Sunday, February 1, 2009
Powertrip - 1983 - When We Cut, We Bleed (reissue 2000) (US)Stalin, The - 1982 - Stop Jap (JP)
Stalin, The - 1982 - Stop Jap (JP).
The Stalin was an influential Japanese punk rock band formed in 1980, by Michiro Endo.
The Stalin began in 1980 and was founded by Michiro Endo, a 32 year-old socialist activist. He chose the name because "the name Stalin is very hated by most people in Japan, so it is very good for our image." At live shows, Michiro behaved like a madman, leaving a wake of destruction everywhere he went. The Stalin were quickly banned from many venues, especially after beating up members of the audience, or simply leaving after singing one song.
For the first LP, 1981's Trash, they sped up the pace and began to sound like a hardcore band. Released on Political Records, the record is so rare that it has been bootlegged even in Japan.[citation needed] The new sound of the Stalin was due partly to the addition of guitarist Tam, formerly of Typhus, the band that spawned the band Gauze.
For the first LP, 1981's Trash, they sped up the pace and began to sound like a hardcore band. Released on Political Records, the record is so rare that it has been bootlegged even in Japan.[citation needed] The new sound of the Stalin was due partly to the addition of guitarist Tam, formerly of Typhus, the band that spawned the band Gauze.
The band's major label debut was 1982's Stop Jap LP. The lyrics from this album supposedly reflect a more anti-nationalist, anarchistic slant on political issues.[citation needed] The band reached their peak in popularity with the next two hardcore records in 1983: the 4-song Go Go Stalin 12" and the Mushi LP. The Stalin was one of the first Japanese bands to reach an international audience when their song "Chicken Farm" appeared on MRR's seminal Welcome to 1984 compilation alongside other international hardcore pioneers like Raw Power and BGK. Shortly after, Tam left the band. 1984's Fish Inn LP found the Stalin with American musicians playing parts. After releasing a 1985 double live album, the Stalin called it quits.
Inspired by the monumental events of 1988, especially the collapse of Soviet Communism[citation needed], Michiro formed a new band just called "Stalin". He had been fascinated with the Polish Solidarity movement, which began the same year as the band, and after a visit to Warsaw he organized a Japanese tour for the Polish punk band Dezerter. The Stalin completed the cultural exchange in 1990 when they toured Eastern Europe. At some point the band converted to Video Stalin, a video production ensemble. One video they made, "The History of the Stalin," has live footage and promo clips from the band's early days. .
source Wikipedia (link)
Thursday, January 29, 2009
Star Club - 1999 - Cool Posers! (the early singles 1977-83) (JP)
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Star Club - 1999 - Cool Posers! (the early singles 1977-83) (JP)download
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Thanks very much for Jack Rudie for this rip!
Wednesday, January 28, 2009
Dogs, The - 1978 - Slash Your Face 7'' (US)
Dogs, The - 1978 - Slash Your Face 7'' (US)download
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Killer heavy Detroit sound reminscent of the MC5, Stooges with a touch of Blue Oyster Cult-style thunder. The Dogs's sound is tough as hell. They create a menacing, brass knuckle sound with a mauling rhythm section and a ferocious guitar. "Slash Your Face," leaps at you, going straight for your throat and doesn't let up until you're left bleeding, pleading and outta breath. They even make the Barbarians' campy hit "Are You A Boy or Are You a Girl" sound tough.
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source Flex! (link)
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Tuesday, January 27, 2009
Plague, The - 2005 - X Tapes 1976-1981 (UK)
Plague, The - 2005 - X Tapes 1976-1981 (UK)*
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After meeting at college Gareth, Graham and Marc noted a shared interest in bands such as The Damned, The Who and The Sex Pistols; and formed The Plague in the autumn of 1976. Drummer Greg Horton completed the line-up, and the band began playing together at a rehearsal space attached to a church in Bromley.
