Chron Gen. The Bertrand version "Ça Plane Pour Moi" was covered by Thee Headcoatees, Leila K, Sonic Youth, Telex, and The Presidents of the United States of America. It is currently being featured in an American television commercial campaign for Pepsi. There is also a German version entitled "Bin wieder frei" performed by Benny. The original version received renewed attention when it was included on John Waters' 2007 compilation CD A Date With John Waters.
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source Wikipedia (link)
Saturday, October 4, 2008
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Wednesday, October 1, 2008
Versatile Newts - 1980 - Newtrition 7''
Versatile Newts - 1980 - Newtrition 7''download
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Nick Gilbert and Lawrence [never a last name] were chums from age 11. When Iggy Pop played the Hippodrome with David Bowie on keyboards (in March of '77) Nick and Lawrence fell in love with the opening band, the Vibrators. They started hanging out with Gary Jones [Cult Figures], Roger Taylor and Jeff Thomas [Duran Duran], and became confirmed fans of the Prefects. Lawrence bought a guitar and recorded his own single onto a cassette, which he released in September '79 under the name of "Felt" (past tense of "feel") [Shanghai #1]. Next, Lawrence and Nick decided to make a record together, and with two drums and three chords, the Versatile Newts debuted in early 1980 with 'Newtrition' b/w 'Blimp'. Presently Maurice Deebank joined on [more competent] guitar, and they began playing together as Felt. In the meantime, however, Nick had mailed the 'Newts single to his heroes the Fall - who adored it, and invited the Versatile Newts to open for them in Manchester. Nick nervously advised Mark E. Smith of the name change (fortunately Felt and the Fall had a certain euphony) and the first-ever Felt gig was pronounced a success. (Sadly, Felt never performed the Newts songs live.)
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source The Hyped to Death CD Archives (link)
Demics - 1979 - Talk's Cheap 12''
Demics - 1979 - Talk's Cheap 12''download
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It's 1977. London, Canada is a town of 200,000 located in the farm belt of Southwestern Ontario; 120 miles west of Toronto. 120 miles east of Detroit.
Meanwhile, New York City's CBGB's scene and London England's punk explosion set off musical and cultural shock waves so powerful that they are felt even in a remote secondary market.The punk rock aesthetic makes it possible for bands to form and audiences to gather seemingly overnight. THE DEMICS are the first of many bands to form in London, and they have a crazed audience right from the strat. In the fall of 1977 Eddie & The Hot Rods play for three nights at London's premiere rock club. At the same time, the downtown London loft scene, inhabited by artist, printers, eccentrics and drain-pipe jeans began to crop up amid the prevailing flairs and long hair. The members of the Demics first meet in this milieu.The band begins rehearsing with Keith Whittaker on vocals, Rob Brent on guitar, Iain Atkinson on bass and Nick Perry on drums. Keith was from Manchester, England and Iain was from Cambridge, while Rob and Nick were natives of London, Ontario. Keith already had the name for the band, a Manchester slang insult meaning "loser" "dork" or "wanker". THE DEMICS speedily assembled a repertoire of covers and originals. A short six weeks later they have their first public appearence at a "private" loft party for 250 people at their rehearsal space on December 23, 1977. In the true street-level punk fashion, the band was launched outside of the established meusic-biz structures of the time, including licensed clubs, agents and managers.The band rehearsed for a month with Marcy Saddy(later of Toronto's B-Girls) on drums, until drummer Jim Weatherstone joined, completing the line-up. Jimhad played professionally in country and western bands as a teenager and was theonly experienced musician in he band. After a second public performance at a loft party in January 1978, The Demics played their first gig in February 1978 at the legendary Blue Boot/Cedar Lounge. Over the next two years The Demics played at least one weekend a month to packed audiences of downtown artsy-types, punk rockers, factory workers and students. A few audience members formed their ownbands and were soon playing opening sets(NFG, Regulators etc). Toronto bands and fans also found their way to the Cedar Lounge as a punk-rock circuit of seedy downtown bars began to form in London, Hamilton and Toronto. As the local newspaper put it in the headline of a story on The Demics in May 1978, "New wave band floods hotel's coffers, sells tide of beer".The Demics met The Viletones a few times socially in Toronto, and 'Tones guitarist Freddie Pompeii got The Demics their first Toronto gig, opening for The Viletones at the Horseshoe Tavern. The summer of 1978 also inclued opening spots for The Dead Boys and Johnny Thunders and The Heartbreakers at the Horseshoe.
