Saturday, March 14, 2009
Blitzkrieg Bop - 1998 - Top Of The Bops (comp.) (UK)
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Blitzkrieg Bop - 1998 - Top Of The Bops (comp.) (UK)download
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Blitzkrieg Bop were a punk band formed in Teesside, England in February 1977. They were named after a song by Ramones with the same name. They released three singles: 1) Let's Go/Bugger Off/9 Till 5 (Mortonsound - June 1977) 2) Let's Go (re-recorded)/Life Is Just A So-So/Mental Case (Lightning - January 1978) 3) (You're Like A (UFO)/Viva Bobby Joe (Lightning - September 1978) A collection of all these tracks plus other unreleased material was released in 1998 entitled "Top Of The Bops" (Overground) currently out of print.
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source Wikipedia (link)
Thursday, March 12, 2009
Wednesday, March 11, 2009
Squad - 1979 - Millionaire 7'' (UK)
Squad - 1979 - Millionaire 7'' (UK)download
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Coventry band. Classic single Red Alert / £8-A-Week (Squad 1978) . Sing along a punk with great riff and tune and a touch of 'The Kids In America' style crooning ! The b-side was covered by the Last Resort and is set to a sort of Johnny B Goode style toon. Second single Millionaire / BrockHill Boys (1979 Squad) continued this rock'n'roll style punkiness unfortunately. One other excellent track , 'The Flasher', exists by the band on the 'Sent To Coventry' compilation. The band were formed at the end of '77 and originally featured Terry Hall ( ater of The Specials) who is credited on the label of Red Alert. So many line up changes meant 6 months after releasing the two singles none of the original band remained !
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source punk77.co.uk (link)
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Tuesday, March 10, 2009
Monday, March 9, 2009
Sunday, March 8, 2009
Saturday, March 7, 2009
Reactors, The - 1980 - World War Four (US)
Reactors, The - 1980 - World War Four (US)download
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Sorry for the cover, it was the only one that i finded... if you got a better one, please share over here!
Zones - 1978 - Stuck with You 7'' (UK)
Zones - 1978 - Stuck with You 7'' (UK)download
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Zones was a punk and power pop band founded in 1977[1] after the end of PVC2 (formerly the bubbleglam and soft rock band Slik) and the Midge Ure's membership demise. PVC2 was conformed by Ure (future Ultravox frontman) on guitar, Russell Webb on bass, Billy McIsaac on keyboards and Kenny Hyslop on drums. Late 1977, Ure moved to Glen Matlock's The Rich Kids, leaving PVC2 which immediately ended. Then, Webb, Hyslop and McIsaac called Alex Harvey's cousin Willie Gardner for replace Ure on guitar and vocals. The band was called The Zones.
In February 1978, Zones released a 7" single called Stuck With You (which B-Side was a song named "No Angels"). By the year, Zones toured with Magazine. The single was punk/power pop. The song attracted the attention of John Peel, who shortly afterwards recorded sessions with them, and Arista Records, who signed them and released the rest of their discography, beginning with the next single, Sign Of The Times, in 1978.
In 1979, Zones released Under Influence, an album with power pop, reggae and like-post punk songs. But, after a bunch of Peel Sessions [2]that year, the band split up. Gardner moved to Endgames, with Simple Minds' original drummer Brian McGee, McIsaac moved to a piano college in Glasgow, and Webb and Hyslop to The Skids. Webb teamed bands and projects with Skids' singer Richard Jobson (Skids singer) until 1988 and Hyslop, after collaborating with Skids album Joy, moved to Simple Minds (1981-1982) and Set The Tone (1982-1983).
In February 1978, Zones released a 7" single called Stuck With You (which B-Side was a song named "No Angels"). By the year, Zones toured with Magazine. The single was punk/power pop. The song attracted the attention of John Peel, who shortly afterwards recorded sessions with them, and Arista Records, who signed them and released the rest of their discography, beginning with the next single, Sign Of The Times, in 1978.
