Kim Fowley official site, HERE.jpg)
Jonathan Richman,born in 1953, was infatuated with The Velvets, from the first moment he heard them on the radio in 1967. He met the band many times in his native Boston, opened for them in Springfield, and in 1969 even moved to New York, sleeping on their manager's sofa. Roadrunner owes its existence to the Velvet Underground's Sister Ray, though the three-chord riff has been pared back to two, just D and A.Richman apparently wrote the song in around 1970.
There are plenty of versions of Roadrunner.
The Unofficial Jonathan Richman Chords website lists 10 discernibly different versions: seven given an official release and three bootlegs. The 1972 John Cale version was a demo for Warner Brothers, and only saw the light when the Beserkley label in California collected the Modern Lovers' demos and put them out as the Modern Lovers album in 1976. Two more 1972 demo versions, produced by the notorious LA music svengali Kim Fowley, would be released in 1981 on a patchy album called The Original Modern Lovers, and a live version from 1973 would appear a quarter of a century later on the live record Precise Modern Lovers Order. In late 1974, Richman recorded a stripped-down version of the song for the Beserkley, which apparently took a little over two hours. This would be the Roadrunner (Twice), the most successful version. A further take, extended beyond eight minutes, and recorded live, was titled Roadrunner (Thrice) and released as a single B-side in 1977.
While every version of Roadrunner begins with the bawl of "One-two-three-four-five-six" and ends with the cry of "Bye bye!", each contains lyrical variations and deviations in the car journey Richman undertakes during the song's narrative, though it always begins on Route 128, the Boston ringroad that Richman uses to embody the wonders of existence. In one, he's heading out to western Massachusetts, and in another he's cruising around "where White City used to be" and to Grafton Street, to check out an old sporting store, observing: "Well they made many renovations in that part of town/ My grandpa used to be a dentist there." Over the course of the various recordings he refers to the Turnpike, the Industrial Park, the Howard Johnson, the North Shore, the South Shore, the Mass Pike, Interstate 90, Route 3, the Prudential Tower, Quincy, Deer Island, Boston harbour, Amherst, South Greenfield, the "college out there that rises up outta nuthin", Needham, Ashland, Palmerston, Lake Champlain, Route 495, the Sheraton Tower, Route 9, and the Stop & Shop.
Here's Roadrunner Once ripped for you from glorious 7" at 320 kbps
THE COMPANYTracklist
Early Mink DeVille sideman Fast Floyd (vocals/guitar) fronts this red-hot San Francisco R&B quintet, breathlessly belting out sizzling numbers (most of them covers) like "You Talk Too Much," "Wish You Would" and "Got the Water Boiling." Floyd's punkabilly whoop — like Tav Falco on steroids or Lux Interior minus the punk kitsch — adds gusto to the frenzied atmosphere; Franco St. Andrew blows a horny enough tenor sax to steam up some windows of his own. Capping off this dynamite blast of retro-styled party rock, the nudie cover shot of '50s sex queen Candy Barr nuzzling up to a phonograph perfectly captures the album's goodnatured sleaze.
Four songs from the poor men's Blondie (that' how they were pictured).Ripped from 7" ep at 320 kbps
Let's begin December with the right attitude.
