Sunday, December 14, 2008
Neon Boys, The / Richard Hell and The Voidoids - That's All I Know (Right Now) 7''
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Neon Boys, The / Richard Hell & The Voidoids - That's All I Know (Right Now) 7''.
Tracklist:
A1 Neon Boys, The - That's All I Know (Right Now)
A2 Neon Boys, The - Love Comes In Spurts
A3 Neon Boys, The - High Heeled Wheels
B1 Richard Hell & The Voidoids - Time
B2 Richard Hell & The Voidoids - Don't Die
Elvis Costello and The Attractions - 1979 - Armed Forces (extra tracks 1993)
Elvis Costello and The Attractions - 1979 - Armed Forces (extra tracks 1993)download
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Tracklist:
1. Accidents Will Happen
2. Senior Service
3. Oliver's Army
4. Big Boys
5. Green Shirt
6. Party Girl
7. Goon Squad
8. Busy Bodies
9. Sunday's Best
10. Moods for Moderns
11. Chemistry Class
12. Two Little Hitlers
13. (What's So Funny 'Bout) Peace, Love and Understanding? - Elvis Costello, Lowe, Nick
14. My Funny Valentine - Elvis Costello, Rodgers, Richard
15. Tiny Steps
16. Clean Money
17. Talking in the Dark
18. Wednesday Week
19. Accidents Will Happen
20. Alison
21. Watching the Detectives
Friday, December 12, 2008
Thursday, December 11, 2008
Wednesday, December 10, 2008
Tuesday, December 9, 2008
Stiphnoyds - 1980 - Afraid of the Russians 7''
Stiphnoyds - 1980 - Afraid of the Russians 7''.
Sometime in 1978, The Stiphnoyds played their first punk shows in Portland. They became members in the newly founded Alternative Arts Association that promoted the dozen or so punk bands and the underground scene. The Earth Tavern, The Long Good-bye Tavern, The Urban Noize Club, Knights Of The Pythian Hall, Portland State's Smith Center Ballroom and others were open for punk gigs--some of the shows were underage. They also played the Maclaren Home For Boys in Salem and The Wow Hall in Eugene. The band opened up for such acts as Black Flag, The Dils, Rank And File, DOA, The Secret V's, The Wipers and many, many others. In 1979, Greg Sage Of The Wipers approached the band offering to help them record and produce a three song seven inch record on his new Trap Label. Out of all The Stiphnoyds repertoire, Sage selected the band's "Afraid Of The Russians" as the title track. The record came out in mid-December 1979 and hit the stores in early 1980. Only 1000 copies were made. The band sold several at gigs and in local stores plus Sage took 100 or so with him to New York City where the record was on the jukebox at St. Marx Bar in Greenwich Village for sometime.
In 2001, the band reunited for a successful Satyricon show in Portland and later that year a very strange gig at the relatively new Meow Meow Club also in Portland. In 2002, a live recording from a Long Goodbye show recorded in the late 70's made it onto Italy's Rave Up records and was released on vinyl. And Greg Sage included The Stiphnoyds in Zeno Records' History Of Portland Punk. The band is currently working on a new release for later in 2004. Afraid of the Russians comped on Killed By Death 5, Mom's A Fake on Killed By Death 8.
In 2001, the band reunited for a successful Satyricon show in Portland and later that year a very strange gig at the relatively new Meow Meow Club also in Portland. In 2002, a live recording from a Long Goodbye show recorded in the late 70's made it onto Italy's Rave Up records and was released on vinyl. And Greg Sage included The Stiphnoyds in Zeno Records' History Of Portland Punk. The band is currently working on a new release for later in 2004. Afraid of the Russians comped on Killed By Death 5, Mom's A Fake on Killed By Death 8.
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source PopSike (link)
Monday, December 8, 2008
Sunday, December 7, 2008
Ex, The - 1991 - 6.1 7''
Ex, The - 1991 - 6.1 7''download
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The Ex is an anarchist band from the Netherlands. They formed in 1979 at the height of the original punk explosion and have released more than twenty full length albums since.
The Ex's music has undergone significant evolution over the years, beginning as a simple lo-fi anarcho-punk band. They debuted with a single titled "Stupid Americans" on the Utregpunx vinyl 7" compilation released by Rock Against records in Rotterdam. The release of their first 7" All Corpses Smell the Same came shortly thereafter in 1980. Through the decades they gradually developed into their current form of highly intricate, experimental punk/post-punk/no wave-inspired work.