In 1979, Zones released Under Influence, an album with power pop, reggae and like-post punk songs. But, after a bunch of Peel Sessions [2]that year, the band split up. Gardner moved to Endgames, with Simple Minds' original drummer Brian McGee, McIsaac moved to a piano college in Glasgow, and Webb and Hyslop to The Skids. Webb teamed bands and projects with Skids' singer Richard Jobson (Skids singer) until 1988 and Hyslop, after collaborating with Skids album Joy, moved to Simple Minds (1981-1982) and Set The Tone (1982-1983).
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source Wikipedia (link)
Friday, March 6, 2009
Revolver! - 1979 - Revolver! [LP] [12''] [128k cbr] (IT)
Revolver! - 1979 - Revolver! [LP] [12''] [128k cbr] (IT)download
download@rapidshare (added 31/01/2012)
Thursday, March 5, 2009
Wednesday, March 4, 2009
Cells - 1979 - Uh-Oh 7'' (US)
Cells - 1979 - Uh-Oh 7'' (US)download
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Cells were a Boulder based band featuring John Neulin on guitar/vocals, Andy Heermans on bass, Kelly Clear on drums and Warren Ryder on keyboards. An early version of the band was known as "The Noise". Bass player Heermans first saw The Noise peform at Boulder's Blue Note (on Boulder's new Pearl St. mall) club in '78 and soon joined the band newly renamed Cells.
During the year 1979 the group focused mostly on recording instead of live performance. A new Boulder recording studio called Northstar Studios while still in construction allowed Cells to come in during non construction hours and lay down several tracks, including two songs that would become the band's debut 45 "Uh-Oh" and "Terminal Thighs". On 'Thighs" Clears' brother Jay Clear played lead guitar. This red vinyl 45 has proven to be one of the most collectable and popular records from the Colorado late 70's new wave era.
Their debut single was released in the summer of '79 and quickly got a great review in London's Meloday Maker. The band began to peform a few shows in Boulder including a June 1979 date at the Blue Note with The Corvairs. By September of that year both bands, like so many other Colorado bands of that era, had left Colorado permanently in search of a larger audience and steady work.
In the fall of '79 Cells moved to the east coast, staying in Boston for 3 weeks before settling into a loft on Canal St. in New York City found by Neulin's girlfriend. At this time keyboardist Ryder left the band and returned to Colorado. Cells became a three piece band. The group then began peforming regularly in New York at venues such as Hurrah's, Max's Kansas City, and CBGBs. in 1981 a follow up single was released again on Rude Records.
After a 1982 tour of New England internal tensions along with Neulin's growing drug dependency forced Cells to pack it in. Andy Heermans' today is a recording engineer and producer and performs in FUN. Jon Neulin passed away in the early nineties in Seattle from a drug overdose. Drummer Kelly Clear left music and now works in the Film industry as a Gaffer(Chief Lighting Technician). He currently (6/01) is working on the new Steven Speiberg film" Minority Report" and has also done the lighting on over 50 Music Videos, Britney Spears, Cheryl Crow, Dido,Wheatus, The Cult, and many more .
During the year 1979 the group focused mostly on recording instead of live performance. A new Boulder recording studio called Northstar Studios while still in construction allowed Cells to come in during non construction hours and lay down several tracks, including two songs that would become the band's debut 45 "Uh-Oh" and "Terminal Thighs". On 'Thighs" Clears' brother Jay Clear played lead guitar. This red vinyl 45 has proven to be one of the most collectable and popular records from the Colorado late 70's new wave era.
Their debut single was released in the summer of '79 and quickly got a great review in London's Meloday Maker. The band began to peform a few shows in Boulder including a June 1979 date at the Blue Note with The Corvairs. By September of that year both bands, like so many other Colorado bands of that era, had left Colorado permanently in search of a larger audience and steady work.
In the fall of '79 Cells moved to the east coast, staying in Boston for 3 weeks before settling into a loft on Canal St. in New York City found by Neulin's girlfriend. At this time keyboardist Ryder left the band and returned to Colorado. Cells became a three piece band. The group then began peforming regularly in New York at venues such as Hurrah's, Max's Kansas City, and CBGBs. in 1981 a follow up single was released again on Rude Records.