In late 1978 The Demics recorded a five-song EP entitled "Talk's cheap" for newly-formed indie label Ready Records. The vinyl EP(released in early 1979) went throught a number of pressings and is now a collecor'sitem. One song from the EP, "New York City" a slower-tempo but still punk-rocking song, immediatly received airplay on alternative and college FM radio(including pioneer-ing "New music" station CFNY in Toronto) and became the band's signature song. By early 1979 all of the band members had moved to Toronto. Thought constant live playing the band added new original songs and covers ranging from rockabilly to 60's garage psychedelia to punk building a repertoire of short, fast, loud, punked-out pop songs about boredom, anger and frustration, all laced with Keith's sarcastic wit. High energy music by and for the pissed off.
The original band played their fatrewell performances in London and Torontoin December of 1979. The band re-formed with new guitarist Steve Koch in early 1980, and went on to record an over-produced and poorly received self-titled album. This version of the band packed it in 1981. The "Talk's cheap" EP continued to sell trought the mid-1980's, and "New York City" continued to receive airplay. Chris Spedding recorded the song on his 1992 CD "Cafe days" with backing vocals by Keith. In March of 1996 Chart Magazine, the voice of college and alternative radio in Canada, voted "New York City" the best Canadian single of all time, placing ahead of the heavyweights like Neil Young and the Guess Who.
Meanwhile, New York City's CBGB's scene and London England's punk explosion set off musical and cultural shock waves so powerful that they are felt even in a remote secondary market.The punk rock aesthetic makes it possible for bands to form and audiences to gather seemingly overnight. THE DEMICS are the first of many bands to form in London, and they have a crazed audience right from the strat. In the fall of 1977 Eddie & The Hot Rods play for three nights at London's premiere rock club. At the same time, the downtown London loft scene, inhabited by artist, printers, eccentrics and drain-pipe jeans began to crop up amid the prevailing flairs and long hair. The members of the Demics first meet in this milieu.The band begins rehearsing with Keith Whittaker on vocals, Rob Brent on guitar, Iain Atkinson on bass and Nick Perry on drums. Keith was from Manchester, England and Iain was from Cambridge, while Rob and Nick were natives of London, Ontario. Keith already had the name for the band, a Manchester slang insult meaning "loser" "dork" or "wanker". THE DEMICS speedily assembled a repertoire of covers and originals. A short six weeks later they have their first public appearence at a "private" loft party for 250 people at their rehearsal space on December 23, 1977. In the true street-level punk fashion, the band was launched outside of the established meusic-biz structures of the time, including licensed clubs, agents and managers.The band rehearsed for a month with Marcy Saddy(later of Toronto's B-Girls) on drums, until drummer Jim Weatherstone joined, completing the line-up. Jimhad played professionally in country and western bands as a teenager and was theonly experienced musician in he band. After a second public performance at a loft party in January 1978, The Demics played their first gig in February 1978 at the legendary Blue Boot/Cedar Lounge. Over the next two years The Demics played at least one weekend a month to packed audiences of downtown artsy-types, punk rockers, factory workers and students. A few audience members formed their ownbands and were soon playing opening sets(NFG, Regulators etc). Toronto bands and fans also found their way to the Cedar Lounge as a punk-rock circuit of seedy downtown bars began to form in London, Hamilton and Toronto. As the local newspaper put it in the headline of a story on The Demics in May 1978, "New wave band floods hotel's coffers, sells tide of beer".The Demics met The Viletones a few times socially in Toronto, and 'Tones guitarist Freddie Pompeii got The Demics their first Toronto gig, opening for The Viletones at the Horseshoe Tavern. The summer of 1978 also inclued opening spots for The Dead Boys and Johnny Thunders and The Heartbreakers at the Horseshoe.