Tom Cora performing with The Ex.Breaking from the relatively narrow confines of punk rock, The Ex has incorporated a wide array of influences, often from non-Western and non-rock sources. Some include Hungarian and Turkish folk songs, and more recently music from Ethiopia, Congo and Eritrea (whose independence song is covered by The Ex on Turn). Other examples of branching out stylistically include the improvised double album Instant and a release under the moniker Ex Orkest, a 20 piece big band assembled for performances at Holland Festival.
The band has had successful collaborations with many disparate artists, including UK anarchist band Chumbawamba (sometimes using the name Antidote), the Dog Faced Hermans (one former member of that band, Andy Moor, is currently part of The Ex), and with the late avant-garde cellist Tom Cora in the early 1990s, resulting in the album Scrabbling At the Lock in 1991 and the follow-up And the Weathermen Shrug Their Shoulders in 1993. The album In the Fishtank 5 was made with America's Tortoise, and on In the Fishtank 9, they collaborated with members of Sonic Youth and the Dutch improvisers ICP.
Bass guitar player Luc left the band in 2003, replaced by double bassist Rozemarie. In 2005 Rozemarie left the band. The Ex is the subject of a documentary, Beautiful Frenzy (2004) by Christina Hallström and Mandra U. Wabäck, and the concert film Building a Broken Mousetrap (2006), directed by Jem Cohen.
The Ex's music has undergone significant evolution over the years, beginning as a simple lo-fi anarcho-punk band. They debuted with a single titled "Stupid Americans" on the Utregpunx vinyl 7" compilation released by Rock Against records in Rotterdam. The release of their first 7" All Corpses Smell the Same came shortly thereafter in 1980. Through the decades they gradually developed into their current form of highly intricate, experimental punk/post-punk/no wave-inspired work.
Tom Cora performing with The Ex.Breaking from the relatively narrow confines of punk rock, The Ex has incorporated a wide array of influences, often from non-Western and non-rock sources. Some include Hungarian and Turkish folk songs, and more recently music from Ethiopia, Congo and Eritrea (whose independence song is covered by The Ex on Turn). Other examples of branching out stylistically include the improvised double album Instant and a release under the moniker Ex Orkest, a 20 piece big band assembled for performances at Holland Festival.
The band has had successful collaborations with many disparate artists, including UK anarchist band Chumbawamba (sometimes using the name Antidote), the Dog Faced Hermans (one former member of that band, Andy Moor, is currently part of The Ex), and with the late avant-garde cellist Tom Cora in the early 1990s, resulting in the album Scrabbling At the Lock in 1991 and the follow-up And the Weathermen Shrug Their Shoulders in 1993. The album In the Fishtank 5 was made with America's Tortoise, and on In the Fishtank 9, they collaborated with members of Sonic Youth and the Dutch improvisers ICP.
Bass guitar player Luc left the band in 2003, replaced by double bassist Rozemarie. In 2005 Rozemarie left the band. The Ex is the subject of a documentary, Beautiful Frenzy (2004) by Christina Hallström and Mandra U. Wabäck, and the concert film Building a Broken Mousetrap (2006), directed by Jem Cohen.
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source Wikipedia (link)
Saturday, December 6, 2008
Friday, December 5, 2008
Thursday, December 4, 2008
Wednesday, December 3, 2008
Rebels - 1979 - Misspent Youth
Rebels - 1979 - Misspent Youthdownload
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Please, if you got a decent scan of the cover (and all the art) send it to me...
Tuesday, December 2, 2008
Monday, December 1, 2008
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Mad, The - 1999 - We Love Noize
Mad, The - 1999 - We Love Noize.
Re-release of 1978 album with all additional material available by the band. See what you missed the first time... after you closed your eyes. Includes fold-out colour poster folded as first booklet, folded Japanese calendar card for the year 2000 as inlay, and a black-white 12 page Japanese booklet with a reproduction of the original album sleeve and artwork. This album is dedicated to the memory of Hisashi Ikeda, David Hahn, Johnny 19. Recorded at Song Shop and CBGB's New York.