After a 1982 tour of New England internal tensions along with Neulin's growing drug dependency forced Cells to pack it in. Andy Heermans' today is a recording engineer and producer and performs in FUN. Jon Neulin passed away in the early nineties in Seattle from a drug overdose. Drummer Kelly Clear left music and now works in the Film industry as a Gaffer(Chief Lighting Technician). He currently (6/01) is working on the new Steven Speiberg film" Minority Report" and has also done the lighting on over 50 Music Videos, Britney Spears, Cheryl Crow, Dido,Wheatus, The Cult, and many more .
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source Colorado New Wave (link)
Filth - 1978 - Don't Hide Your Hate 7'' (NL)
Filth - 1978 - Don't Hide Your Hate 7'' (NL)download
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The Filth were part of the first punk wave that hit Holland as did bands such as Ivy Green, Panic, Tits, Inside Nipples and the Flying Spiders
Skids - 1981 - Joy (UK)
Skids - 1981 - Joy (UK)download pt. 1
download pt. 2
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Joy is the final album by the Scottish band The Skids. It was the fourth studio record and their first after the departure of signature guitarist Stuart Adamson, who then founded Big Country. As such, it represented a change of direction from rock to folk music, amplifying the traditional Scottish element already hinted at in previous releases.
The band line-up featured Richard Jobson and Russell Webb, with J. J. Johnson (drums / percussion), Paul Wishart (saxophone / flute / keyboards / percussion / vocals) & a collection of musical friends. They all went to Britannia Row Studios in London for rehearsals and song development. Sessions in July 1981 led to the release of the first single from the upcoming album.
The single "Fields" (Virgin VS-401) was released in August 1981, with Kenny Hyslop on drums. The song also featured Billy MacKenzie (vocals), and Alan Rankine (guitar), who were the core members of the band The Associates. Guesting, early in her career, was Virginia Astley (flute). The strummed guitar and marching band elements (bagpipe emulation, percussion) signalled a change in direction, though the rabble-rousing melody and football pitch vocal delivery were standard Skids fare.
Sessions continued through September 1981 and produced a second single, the harmonically rich Iona (named for the Scottish island). It was the only song on the album to be recorded at Highland Studios in Inverness, Scotland. Released in October 1981 (as Virgin VS-449) this was the last Skids track to feature Adamson, alongside Mike Oldfield. At 3:24 the single edit is significantly shorter than the epic to be found on the album.
The eleven track Joy was issued November 1981 (as Virgin V-2217). It marks a concerted effort to update traditional Scottish music into the age of modern rock recordings. The sound is fundamentally more pastoral than previous Skids efforts. Gone are the layers of harmonically treated electric guitar. However, elements of this style were hinted at previously, particularly on the "Strength Through Joy" mini-album. The lyrical concerns of strife, war and brotherhood are Jobson staples.
With Paul Wishart on saxophone, "And the Band Played Waltzing Matilda" is a cover of the song by Eric Bogle.
Though the band recorded a BBC Radio 1 session and shot a music video for "Iona", promotion problems at Virgin forestalled a tour. With patchy coverage, no live support and a difficult change in musical direction, the record sank without a trace. Critical reception was mixed at best. For example Trouser Press wrote "To call it bad is curt but realistic." However The Guardian greeted it happily.
The album bore fruit in several working relationships. For example, Virginia Astley was to record her debut solo releases with Russell Webb and also guests on Jobson's poetry album "The Ballad Of Etiquette".
Later, The Skids split up and the remaining members Richard Jobson and Russell Webb formed The Armoury Show, with Magazine's John McGeoch and John Doyle shortly afterwards.
This album is unreleased on CD.
The band line-up featured Richard Jobson and Russell Webb, with J. J. Johnson (drums / percussion), Paul Wishart (saxophone / flute / keyboards / percussion / vocals) & a collection of musical friends. They all went to Britannia Row Studios in London for rehearsals and song development. Sessions in July 1981 led to the release of the first single from the upcoming album.