By early 1977 The Plague were playing locally, soon securing a regular slot at the Battersea Arts Centre - initially as support to musical-play "The Food Show". They were the first punk rock band to play at the venue, playing a twenty-minute set to open the show as well as providing a contemporary soundtrack to The Food Show in return for rehearsal space. As The Food Show was put on by the Inner London Education Authority (ILEA), the unlikely pairing played other ILEA venues together. However this was a short-lived arrangement after the band played soon-to-be fan-favourite "1, 2, Fuck You!" one night at a school. Despite requesting a punk show, school staff in the audience went berserk, almost leading to a fight between the school's PE teacher and the band/manager. The headmaster demanded an apology from The Plague, which was unforthcoming so from that point onward they were banned from all ILEA venues - rather a fitting and appropriate state of affairs for a hungry teenage punk band in 1977.
Having recorded their first demo (containing such embryonic examples of their sound as: "Again and Again", "On The Dole", and "Nightmares") The Plague began their long-standing relationship with The Roxy club, playing shows with such punk luminaries as the UK Subs and Slaughter and the Dogs. Eventually the club manager Kevin St John would phone the band up when others had cancelled gigs at the last minute.
As well as regulars to the club the band brought with them their "Battersea Mob", a group of punks based at The Old Swan pub in Battersea. The Battersea Mob proved to be the most loyal of fans, some even trekking as far afield as Coventry and Manchester to see the band. It was during this time that the band wrote many songs including "Spies", "End of the World", "Politician" and "Nuffin' Doing".
After The Roxy closed The Plague remained active, playing at the Institute of Psychiatry, Camberwell, and Toyah Willcox's club night "Mayhem". One outstanding gig at the Institute resulted in interest from CBS records.
By early 1977 The Plague were playing locally, soon securing a regular slot at the Battersea Arts Centre - initially as support to musical-play "The Food Show". They were the first punk rock band to play at the venue, playing a twenty-minute set to open the show as well as providing a contemporary soundtrack to The Food Show in return for rehearsal space. As The Food Show was put on by the Inner London Education Authority (ILEA), the unlikely pairing played other ILEA venues together. However this was a short-lived arrangement after the band played soon-to-be fan-favourite "1, 2, Fuck You!" one night at a school. Despite requesting a punk show, school staff in the audience went berserk, almost leading to a fight between the school's PE teacher and the band/manager. The headmaster demanded an apology from The Plague, which was unforthcoming so from that point onward they were banned from all ILEA venues - rather a fitting and appropriate state of affairs for a hungry teenage punk band in 1977.
Having recorded their first demo (containing such embryonic examples of their sound as: "Again and Again", "On The Dole", and "Nightmares") The Plague began their long-standing relationship with The Roxy club, playing shows with such punk luminaries as the UK Subs and Slaughter and the Dogs. Eventually the club manager Kevin St John would phone the band up when others had cancelled gigs at the last minute.
As well as regulars to the club the band brought with them their "Battersea Mob", a group of punks based at The Old Swan pub in Battersea. The Battersea Mob proved to be the most loyal of fans, some even trekking as far afield as Coventry and Manchester to see the band. It was during this time that the band wrote many songs including "Spies", "End of the World", "Politician" and "Nuffin' Doing".
After The Roxy closed The Plague remained active, playing at the Institute of Psychiatry, Camberwell, and Toyah Willcox's club night "Mayhem". One outstanding gig at the Institute resulted in interest from CBS records.
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* Following a resurgence of interest in original punk rock, Detour Records contacted the band in 2005 regarding the compilation of all The Plague's various demos and singles onto one vinyl/CD album. The result was "The X Tapes" ((p) and (c) 2005 Bin Liner Records).
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source Wikipedia (link)
Vacants, The - 1977 - Worthless Trash LP (AUD) (UK)
Vacants, The - 1977 - Worthless Trash LP (Australian Version) (UK)download
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English punk band Includes Martin Chambers From The Pretenders On Drums. This didnt come out in the UK but did come out in with different sleeve artwork in Italy on "Variety", in France on "Festival" and Australia on the "Beat" label...who also did the FU2 LP. The tracks include Ramones and Berry covers and "Good Guys Dont Wear White" and for some reason the track listing seems to be different on different pressings.
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source Punk Rock Picture Sleeves (link)
Monday, January 26, 2009
Skunks - 1982 - The Skunks LP (Republic) (US)
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Skunks - 1982 - The Skunks LP (Republic) (US)download
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This Texas trio (not the British band of the same name) was led by bassist/singer Jesse Sublett, whose previous group included future Go-Go Kathy Valentine. An earlier incarnation of the Skunks stuck a couple of neat tracks on an Austin compilation LP; the band on The Skunks includes a pair of brothers who were previously two-thirds of that city's Terminal Mind. But enough history.