fisso composto da Roberto (voce) e Francesco (chitarra). Persi per strada gli elementi di contorno ai due si uniscono Alberto (batteria) e Rubé (basso), con i quali il gruppo mette in piedi i primi veri pezzi ed affronta i primi gigs seri. Nell'84 Alberto lascia la formazione e viene sostituito da Concobeach. Con questa line-up gli Atrox registrano artigianalmente nell'85 un primo nastro, "Senza Tregua" , auto prodotto e distribuito dalla Pacifist Words Attack di Ferrara. All'inizio dell'86 Rubé abbandona il gruppo e i tre superstiti, col passaggio di Roberto al basso, registrano sul finire dello stesso anno, un secondo nastro, "Orme Perdute", auto 
prodotto e auto distribuito un po' ovunque grazie soprattutto alle ottime recensioni ottenute. Ultimo entrato, verso la metà dell'87, Paolo Shock, voce, la cui presenza apporta tra l'altro un notevole miglioramento dei live acts, cosicché la band intensifica l'attività concertistica. Nell'88 la necessità di avere nuovo materiale inciso e la mancanza di fondi per farlo, porta alla decisione di far uscire un nastro dal vivo, "Aldo Moro Lived Hard core". L'89 è l'anno che vede gli Atrox impegnati nella registrazione del primo lavoro su vinile. "Fiori Neri", L.P. contenente 25 pezzi, costituisce un po' il riepilogo dell'intera attività svolta fino ad allora. Nel dicembre del '92 l'EP 7" Sporco Natale, fresco di stampa, diventa l'hit delle vacanze invernali in tutto il network di 
Radio Popolare. La gestazione di "Domani Rosso Sangue" occupa l'intero 1993; il lavoro vede alfine la luce del laser (in quanto stampato su CD) nel settembre del '94. "Ventitré gustosi pezzettoni di conciso, efficace, fragoroso hard core italiano", come lo definisce Linus di novembre dello stesso anno, dove gli Atrox raccontano a modo loro gli stravolgimenti del mondo negli ultimi anni.
The debut with the new rhythm section. A video was shot for the single featuring a lame can can by Sun page 3 girls behind the band. It was not used. Neither was the top Of The Pops recording where fans jumped the stage at the BBC.
This single was released while the band were on tour with unauthorized artwork. It did chart, but more popular were the two unreleased tracks on the B side.
This was the 4th top 30 single for the Subs. The front cover was developed from a drawing by Nicky Garratt.
Remix version from "Another Kind Of Blues" backed with two songs left off the album. Charted in the top 30 of the UK National charts. The model on the front is Joanne Slack, Steve & Paul's younger sister who later ran the fan club.
1) Tomorrows Girls (Harper)
Taking their own quirk of experimental, indie noise, San Francisco's Porch advantage their background angst of growing up while being taunted by the neighborhood bullies and took it out on their instruments. With each member being an alumni of other underground heroes (guitarist/ vocalist Todd Hutch was part of the original Primus, drummer David Ayer beat it for Samiam while bassist Chris Frey moved from Today Is The Day and his Mid-West contacts), Porch's impressive background lead them to some local press and a deal with Jello Biafra's label Alternative Tentacles Records. With a self-titled EP in 1993, Mammoth Records came through and put out their full-length the following year, appropriately titled "Porch." (Allmusic.com)
One of Jonathan Richman's better '80s efforts, and certainly one of the most basic, performed in an acoustic trio format. It's nonetheless quite rocking, with heavy debts to doo wop and Bo Diddley rhythms, and a jolly (though not sappy) summertime campfire feel. Some of his best uptempo tunes are here, including "I Love Hot Nights," "California Desert Party," and "Gail Loves Me." (Allmusic.com)
Of the many Pacific Northwest bands signed to Sub Pop following the great grunge gold rush of '91, Pond never earned the critical hosannas and commercial rewards heaped on many of their contemporaries, but their records have withstood the test of time surprisingly well thanks to a knack for smart pop hooks that perfectly complemented their post-punk angularity, and effectively anticipated the emergence of emo years ahead of the fact. Pond's Jon Auer-produced Sub Pop debut single immediately proclaims the group's strengths -- both "Wheel" and "Cinders" boast driving, taut melodies, surprising structural intricacies, and the spirited vocals of Charlie Campbell. And what no doubt seemed out of step with the prevailing musical tastes of 1992 now sounds positively 
timeless as the years continue zipping past. ~ Jason Ankeny, All Music Guide
THE HOLY ROLLERS are a three-piece from Washington D.C. They formed in 1988, with the line-up of Marc Lambiotte on guitar and vocals, Joe Aronstamn on bass and vocals (both Marc and Joe used to be in Grand Mal and Law of Fives), and Maria Jones on drums and vocals. In 1990, they released an album, "As Is" on DISCHORD RECORDS. "Fabuley" (a made-up word expressing extreme joy) followed that album.