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source Discogs (link)
Sunday, November 30, 2008
Saturday, November 29, 2008
PVC2 - 1977 - Put You In The Picture 7''
PVC2 - 1977 - Put You In The Picture 7''download
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Only one single Put You In The Picture / Deranged Demented and Free/ Pain (Zoom Records 1977) buts its a cracker and a great picture cover to boot. Featuring Midge Ure, after turning down The Sex Pistols, prior to his transfer to punk supergroup The Rich Kids and en route to the pompous later Ultravox. Both Midge Ure and drummer Kenny Hyslop of PVC2 were in the pop group Slik that had a couple of hits. These dried up then punk came along so ... PVC-2 with Russell Webb - Bass & Billy McIsaac - Keyboards. Rough vocalled punkery slightly tarnished by cheesy synth solo . Another classic for the Edinburgh Zoom label. Later PVC2 bar Midge Ure would become the Zones.
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source punk77.co.uk (link)
and thanks to NDN Records for the cover!
Friday, November 28, 2008
Black Randy and The (Elite) Metrosquad - 1978 - Idi Amin 7''
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Black Randy and The (Elite) Metrosquad - 1978 - Idi Amin 7''.
DB: We're talking about April 1978 at this point, the X single and another Black Randy EP. I have to emphasize that at this point it was basically just us throwing a few thousand dollars away. Maybe at some point somebody thought we had money or backing or something like that, but this was totally garbage. I worked at my little job in aerospace. I think Pat was a design engineer at Hughes Helicopters. Very much the opposite from the lifestyles of most of the people making the music. We would go out night after night and just see what we could put out next because it seemed like we could do no wrong. We had very strong backing of the people at Slash magazine. I did typesetting for them, and they used to run my reviews of other people's things. We got good deals on advertising.
Right about this point I think the Dickies burst upon the scene and were able to throw together a major label contract with A&M. This was the first band from the Masque era that had really gone on. They had done it so quickly, it was like a coup. Suddenly a lot of the groups who were recording for us were sort of looking, I don't want to say askance, but sort of that their involvement with us should have been held off because there could have been some real money involved for them. So from this point on, we were sort of dealing with that kind of mentality. They just had this feeling deep down inside that they were the ones who were going to hit the big time. But, sad to say, it never really happened.
We had an interesting couple of visitations from some English management types that came over about the time that IRS records was getting going. In general it was getting harder and harder to get people who were willing to record for us. In particular, the X thing sort of started to fall apart because they didn't want Pat to do the production on that. It was kind of a resentment because Pat was clearly the guiding hand and clearly knew what to do. I guess you could say that the more talented some of these people were, the stronger their personalities were.
So, at this point it was sort of a downhill ride. Things weren't going as well with our interpersonal relationships with some of the bands. I guess you would have to know some of the personalities involved, particularly Black Randy, to get the full impact of this. Negotiations were between Black Randy, who was just a complete liar. He would go out and completely snow people. He would get away with it because he was very likeable. He was the ultimate con man. He was capable of just completely turning on you from one day to the next. Yet you'd sort of want him around because he was talented in a very weird way. I was, at this point, doing all the dog work. All the physical production. Schlepping up and down the freeway. Randy was lying to people, trying to get them to agree to things, and Pat was doing this really solid production. So it was just a really weird combination of personalities that allowed this, to begin with.
It's interesting to note that in the first week-and-a-half the Frontier reissue (Dangerhouse Volume 1) sold four times as many copies of anything we ever sold individually. Certainly the market was there, we just couldn't get to it. In particular we were dealing with sort of small, schlock distributors like Jem Records, Bomp Records. Of course Jem later went belly up owing everybody thousands and thousands of dollars. Greenworld and a couple of others. We tried to work out deals with people in other countries who'd sell for us. We couldn't afford to fly there ourselves and hustle them all the time. They were just as likely to keep the records and screw you out of the money. It seemed to be business as usual at that time.BMF: Black, green, and orange vinyl issued. The orange vinyl is particularly elusive. Like X's "Adult Books" 45, this EP was test pressed on clear vinyl. The test press labels are numbered out of 13 (of course) and graffiti'd by Black Randy. Three known copies.