Produced by Earle Mankey, The Skunks is better-than-average melodic rock that draws on Southwestern musical traditions to give it special character, but isn't ethnic enough to be confused with the more colorful outpourings of Tex-Mex. The trio shares songwriting duties with consistently solid results; a novel reworking of the Yardbirds' "For Your Love" suggests an adventurous streak as well.
In recent times, Sublett has turned to fiction writing, publishing a 1989 crime novel set in Austin's rock scene.
Produced by Earle Mankey, The Skunks is better-than-average melodic rock that draws on Southwestern musical traditions to give it special character, but isn't ethnic enough to be confused with the more colorful outpourings of Tex-Mex. The trio shares songwriting duties with consistently solid results; a novel reworking of the Yardbirds' "For Your Love" suggests an adventurous streak as well.
In recent times, Sublett has turned to fiction writing, publishing a 1989 crime novel set in Austin's rock scene.
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by Ira Robbins (link)
Blackouts, The - 2004 - History In Reverse (US)
Blackouts, The - 2004 - History In Reverse (US)download
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The Blackouts were the best Seattle band you never heard of. To those who bought their records and attended their shows, this is no secret. But for the majority who didn’t, this exciting anthology – long overdue – thankfully now exists. Sequenced in reverse-chronological order, it begins with their last recordings, produced by Al Jourgensen and originally released on Wax Trax! (three Blackouts members later worked with Jourgensen in Ministry after the Blackouts demise), and ends with their debut 45 single "The Underpass." Also included on 'History In Reverse' are three previously unreleased songs from the Wax Trax! session. In 1979, following the breakup of the notorious Telepaths, several members (guitarist Erich Werner, drummer Bill Rieflin, synth/sax player Roland Barker and bassist Mike Davidson, later replaced by Paul "Ion" Barker) re-formed as a new musical alliance – The Blackouts. They had an implosive intensity and were the antithesis of the bar bands that dominated Seattle’s anemic local music scene. Intentional, dynamic songs were the Blackouts’ stock-in-trade. Over the next six years they released four singles and EPs on four different labels: Modern, Engram, Situation Two (a subsidiary of 4AD) and Wax Trax! Few bands from that era can claim as impressive a legacy as History In Reverse.
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source Amazon (link)
Sunday, January 25, 2009
Saturday, January 24, 2009
Circle X - 1979 - Circle X 7'' (US)
Circle X - 1979 - Circle X 7'' (US)download
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Circle X's devotion to obscurity is legendary. Formed in 1978 in Louisville, long before that Kentucky city attracted any hipster attention, the quartet specialized in a raw but philosophical hiss that predated the whole '80s gut-rock explosion (Swans, Sonic Youth, Live Skull, etc.). The group's history — peppered with hiatuses stemming from careers in painting, book projects and disdain for both independent and mainstream venues and labels — proves that artists can work on their own terms, affecting a minute but dedicated audience without the crassness imposed by promoters and hype-crazed entrepreneurs. With complex song structures, a fondness for meticulous packaging and elaborate onstage spectacles, Circle X consciously shunned any trace of stale professionalism, cynicism or classicism. Every rare utterance from these unsentimental adventurers possesses a passion and a manifesto-writing fervor usually reserved for turn-of-the-century culture movements.
Solidified when art students Wm. Bruce Witsiepe and Tony Pinotti abandoned Louisville's first punk act, No Fun (which also included future Babylon Dance Band/Antietam folks), to join brothers Rik Letendre and Dave Letendre (who played in the I-Holes), Circle X rapidly burned out its initial home but left estimable scars. (Local luminary David Grubbs had a hand in the CD reissue of the first EP.) By the end of '78, the foursome had relocated to NYC, then to Dijon, France for nine months.
The untitled 12-inch debut was practically unmatched in its day. Identified only by a symbol on the cover (a spray-painted circle with an "X" through it; the spelled-out name first appeared in '83), it pits Pinotti's screeched vocals against Witsiepe and the Letendres' bass-less, barely contained distorto-blare. The blues-tinged "Tender" shows slight restraint, but "Underworld" prefigures and transcends hardcore blur. Nothing sounded like this in 1979. Circle X caught the tail end of the no wave scene and out-waved it with a mere four ear-splitting compositions.