Holy Rollers.
Bivouac first came into existence in the early '90s in West Yorkshire, Britain. The band was made up of singer/guitarist Paul Yeadon, bassist Granville Marsden, and drummer Keith York. Their earlier efforts sounded a bit like Teenage Fanclub or Superchunk with their strong melodies and loud guitars; in fact, they had such a solid sound to begin with that they ended up signing with Elemental Records almost immediately after playing only a few shows and recording one demo. The band released two albums through the label, 1993's Derby & Joan and 1994's Tuber. The albums were big indie successes, big enough to where Elemental owner Nick Evans personally asked the group to move on to bigger pastures. Upon becoming free agents they were picked up by DGC, who released Full Size Boy to little reaction despite the good reviews it garnered. The band eventually disbanded quietly after their lack of success, with Yeadon going on to do work with Pitchshifter. (allmusic.com)
What at the time must have seemed like a cockeyed gob back at the '80s American indie crowd's favorite whipping boys -- aka anyone from England who used makeup and synths -- now reads much more like an amusing, entertaining salute from one band to another. "Just Like Heaven" itself is the legendary Cure hit that fully broke them in America; in Dinosaur Jr.'s hands, the synth line is replaced by a J Mascis overdub and the chorus gets gang-shout vocals and death metal riffs, but the song itself survives the transplant perfectly. Mascis' usual vocal style is as idiosyncratic and appropriate as Robert Smith's, and the wistful, nutty vibe of the piece gets even more so at the full band's hands, right down to the sudden, cut-off ending. The other tracks, the brief acoustic/electric zone stomp of "Throw Down" and the surf thrash scream of "Chunks," are fine enough, but it's the lead track that has remained deservedly famous. Smith himself obviously loved it -- he got the band to open a Cure show in Los Angeles in 1992, where they played said cover to a somewhat bemused audience.
John Peel's annual rundown of listeners' fifty favourite tracks of the year, 'The John Peel Festive 50' became a Christmas institution more loved than fairy lights and Christmas crackers.
16 tracks of rare demo versions and outakes
Compilation of tracks of various bands (including the Damned as ‘School Bullies’) recorded live at the Moonlight Club, West Hampstead in 1979.
Playing her way from the subways and streets of London and Boston, guitarist/vocalist/songwriter Mary Lou Lord broke into the indie-rock scene in 1994 on the Kill Rock Stars label. After appearing on a KRS compilation, Lord released a self-titled EP in 1995 and a second EP, Martian Saints, in early 1997. Got No Shadow, her major-label debut with Sony Music's WORK Group, was released in 1998.
She moved back to Boston and continued to play mostly acoustic covers on city sidewalks and in subways. In eight years of busking, she refined her talent and determined what music she liked to play. A KRS executive heard her play and eventually signed her to the label.
Pretty rare 7" from one of the best bands from Australia
Profoundly superficial and lovin' every minute of it, with an overly keen sardonic embrace of 70s kitsch and 50s retro. Silver Chapter took their love of Kiss and Gene Vincent right to the tips of their flat-tops and back again. Appreciated by the Spacemen 3 and the Pixies alike, they were a welcome release from the uptight shoe-gazers of the early nineties. Short, sweet, neat and slapping your face like an old-fashioned washboard. (from firerecords.com)
Richman emerges as an incurable romantic on Jonathan Sings!, an infectiously sunny effort which stands among his finest LPs. Recorded after a long layoff with a new Modern Lovers lineup, Richman sounds thoroughly recharged, even extolling the simple virtues of "This Kind of Music"; among his other enthusiasms are kids ("Not Yet Three") and travel ("Give Paris One More Chance"), but his primary focus here is romance -- "You're the One for Me," "That Summer Feeling" and "Someone to Hold Me" are positively joyous in their lovestruck outlook.