Right about this point I think the Dickies burst upon the scene and were able to throw together a major label contract with A&M. This was the first band from the Masque era that had really gone on. They had done it so quickly, it was like a coup. Suddenly a lot of the groups who were recording for us were sort of looking, I don't want to say askance, but sort of that their involvement with us should have been held off because there could have been some real money involved for them. So from this point on, we were sort of dealing with that kind of mentality. They just had this feeling deep down inside that they were the ones who were going to hit the big time. But, sad to say, it never really happened.
We had an interesting couple of visitations from some English management types that came over about the time that IRS records was getting going. In general it was getting harder and harder to get people who were willing to record for us. In particular, the X thing sort of started to fall apart because they didn't want Pat to do the production on that. It was kind of a resentment because Pat was clearly the guiding hand and clearly knew what to do. I guess you could say that the more talented some of these people were, the stronger their personalities were.
So, at this point it was sort of a downhill ride. Things weren't going as well with our interpersonal relationships with some of the bands. I guess you would have to know some of the personalities involved, particularly Black Randy, to get the full impact of this. Negotiations were between Black Randy, who was just a complete liar. He would go out and completely snow people. He would get away with it because he was very likeable. He was the ultimate con man. He was capable of just completely turning on you from one day to the next. Yet you'd sort of want him around because he was talented in a very weird way. I was, at this point, doing all the dog work. All the physical production. Schlepping up and down the freeway. Randy was lying to people, trying to get them to agree to things, and Pat was doing this really solid production. So it was just a really weird combination of personalities that allowed this, to begin with.
It's interesting to note that in the first week-and-a-half the Frontier reissue (Dangerhouse Volume 1) sold four times as many copies of anything we ever sold individually. Certainly the market was there, we just couldn't get to it. In particular we were dealing with sort of small, schlock distributors like Jem Records, Bomp Records. Of course Jem later went belly up owing everybody thousands and thousands of dollars. Greenworld and a couple of others. We tried to work out deals with people in other countries who'd sell for us. We couldn't afford to fly there ourselves and hustle them all the time. They were just as likely to keep the records and screw you out of the money. It seemed to be business as usual at that time.BMF: Black, green, and orange vinyl issued. The orange vinyl is particularly elusive. Like X's "Adult Books" 45, this EP was test pressed on clear vinyl. The test press labels are numbered out of 13 (of course) and graffiti'd by Black Randy. Three known copies.
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source Break My Face (link)
Drug Squad - 1979 - Operation Julie 7''
Drug Squad - 1979 - Operation Julie 7''download
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The band started life in 1975,in Surrey, under, the better name of HOT COFFIN. Geoff 'Girl' Eade being leader singer and Mick Farren figure. Lawrie 'Tex Tucker' Mills, just wanted to play guitar. Drummer was Jerry 'Pretty Boy' Wickings, who was amazing at 16 and from the Keith Moon school. Main songwriter was a guy called Eric Allen (bass). They never played many gigs and Eric left mid 77 to be replaced by Tony Davidson on bass.When punk came along they did not change and saw punks as allies. They were, what later became known as 'proto-punks'. Lots of bands cut their hair to fit in...this lot did not...they never hid their musical roots either. Musically, their influences were Pink Fairies, Mick Farren/Deviants and Motorhead. The band was also very loud and stood their ground and got banned for mis-behaviour at The Red Deer in Croydon & White Lion in Putney. The band played 'Waiting for the Man', in their early days but dropped when all these other bands started playing it!! So they attempted 'City Kids' by the Fairies, but never live.
In late 77 they recorded 3 tracks for a possible single including the first version of 'Switchcleaner'. Backed with 'Left Right & Centre' (a song about the Lewisham NF riot). Tony saw that RAW RECORDS were offering spots on their label which was then quite hip! So they scraped together £218 and met a certain Lee Hazelwood at Pye Studios in Marble Arch...cut an acetate, handed over money and that was the last they heard!! He seemed to have disappeared ...phone calls to Cambridge proved fruitless...the band got pissed off and gave up hope. One thing they discovered it was not thee Lee Hazelwood but a certain Lee Wood.In 1978/9 they recorded the sessions that yielded the eventual single - Operation Julie / Switchcleaner - and the belated cassette album 'Perversion St.' which took it's name from a Deviants epic.
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source punk77.co.uk (link)
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