Returning to New York, the original lineup laid down the calmer, more ambitious Prehistory in 1981. Submerging energy in sloppy polyrhythms and echoey dub production, the album sometimes drags haphazardly and generally lacks its predecessor’s field-plowing impact. Although it has enough to be worthwhile (especially "Culture Progress," "Prehistory Part II," a retooled "Underworld"), the group’s unfortunate tendency to flail off-beat or out-of-tune makes this a developmental document.
Members of Circle X spent the mid ’80s in splinter ensembles (the Life of Falconettie, Gin Ray, Von Zeit Zu Zeit) or gigging infrequently under a pseudonym (Dear John). A most welcome resurgence, with drummer Mike McShane replacing Dave Letendre, yielded twin tracks on a flexi that accompanied the musicians’ Anti-Utopia publication (1990) and on Matador Records’ New York Eye and Ear Control compilation (1991). Both takes of "Crash" posit a dissected J.G. Ballard text in a creeping, tape loop-abetted grind. David Cronenberg’s subsequent film of the same novel pales by comparison.
The aimless three-inch CD Frammenti de Junk was conceived during the same period. Though packaged with an attractive foldout booklet and fleshed-out with guests on bass and violin, it’s self-indulgent and passive. The mellifluous "Sweetened Tea," however, taps into unexpected beauty.
Four early-'90s, white-vinyl singles, largely featuring Loudspeaker drummer Martin Köb (ex-Wall Drug/Dustdevils), made a stronger case for Circle X's return. Hitting the highs of thrusting semi-accessibility ("Shiny Blue Orb," the Mars tribute "33/Puerto Rican Ghost"), menacing, sample-driven sludge ("Compression of the Species") and sedated, sinister experiments ("Crooky Crain," "The Pleasure Gallows"), The Ivory Tower's exquisitely assembled, limited-edition box set of these 7-inches is well worth one’s piggy bank's entrails. Pinotti's processed-to-hell screams and electronics suggest avant-garde theater and the Tasmanian Devil, while Witsiepe mutters malevolently and scratches a metal file against his disintegrating guitar. The sure-footed pounding recontextualizes the first EP's careening instability into a semi-harnessed, boldly modern squall.
Circle X finally readied a second proper full-length in 1994. Absorbing all prior sonic explorations, the intricate, confident Celestial is a watershed. It includes tumbling grit like the previous singles, newly articulate Frammenti-ish oddities, a magnificent musique concrète centerpiece and "Some Things Don't Grow Back," a sad ballad of sorts. From the brush-stroked psychedelia of "Pulley" to the turbo-charged riffs of "Tell My Horse," the diverse, honed ideas function in an impressive cycle of thought-provoking bludgeons and sublime dirges.
Circle X completed its pièce de résistance without a minute to spare; in 1995, the death of chief strategist Witsiepe tragically ended the band in its late-blooming prime. [Jordan Mamone]
This piece was first published in Badaboom Gramophone #3 and appears here withOUT permission.
Solidified when art students Wm. Bruce Witsiepe and Tony Pinotti abandoned Louisville's first punk act, No Fun (which also included future Babylon Dance Band/Antietam folks), to join brothers Rik Letendre and Dave Letendre (who played in the I-Holes), Circle X rapidly burned out its initial home but left estimable scars. (Local luminary David Grubbs had a hand in the CD reissue of the first EP.) By the end of '78, the foursome had relocated to NYC, then to Dijon, France for nine months.
The untitled 12-inch debut was practically unmatched in its day. Identified only by a symbol on the cover (a spray-painted circle with an "X" through it; the spelled-out name first appeared in '83), it pits Pinotti's screeched vocals against Witsiepe and the Letendres' bass-less, barely contained distorto-blare. The blues-tinged "Tender" shows slight restraint, but "Underworld" prefigures and transcends hardcore blur. Nothing sounded like this in 1979. Circle X caught the tail end of the no wave scene and out-waved it with a mere four ear-splitting compositions.