The single "Fields" (Virgin VS-401) was released in August 1981, with Kenny Hyslop on drums. The song also featured Billy MacKenzie (vocals), and Alan Rankine (guitar), who were the core members of the band The Associates. Guesting, early in her career, was Virginia Astley (flute). The strummed guitar and marching band elements (bagpipe emulation, percussion) signalled a change in direction, though the rabble-rousing melody and football pitch vocal delivery were standard Skids fare.
Sessions continued through September 1981 and produced a second single, the harmonically rich Iona (named for the Scottish island). It was the only song on the album to be recorded at Highland Studios in Inverness, Scotland. Released in October 1981 (as Virgin VS-449) this was the last Skids track to feature Adamson, alongside Mike Oldfield. At 3:24 the single edit is significantly shorter than the epic to be found on the album.
The eleven track Joy was issued November 1981 (as Virgin V-2217). It marks a concerted effort to update traditional Scottish music into the age of modern rock recordings. The sound is fundamentally more pastoral than previous Skids efforts. Gone are the layers of harmonically treated electric guitar. However, elements of this style were hinted at previously, particularly on the "Strength Through Joy" mini-album. The lyrical concerns of strife, war and brotherhood are Jobson staples.
With Paul Wishart on saxophone, "And the Band Played Waltzing Matilda" is a cover of the song by Eric Bogle.
Though the band recorded a BBC Radio 1 session and shot a music video for "Iona", promotion problems at Virgin forestalled a tour. With patchy coverage, no live support and a difficult change in musical direction, the record sank without a trace. Critical reception was mixed at best. For example Trouser Press wrote "To call it bad is curt but realistic." However The Guardian greeted it happily.
The album bore fruit in several working relationships. For example, Virginia Astley was to record her debut solo releases with Russell Webb and also guests on Jobson's poetry album "The Ballad Of Etiquette".
Later, The Skids split up and the remaining members Richard Jobson and Russell Webb formed The Armoury Show, with Magazine's John McGeoch and John Doyle shortly afterwards.
This album is unreleased on CD.
Tuesday, March 3, 2009
Fresh Color - 1978 - The Source 7'' (CH)
Fresh Color - 1978 - The Source 7'' (CH).
Classic band who did this great 45 and a very rare 12` called "Dance Around" in 1979. After this the band did one other 45 i know of called "Fresh Tscha Tscha / Fingertips" which i havent heard but am told its shit. I think they were trying to get into the German New Wave scene. Eventually they changed there name to 'FRISCHE FARBE' and had no success at all.
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source Punk Rock Picture Sleeves (link)
Monday, March 2, 2009
Sunday, March 1, 2009
Saturday, February 28, 2009
Sweeney Todd - 1977 - If Wishes Were Horses (CAD)
Sweeney Todd - 1977 - If Wishes Were Horses (CAD)download
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If Wishes Were Horses is the second album of the Canadian glam rock band Sweeney Todd. Released in 1977, it is the only Sweeney Todd album on which Bryan Adams appears as lead singer. Shortly after this album, Bryan Adams went on to his solo career, which continues to this day.
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source Wikipedia (link)
Friday, February 27, 2009
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Thursday, February 26, 2009
V.A. - 1979 - Tokyo Rockers [LP] (JP)
V.A. - 1979 - Tokyo Rockers [LP] (JP)
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Tracklist:
01. Friction - Senaka No Code
02. Frictoin - Cool Fool
03. Mr. Kite - Exit B9
04. Lizard - Robot Love
05. Lizard - Requiem
06. Mirrors - Situation
07. Mirrors - Tokyo Network
08. Mr. Kite - Innocent
09. S-Ken - Black Machine
10. S-Ken - Ah-A Koibito & Oh Yure! Tokyo
Wednesday, February 25, 2009
Fingers, The - 1978 - Isolation 7'' (US)
The Fingers started out as a five-piece band (thus, the name) in Pittsburgh, Pennsylvania in early 1977. Packing up their instruments and professional aspirations and leaving two Fingers behind, three members (two of them brothers) headed to New York City in September of that year hoping for some Ramones-type fame. As part of a press kit, their manager thought an actual record, instead of the standard cassette tape, might be more of an attention-getter. In December 1977, the Fingers recorded and soon released a three-song EP which was mostly sent to record company execs in the hopes of securing a contract. No deals were inked, but the "Isolation" EP purportedly caught the ear of Sire mogul Seymour Stein who dug but declined. Stein apparently deemed the Fingers style too similar to the Ramones — never a bad thing! The remainder of the "Isolation" EPs seem to have been swallowed up into the void. Until 1998, the record was completely unknown having never surfaced in a store or collection. Some collectors even had their doubts the record existed until a band member sent out a tape where, sure enough, you could hear the needle dropping down and some great punk rock begin. Between the manager and roadies and ex-girlfriends, around ten copies in varying condition made their way into collector hands. The A-side track "Isolation" is the hands-down winner while the two B-side cuts are less impressive but still good.