12 years after their last LP together as T.S.O.L., the immortal Beneath the Shadows, here is singer Jack Grisham and incredible guitarist Ron Emory teaming up again and going back to where they left off. Out of sight! Actually, Emory was only sitting in on these sessions and isn't really a member of Grisham's post Tender Fury band, but his guitar is unmistakable, and The Joykiller profits from it, easily the finest release by either talent -- the T.S.O.L. reunion Live '91 LP as Grisham, Roche Emory, & Barnes aside -- since 1983. Only a few tracks reprise Beneath the Shadows' sober, mature, anguished post-punk -- "I Wanna Drink Over You" brings it all back, yes! -- and the rest takes in the more intense, breakneck days of their first self-titled EP back in '81, and to a lesser extent the gothic-punk LP released in between, Dance With Me. Don't miss the frantic slices of classic So-Cal punk "The Other," and "Monday." Grisham sounds as cool at the mic as ever, spitting out his howling, thick notes rapid-fire and on-key -- and we're certain he remains the most captivating front man in all L.A. -- and finally has some music of real edge and import to sing over, and this thing cooks from start to finish. Joykiller make the half-decent Green Day and Offspring sound like Tiny Tim and Herman's Hermits. (Jack Rabid, The Big Takeover)
67 was a London based band formed by long-term friends, Toby Burton, Michael Wilson and Gavin Richards, whose musical roots extend as far back as their salad days, when they played together in a school band that's unique characteristics were it's cardboard guitars and acappella renditions of obscure punk songs! The limitations of this medium, however, soon inspired them to turn 'electric' and in 1992 they 'came of age' with the recording of their highly acclaimed demo featuring an early version of 'Gadget;, the song which would become their second single for Southern Records. the first, 'Bright Black' was released in June 1993 and described by it's author as 'the wardrobe anxiety song' it was a stasted of the quirky punk-pop that was to follow and earned them their first live session on Radion One.
'Gadget' was released at the end of 1993 and took the band out of the capital to demonstrate the dynamics of their live show, taking in supports to american groups, Girls Against Boys, the Jesus Lizard and Shellac, along the way.
67's third single, due for release was a double A-side affair featuring two new tunes, 'Better and Worse' and 'The Jeep with a Beat', culled from their studio session with Harvey Birrell. In support of this the band played nationwide.
The band have since split up, some of the founder members having moved on to form Tea.(from http://www.southern.net)
Tracklist
a1 Bright black
b1 Iron
Ripped at 320 kbps from 7"
"Mongoloid" is the first single released by Devo in 1977, on the "Booji Boy" label. It was backed with the song Jocko Homo. Mongoloid also had one of the first music videos made using collage. Mongoloid would later be re-recorded by Devo, and appear on the album Q: Are We Not Men? A: We Are Devo! in 1978. It is also a staple of Devo's live shows.
This was the first Swell Maps' Peel Session on the 16th october 1978
BIG BLACK were born in 1982, instigated by Steve Albini, then a Sophomore at Northwestern University, a fanzine writer and a loudmouth. A six-song EP, LUNGS, was recorded on a borrowed 4-track for the price of one case of beer. Five years later, at the peak of their popularity, Big Black split. They never had a manager, a booking agent, a lawyer, or took an advance from their record company. They left a musical legacy dripping with power, cynicism and a sense of humour that was blacker than black. In Seattle, at their final gig, they smashed up all their stuff. In 1992 Touch and Go Records, through Southern Studios re-released the entire Big Black catalog.
Listeners of John's Radio 1 show picked the chart by voting for their three favourite tracks of the year before the end of November. The Festive 50 were then played on air.
This is split in 2 rar files.