Returning to New York, the original lineup laid down the calmer, more ambitious Prehistory in 1981. Submerging energy in sloppy polyrhythms and echoey dub production, the album sometimes drags haphazardly and generally lacks its predecessor’s field-plowing impact. Although it has enough to be worthwhile (especially "Culture Progress," "Prehistory Part II," a retooled "Underworld"), the group’s unfortunate tendency to flail off-beat or out-of-tune makes this a developmental document.
Members of Circle X spent the mid ’80s in splinter ensembles (the Life of Falconettie, Gin Ray, Von Zeit Zu Zeit) or gigging infrequently under a pseudonym (Dear John). A most welcome resurgence, with drummer Mike McShane replacing Dave Letendre, yielded twin tracks on a flexi that accompanied the musicians’ Anti-Utopia publication (1990) and on Matador Records’ New York Eye and Ear Control compilation (1991). Both takes of "Crash" posit a dissected J.G. Ballard text in a creeping, tape loop-abetted grind. David Cronenberg’s subsequent film of the same novel pales by comparison.
The aimless three-inch CD Frammenti de Junk was conceived during the same period. Though packaged with an attractive foldout booklet and fleshed-out with guests on bass and violin, it’s self-indulgent and passive. The mellifluous "Sweetened Tea," however, taps into unexpected beauty.
Four early-'90s, white-vinyl singles, largely featuring Loudspeaker drummer Martin Köb (ex-Wall Drug/Dustdevils), made a stronger case for Circle X's return. Hitting the highs of thrusting semi-accessibility ("Shiny Blue Orb," the Mars tribute "33/Puerto Rican Ghost"), menacing, sample-driven sludge ("Compression of the Species") and sedated, sinister experiments ("Crooky Crain," "The Pleasure Gallows"), The Ivory Tower's exquisitely assembled, limited-edition box set of these 7-inches is well worth one’s piggy bank's entrails. Pinotti's processed-to-hell screams and electronics suggest avant-garde theater and the Tasmanian Devil, while Witsiepe mutters malevolently and scratches a metal file against his disintegrating guitar. The sure-footed pounding recontextualizes the first EP's careening instability into a semi-harnessed, boldly modern squall.
Circle X finally readied a second proper full-length in 1994. Absorbing all prior sonic explorations, the intricate, confident Celestial is a watershed. It includes tumbling grit like the previous singles, newly articulate Frammenti-ish oddities, a magnificent musique concrète centerpiece and "Some Things Don't Grow Back," a sad ballad of sorts. From the brush-stroked psychedelia of "Pulley" to the turbo-charged riffs of "Tell My Horse," the diverse, honed ideas function in an impressive cycle of thought-provoking bludgeons and sublime dirges.
Circle X completed its pièce de résistance without a minute to spare; in 1995, the death of chief strategist Witsiepe tragically ended the band in its late-blooming prime. [Jordan Mamone]
This piece was first published in Badaboom Gramophone #3 and appears here withOUT permission.
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source Louis Ville Hardcore (link)
Friday, January 23, 2009
Thursday, January 22, 2009
Amber Squad, The - 2007 - Arewehavinganotherinhereorwhat? (UK)
Amber Squad, The - 2007 - Arewehavinganotherinhereorwhat? (UK).
Coming out of Rutland (near Lincoln) in early 1980, the Amber Squad played a fine mix of Pub Rock / Power-Pop / Ska and Punk Rock and soon built up a reputation as a great live band with their powerful originals and classic R&B covers. Releasing their debut single 'I Can't Put My Finger On You' in 1980 on the `S+T' label, the band stretched their wings and made a break for the bright lights of the gigging circuit in London and Birmingham. The band switched to the Lincoln based `Dead Dead Good' label for their second single `Can We Go Dancing' and they found themselves on the Radio 1 playlist, being featured on John Peel's show and on Kid Jensen's Round Table. The following year they appeared on the `S+T' compilation `Where The Hell Is Leicester' with the unreleased track `Six of Me', however after years slogging around the gigging circuit eventually reality hit home in the form of proper jobs and mortgages and the band called it a day. Now Detour Records present to you the band's entire recorded output on one lovingly crafted package. Featuring both singles, the compilation appearance and 14 previously unreleased tracks and great artwork and liner notes by the band this is a release that anyone with an interest in the Mod / Punk era cannot afford to be without. 2006.