Of further interest to punk rock fans is the fact that the Fingers comprised the core of what would soon be The Features. Take three Fingers, add the manager, and a wardrobe change and you have the Features whose "Floozie of the Neighborhood" 45 is a pop-punk classic (a very, very rare classification 'round here). Modern day punk throwbacks, the Stitches, cover "Floozie" in fine fashion. Considering the chances of finding the original are slim-to-none, vinyl hounds should seek out the No One Left To Blame compilation LP which includes "Isolation" or — for the less discerning and more desperate — the Features LP released on Italy's Rave-Up label a few years back. (Ryan Richardson)
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source Break my Face (link)
Defnics - 2001 - Look At Me Mom I'm Not Dead EP (US)
Defnics - 2001 - Look At Me Mom I'm Not Dead EP (US)download
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Of all the legendary Cleveland bands, the most intriguing for collectors and punk afficionados may be the Defnics. The Defnics only cut one EP for Mike Hudson's Terminal Records, '51%' b/w 'Hello from Berlin', and if you want a copy you'll pay dearly. They also had a cut on Mike Hudson's Cleveland Confidential comp. They played out as the Defnics for almost two years and broke up in the summer of 1982. Bill (a.k.a. Robert Conn) went on to join the second formation of the Pagans, the Pink Pagans as they were later referred to because of the pink LP covers. Brandon joined Red October with Chris Andrews. Bob started the Plague with Duke Snyder and Johnny. Recently reformed, this EP features 1 new song written by Robert Conn along with a screaming live version of '51%', recorded at the band's reunion show. Limited to 500 copies on green wax. Viva la DEFNICS!
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source Smog Veil Records (link)
Tuesday, February 24, 2009
Avant Gardener - 1977 - Gotta Turn Back EP (UK)
Avant Gardener - 1977 - Gotta Turn Back EP (UK)download
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From the Dartmoor town of Okehampton near Exeter, Avant Gardener were one of the many oddities thrown up by punk. Ultra primitive Beefheart influenced noise meets the Velvets. The band apparently won a Virgin Records sponsored talent contest, which resulted in this EP featuring Gotta turn back/Strange gurl in clothes/Back door/ Bloodclad Boogie for the label in 1977 (the earlier ultra raw demos for which make the finished release sound polished by comparison!). After this the band released numerous singles and albums before splitting in the eighties.