Tracklist
3*1. Sex Pistols - Anarchy in the UK
3*2. Joy Division - Atmosphere
3*3. Joy Division - Love Will Tear Us Apart
3*4. Jam - Down in the Tube Station at Midnight
3*5. Clash - White Man in Hammersmith Palais
3*6. Dead Kennedys - Holiday in Cambodia
3*7. Undertones - Teenage Kicks
3*8. Damned - New Rose
3*9. Stiff Little Fingers - Alternative Ulster
3*10. Joy Division - Transmission
3*11. Public Image Ltd. - Public Image
3*12. Sex Pistols - Holidays in the Sun
3*13. Jam - Going Underground
3*14. Joy Division - Decades
3*15. Clash - Complete Control
3*16. Stiff Little Fingers - Johnny Was
3*17. Undertones - Get Over You
3*18. Cure - A Forest
3*19. Ruts - In a Rut
2*20. Joy Division - New Dawn Fades
2*21. The Fall - Totally Wired
2*22. Joy Division - She's Lost Control
2*23. Sex Pistols - Pretty Vacant
2*24. Stiff Little Fingers - Suspect Device
2*25. Sex Pistols - God Save the Queen
2*26. The Fall - How I Wrote `Elastic Man'
2*27. Stiff Little Fingers - Wasted life
2*28. Only Ones - Another Girl, Another Planet
2*29. Damned - Love song
2*30. Adam and the Ants - Kings of the wild frontier
2*31. Dead Kennedys - California Uber Alles
2*32. Specials - Gangsters
2*33. Public Image Ltd. - Poptones
2*34. Public Image Ltd. - Careering
2*35. Killing Joke - Requiem
1*36. Killing Joke - Psyche
1*37. Siouxsie & the Banshees - Jigsaw Feeling
1*38. The Fall - Fiery Jack
1*39. Clash - Armagideon Time
1*40. Spizz Energi - Where's Captain Kirk
1*41. Joy Division - Twenty-Four Hours
1*42. Damned - Smash it up
1*43. Teardrop Explodes - Treason
1*44. Siouxsie & the Banshees - Switch
1*45. Siouxsie & the Banshees - Icon
1*46. Clash - Bankrobber
1*47. Siouxsie & the Banshees - Hong Kong Garden
1*48. Clash - White Riot
1*49. The Fall - Rowche Rumble
1*50. Gang of Four - Damaged Goods
Thanks to original torrent uploader
Tape ripped at 128 kbps
Enjoy first
OK Now...
Gorman, a reformed Bow Wow Wow resurfaced in 1998 with Wild in the U.S.A., which featured both remixes and concert performances from the reunion tour; guitarist Dave Calhoun and drummer Eshan Khadaroo filled the other slots.
When post-punk agitators the Pop Group disbanded in 1980, Mark Stewart briefly collaborated with the New Age Steppers and, the following year, embarked on his first solo project with producer Adrian Sherwood and several Steppers personnel. While Learning to Cope with Cowardice was no less confrontational than some of the Pop Group's work, it left behind the harsh, frenetic avant-funk of the Bristol band to foray into more experimental, dub-oriented territory. The standout track is the cut-up version of "Jerusalem," the English hymn (using William Blake's visionary words) that has come to stand almost as an unofficial national anthem. Stewart's "Jerusalem" embodies the multiple sonic facets of this album, juxtaposing jarring electronics, hectoring vocals, and heavy beats with more expansive layers of melody. Here, Stewart mixes his own strident declamation of Blake's verses with samples of a traditional arrangement of the hymn and with echo-heavy dub textures in such a way as to craft a complex meditation on issues of race, class, and tradition in Thatcher-ite Britain. Ironically, although Stewart doesn't use his own words, this ranks among his most powerful political statements. Elsewhere, Stewart sees democracy eroded by the encroachment of the State in league with corporate forces. The soundtrack to that vision is rendered appropriately dissonant, fragmented, and menacing in the chaotic, scratched, cut-up sound of "Blessed Are Those Who Struggle" and the austere metallic distortion of "None Dare Call It Conspiracy." Stewart's less challenging side can be heard on the title track, with its basic hip-hop rhythms, as well as numbers like "The Paranoia of Power" and sections of "Liberty City," which are built on smooth reggae grooves with his tortured singing offset by melodic female vocals. 1985's follow-up, As the Veneer of Democracy Starts to Fade, would further explore the more experimental dimension of Stewart's sound. [This is EMI reissue of the album with bonus tracks.]