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source Amazon (link)
Wednesday, January 21, 2009
Kaos - 1980 - Product Of A Sick Mind 7'' (US)
Kaos - 1980 - Product Of A Sick Mind 7'' (US)download
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KAOS: Product Of Sick Mind EP (What Records, W7-1216) 1980. 200 copies of 45. Later came out as a 12` and shortly after they split. Kaos was formed by singer Guitarist Johnny Stingray after the Controllers split up. The Bassist of their last lineup later went to form Americas Hardcore, then later join Crucifix.
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source Punk Rock Picture Sleeves (link)
Tuesday, January 20, 2009
Monday, January 19, 2009
Sunday, January 18, 2009
Saturday, January 17, 2009
Trend, The - 1982 - Batman Live At Budokan (US)
Trend, The - 1982 - Batman Live At Budokan (US)download
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The Trend formed in 1980 in Syracuse, New York — not exactly a mecca for young punk rockers, but then again neither is Lodi, New Jersey or Daingerfield, Texas. What separates the Trend from countless other early American bands is less about blistering punk rock power chords and more about their creative knack for not repeating the same old clichés. The fact that all their records were released while still in high school gets them additional bonus points on my punk rock rating scale. In the irrelevant-brushes-with-er-fame, one should note that 'Bobcat' Goldthwaite (yup, Police Academy, Shakes The Clown) and Tom Kenny (voices on Dilbert) were in an early formation of the band.
The Trend's first gig consisted of four originals and five Ramones covers. Many of their gigs were in the wee hours of the morning among the tin-foiled walls of the Insomniac club. They eventually made their way into the studio to record their 45 with the median band member age at a mere 16. In the grand DIY spirit of punk rock, the band cut, folded, and glued the sleeves one by one (not a fond memory for anyone). The Trend also made a habit of throwing out the 45s in promotional stunts and eventually using them as Frisbees years later when the records simply occupied valuable closet space. An early review of their debut 7in. described the guitar break in 'Band Aid' as the 'most horrendous ever recorded locally.' Of course, the aforementioned guitar break is the very thing that drew me to the record — the simple bravado on putting the solo to vinyl score points with me (kind of like the first Germs 7 in.) The B-side, 'Band Aid', is far superior to the A-side which is a little too poppy for my taste. Side note: France's No Talents do a passable cover of 'Band Aid' no doubt inspired by the song's appearance on Killed By Death #10.
Perhaps a year or so later, the band recorded an EP's worth of material that remains unreleased (in keeping with the records-as-frisbees way of doing things, some master tapes became streamers along local highways). In 1982 with the help of a local label, Northside Records, the Trend recorded the Batman Live At Budokan LP. Marc Patenaude, the guitarist and driving force behind the band, took over on vocals, something avoided on the first 45 since his voice was still in the early teen squeaky stages. In the end, it's the guitar and lyrics that make the record a classic of teen punk rock. Subject matter includes brushing your teeth, shopping for toys, divorce, and — of course — peer pressure. Musically, it's more polished and skirts the punk/pop line throughout; it is, without a doubt, a classic of bubble gum punk. As I said before, when you drop the needle on this one, you'll never confuse it with another band — the Trend LP is unmistakable.
And to give further credit where credit is due, the packaging on the record is awesome with its great cut-and-paste style and plenty busy to boot. The poster insert includes a hilarious posed shot with band members looking no older than twelve. Like the 45, the LP is dedicated to the pigmies of Madagascar and if you couldn't tell, the Trend never took themselves too seriously. Anybody who gets their hands on the LP will also discover that the track listings on the cover and label have nothing to do with what's actually on the record; apparently some miscommunication with the pressing plant is to be blamed. Citing personal experience, I'm taking the band's side on this one. Italy's Hate Records has issued a CD that includes the Trend's LP, 45, and previously unreleased material.
The Trend's tenure as a band would end tragically in August 1985 when J. Marc Patenaude, the singer, guitarist, and songwriter, died in a car accident. As with Rhino 39's Dave Dacron (killed in a car accident in 1980 at the age of 16), I can't help thinking there was some more great material to come.
Special thanks to Monique for much help with Trend info.