"The singer Russell smelt so much, he was really revolting! He used to turn up and he hadn't shaved and he looked like he had slept in his clothes, he always smelt. Ever such a nice bloke but I used to be glad when he left the studio. One session, they bought a steel guitar player who really couldn't play and I said to Russell " I don't want to shatter your illusions or anything but this guy hasn't a clue what he's doing" He was so bad that I had to kick him out the studio in the end; physically drag him out by the scruff of his neck to get rid of him! They had come in to record two songs and they phoned me back later to say that Virgin Records had given them an advance to do their own thing and develop their sound, so they came back and recorded some more. Sometimes I'd be in the studio with them until three o'clock in the morning trying out ideas until we ended up with what they wanted. They weren't any better musically than any other band I worked with except because of their appearance and the fact they could just about play their instruments, I could see that they would make an r'n'b band like The Rolling Stones. I was doing my best to get them to change the rhythm of a song very slightly to put an r'n'b roll into it and I showed the guitar player how to play some r'n'b but he couldn't play it so it didn't turn out that way. I showed him a riff based on the chords he was playing but he couldn't move off the one chord. His little hands just couldn't do it. The bass player couldn't play either. He could only do down strokes and I was trying to show him how to do up and down strokes to get a crisper sound but he couldn't do it; he kept missing the strings! The thing that struck me was the rawness of the band in every sense of the word. Listening back to The Avant Gardener session now, it still sounds terrible to me. The band had reached a certain stage and they were just playing to the little musical ability they had. The whole band was a complete mess. They were always late and scruffy and just too bloody idle to do anything. Russell couldn't sing to save his life but Virgin obviously saw something in them. Apparently, Virgin held auditions in some sort of mobile studio that was travelling through the country for about three hundred bands and Avant Gardener was one of those bands. All I can say is that most of those three hundred must have been absolute crap! Avant Gardener got an advance from that. If you were in a band back then and knew two and half chords and went up on stage shouting at everyone then you had a good chance of getting signed."
John Greenslade, producer of the bands pre Virgin demos, quoted in the sleeve notes to Hometown Atrocities Records Year Zero compilation CD.
"The singer Russell smelt so much, he was really revolting! He used to turn up and he hadn't shaved and he looked like he had slept in his clothes, he always smelt. Ever such a nice bloke but I used to be glad when he left the studio. One session, they bought a steel guitar player who really couldn't play and I said to Russell " I don't want to shatter your illusions or anything but this guy hasn't a clue what he's doing" He was so bad that I had to kick him out the studio in the end; physically drag him out by the scruff of his neck to get rid of him! They had come in to record two songs and they phoned me back later to say that Virgin Records had given them an advance to do their own thing and develop their sound, so they came back and recorded some more. Sometimes I'd be in the studio with them until three o'clock in the morning trying out ideas until we ended up with what they wanted. They weren't any better musically than any other band I worked with except because of their appearance and the fact they could just about play their instruments, I could see that they would make an r'n'b band like The Rolling Stones. I was doing my best to get them to change the rhythm of a song very slightly to put an r'n'b roll into it and I showed the guitar player how to play some r'n'b but he couldn't play it so it didn't turn out that way. I showed him a riff based on the chords he was playing but he couldn't move off the one chord. His little hands just couldn't do it. The bass player couldn't play either. He could only do down strokes and I was trying to show him how to do up and down strokes to get a crisper sound but he couldn't do it; he kept missing the strings! The thing that struck me was the rawness of the band in every sense of the word. Listening back to The Avant Gardener session now, it still sounds terrible to me. The band had reached a certain stage and they were just playing to the little musical ability they had. The whole band was a complete mess. They were always late and scruffy and just too bloody idle to do anything. Russell couldn't sing to save his life but Virgin obviously saw something in them. Apparently, Virgin held auditions in some sort of mobile studio that was travelling through the country for about three hundred bands and Avant Gardener was one of those bands. All I can say is that most of those three hundred must have been absolute crap! Avant Gardener got an advance from that. If you were in a band back then and knew two and half chords and went up on stage shouting at everyone then you had a good chance of getting signed."
John Greenslade, producer of the bands pre Virgin demos, quoted in the sleeve notes to Hometown Atrocities Records Year Zero compilation CD.
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source punk77.co.uk (link)
Bang Gang - 1983 - She Ran ... But We Ran Faster 7'' (US)
Bang Gang - 1983 - She Ran ... But We Ran Faster 7'' (US).
BANG GANG "She Ran but We Ran Faster" Three quarters of every show consisted of requests for beer and decisionsabout potential songs, as the singer got increasingly drunk. Somehow he always seemed to end up at the bottom of a dogpile or in a stupor with his head inside the bass drum. Being politically incorrect when politically incorrect wasn't cool, theyhad trouble with distribution of their 7" EP from editors who thought they meant it. 1983
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source Taco City Rockers (link)
Monday, February 23, 2009
Sunday, February 22, 2009
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