In late 1978 The Demics recorded a five-song EP entitled "Talk's cheap" for newly-formed indie label Ready Records. The vinyl EP(released in early 1979) went throught a number of pressings and is now a collecor'sitem. One song from the EP, "New York City" a slower-tempo but still punk-rocking song, immediatly received airplay on alternative and college FM radio(including pioneer-ing "New music" station CFNY in Toronto) and became the band's signature song. By early 1979 all of the band members had moved to Toronto. Thought constant live playing the band added new original songs and covers ranging from rockabilly to 60's garage psychedelia to punk building a repertoire of short, fast, loud, punked-out pop songs about boredom, anger and frustration, all laced with Keith's sarcastic wit. High energy music by and for the pissed off.
The original band played their fatrewell performances in London and Torontoin December of 1979. The band re-formed with new guitarist Steve Koch in early 1980, and went on to record an over-produced and poorly received self-titled album. This version of the band packed it in 1981. The "Talk's cheap" EP continued to sell trought the mid-1980's, and "New York City" continued to receive airplay. Chris Spedding recorded the song on his 1992 CD "Cafe days" with backing vocals by Keith. In March of 1996 Chart Magazine, the voice of college and alternative radio in Canada, voted "New York City" the best Canadian single of all time, placing ahead of the heavyweights like Neil Young and the Guess Who.
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source The Mod Pop Punk Archives (link)
Tuesday, September 30, 2008
Xs-Energy - 1978 - Eighteen 7''
Xs-Energy - 1978 - Eighteen 7''download
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This EP was originally released by the 'World Records' label in '78 and was then reissued twice by the Lincoln based 'Dead Good' label. All 3 issues came with different picture sleeves.
Monday, September 29, 2008
Nervebreakers - 1994 - We Want Everything
Nervebreakers - 1994 - We Want Everything.
Unreleased studio LP, recorded in 1980. Great melodic punk rock, the rock influence is somewhat stronger than on the 7"s, this might be caused by the better production, though. A definite buy for KBD fans.
Sunday, September 28, 2008
Afrika Korps - 1977 - Music Kill By (Reissue 2002)
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Afrika Korps - 1977 - Music Kill By (Reissue 2002) **download
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This merger of The Slickee Boys, The Gizmos, The Look, The Teenage Boys, O. Rex, and The Kaiser's Kittens has thrown up (how punky!) the best album of the year. Twenty-two (yes! 22!) songs about all the things that bother you--your complexion . . . your boys . . . your mental health . . . and your girls. Every gem is short and sweet . . . each one a nursery rhyme that's been sneaking looks at teen magazines . . . pure, unsullied, untouched by recording contract rock and roll. Every verse is a reprise, every song a chrous with a harmonious soundmix nothing like the usual Heavy Metal row most 'punks' employ. Despite their threats about slapping your pretty face and ripping your pretty lace, they're sweet kids. Real innocence always tries to be tough." --Julie Burchill, New Musical Express, 3 December 1977. Back in 1973, teenage fanzine writer Ken Highland first traveled from his small-town home in upstate New York to Brooklyn, New York, to jam with pen-pal Solomon Gruberger and his younger brother Jay in their living-room rock band O. Rex. Three years later, in early '76, Ken recorded the first infamous Gizmos EP in Bloomington, Indiana--and then joined the United States Marine Corps! Finding himself stationed in Maryland, near Washington, D.C., he quickly found his way into the burgeoning D.C. punk scene. He became friends with the Slickee Boys, and began writing songs on guard duty. Some of these became later Gizmos tunes, but the main project was a new band with the O. Rex brothers called The Afrika Korps. With help from Slickee Boys Kim Kane and Martha Hull, and the addition of multi-talented drummer Ken Kaiser, they recorded the music on this LP in the first few months of 1977. The recordings became free-for-all punk-rock "super sessions"--with various other Slickee Boys members, D.C. scenesters, rock writers, etc. joining in on the fun. The resulting LP still stands as one of the most spontaneous and least trendy things to come out of the early Amerikan punk scene.
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source Vinyl & Lead (link)
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** 34 tracks of all-American unknown punk rock from Indiana Feat. Ken Highland (of Gizmos fame). Inc. all songs from the Music to Kill by LP(1977), studio outtakes, and live recordings
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