The Trend's first gig consisted of four originals and five Ramones covers. Many of their gigs were in the wee hours of the morning among the tin-foiled walls of the Insomniac club. They eventually made their way into the studio to record their 45 with the median band member age at a mere 16. In the grand DIY spirit of punk rock, the band cut, folded, and glued the sleeves one by one (not a fond memory for anyone). The Trend also made a habit of throwing out the 45s in promotional stunts and eventually using them as Frisbees years later when the records simply occupied valuable closet space. An early review of their debut 7in. described the guitar break in 'Band Aid' as the 'most horrendous ever recorded locally.' Of course, the aforementioned guitar break is the very thing that drew me to the record — the simple bravado on putting the solo to vinyl score points with me (kind of like the first Germs 7 in.) The B-side, 'Band Aid', is far superior to the A-side which is a little too poppy for my taste. Side note: France's No Talents do a passable cover of 'Band Aid' no doubt inspired by the song's appearance on Killed By Death #10.
Perhaps a year or so later, the band recorded an EP's worth of material that remains unreleased (in keeping with the records-as-frisbees way of doing things, some master tapes became streamers along local highways). In 1982 with the help of a local label, Northside Records, the Trend recorded the Batman Live At Budokan LP. Marc Patenaude, the guitarist and driving force behind the band, took over on vocals, something avoided on the first 45 since his voice was still in the early teen squeaky stages. In the end, it's the guitar and lyrics that make the record a classic of teen punk rock. Subject matter includes brushing your teeth, shopping for toys, divorce, and — of course — peer pressure. Musically, it's more polished and skirts the punk/pop line throughout; it is, without a doubt, a classic of bubble gum punk. As I said before, when you drop the needle on this one, you'll never confuse it with another band — the Trend LP is unmistakable.
And to give further credit where credit is due, the packaging on the record is awesome with its great cut-and-paste style and plenty busy to boot. The poster insert includes a hilarious posed shot with band members looking no older than twelve. Like the 45, the LP is dedicated to the pigmies of Madagascar and if you couldn't tell, the Trend never took themselves too seriously. Anybody who gets their hands on the LP will also discover that the track listings on the cover and label have nothing to do with what's actually on the record; apparently some miscommunication with the pressing plant is to be blamed. Citing personal experience, I'm taking the band's side on this one. Italy's Hate Records has issued a CD that includes the Trend's LP, 45, and previously unreleased material.
The Trend's tenure as a band would end tragically in August 1985 when J. Marc Patenaude, the singer, guitarist, and songwriter, died in a car accident. As with Rhino 39's Dave Dacron (killed in a car accident in 1980 at the age of 16), I can't help thinking there was some more great material to come.
Special thanks to Monique for much help with Trend info.
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by Ryan Richardson
source Breakmy face.com (link)
Friday, January 16, 2009
Exit, The - 1979 - Who Asked You 7''
Exit, The - 1979 - Who Asked You 7''.
The Exit were a band from the South Side in the late 1970s. They were short lived and only played a handful of shows (one of which was in Calumet City), though they did manage to put out a record in 1979. Not much else is known about them.
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source ChicagoPunk (link)
Thursday, January 15, 2009
Wednesday, January 14, 2009
Controllers - 1979 - Suburbian Suicide 7''
Controllers - 1979 - Suburbian Suicide 7''download
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The Controllers were the first and the last band to play the legendary L.A. punk rock club The Masque. Formed by Johnny Stingray (guitar/vocals, later bass/vocals) and Kidd Spike (guitar/vocals) in the late spring of 1977. Like most of the early California punk bands their original releases have become collectors items. As far as I know no live bootlegs have been released although the band did quite a few gigs. They were around between 1977 and 1979. Kidd Spike also played with The Gears and Johnny Stingray formed KAOS. Ex-members of The Controllers and The Skulls played together in Skull Control between 1991 and 1997. Out of that the Controllers re-united for a few gigs in 1996. Skull Control released a full-length CD - Radio Danger - on Iloki Records in the early '90s. If you like PUNK both in music and attitude you need THE CONTROLLERS in your record collection. I mean it, man, they were a really great band!
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source Johnny Stingray's site (link)
Tuesday, January 13, 2009
Monday, January 12, 2009
Sunday, January 11, 2009
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