Sunday, December 27, 2009

Kim Fowley - Living In The Street (1977) LP vinyl-rip

Kim Fowley official site, HERE
Info on Wikipedia, Here

A1 Motorboat
A2 25 Hours A Day
A3 Big Bad Cadillac
A4 Man Without A Country
A5 California Summertime
A6 Hollywood Nights
B1 Born To Make You Cry
B2 Thunder Road
B3 Summertime Frog
B4 Love Bomb
B5 Living In The Streets
B6 Sex, Dope & Violence

Ripped from Lp at 320kbps

Saturday, December 26, 2009

Jonathan Richman - Roadrunner Once (1977) 7" vinyl-rip

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


VV.AA. - Beserkley Chartbusters Vol 1 (1975) LP vinyl-rip

Beserkley Records was founded by Matthew King Kaufman along with members of the Bay Area band Earth Quake. Kaufman was a law graduate who became co-manager of Earth Quake, and helped them sign with A&M Records in 1970. After experiencing frustration at what he saw as A&M's incompetence in handling the band [1], and winning some compensation for the unauthorised use of Earth Quake's music in the movie The Getaway, he set up Beserkley Records, in 1973. Kaufman produced virtually all of Beserkley's output throughout its existence, often in association with Glenn Kolotkin, less frequntly with Kenny Laguna.

For the first two years of its existence, Beserkley only put out singles. The first release (in late 1973) was Earth Quake's version of the Easybeats' "Friday On My Mind".

Initially none of the Beserkley singles were especially successful, but in 1975 some were assembled, together with newly recorded tracks, into the album Beserkley Chartbusters Vol. 1. As well as tracks by Earth Quake, this included tracks by power pop group The Rubinoos, Jonathan Richman and Greg Kihn. Richman's recordings were his first as a solo performer (after the disbanding of the original Modern Lovers) and included the first released version of "Roadrunner" by Jonathan Richman, backed by Earth Quake.

Kaufman and Richman had previously worked together on the Modern Lovers' sessions for A&M in 1972. In 1976, Kaufman licensed those recordings, together with the ones the band had made around the same time with producer John Cale for Warner Bros., and released them on Beserkley as a highly acclaimed album, The Modern Lovers. Though neither Richman nor the Modern Lovers made the American charts, they were quite successful in the UK, with the singles "Roadrunner (Once)" and "Egyptian Reggae" making the UK top twenty.

Other 1970s Beserkley acts had less commercial success, although The Rubinoos made the US charts, hitting #45 with a cover of "I Think We're Alone Now" in 1977. As well, Earth Quake made the lower rungs of the American LP charts with their second of four albums for Beserkley (1976's 8.5, which peaked at #151).

Beserkley's records were initially distributed by Playboy Records until about 1977 (and during part of 1976, Playboy itself was distributed by CBS Records, and Beserkely was included in that arrangement, taking it from a small independently distributed label to briefly being a part of the huge CBS distribution system), then by Janus/GRT until 1979 and subsequently by Elektra.

Beserkley's major breakthrough came with Greg Kihn, who sang backup on Earth Quake and Richman records before forming his own band. Beginning with his third album (1978's Next of Kihn), Kihn regularly made the American album charts and received steady airplay on FM radio. By the end of 1980, Kihn was the only artist on the Beserkley roster, and in 1981 he had his first top 40 hit with "The Breakup Song (They Don't Write 'Em)". Kihn's early 1980s albums Rockihnroll (1981), Kihntinued (1982) and Kihnspiracy (1983) all reached the top 40 on the LP charts, and his 1983 single "Jeopardy" became Beserkley's biggest-ever hit, peaking at US #2.

The label's demise was relatively swift. After several years of success, Kihn's 1984 single "Reunited" flopped (peaking at #102) and the parent album Kihntagious stalled at #121 on the charts. Beserkely founder Kaufman then essentially dissolved the label and allowed Kihn to sign with major label EMI, where Kaufman would continue to act as Kihn's producer.

The Beserkley catalogue was licensed to Rhino Records in 1986. Kaufman later operated the Son of Beserkley label for a time in the 1990s; his current label is called Fun Fun Fun Recordings.(WIKIPEDIA)

The first thing the world at large heard by Jonathan Richman didn't feature the Modern Lovers at all. These four tracks are credited to just 'Jonathan Richman', though he is backed by Earth Quake on 'RoadRunner' and 'It Will Stand' and by The Rubinoos on 'The New Teller' and 'Government Center'.

Shortly after the LP was released, a single coupling the Chartbusters version of 'RoadRunner' with 'Friday On My Mind' by Earthquake was released in the US

Roadrunner was also
released as a 7" in the UK by United Artists in August '75, this time with 'It Will Stand' on the b-side. It become a cult favorite, but nothing more. The arrangement of 'RoadRunner' loses the organ and uses acoustic guitars, taking it is a long way from 'Sister Ray'. It was recorded live (with one overdub), features some great ad-libbing and is a fantastic performance. 'Government Center' (also cut live, this time with no overdubs) is more suited to this new arrangement, while of the new songs, 'The New Teller' is a fab song about Jonathan's crush on a bank teller sung with such verve and feeling it becomes irresistible. Finally, 'It Will Stand' is a cover of a soul/doo wop track by the Showmen which may seem odd until you realise 1) it's about rock 'n' roll, and 2) it's a favorite of Iggy Pop that was introduced to Jonathan by Kim Fowley.

These four tracks are not the only ones on the LP featuring Jonathan - he can be heard clearly singing back up on Kihn's 'All The Right Reasons'.

Beserkely's set up was incestuous, with either Earthquake or the Rubinoos playing on every track, giving the LP a unified sound. It was a simple power-pop sound that harked back to the bubblegum era and heralded punk and new waves return to simplicity. It was both out of date and ahead of it's time. Jonathan would sometimes sing live with the Rubinoos around this time, coming on for a few songs, often including 'The New Teller'.


Earthquake Friday On My Mind
Greg Kihn All The Right Reasons
Rubinoos Gorilla
Jonathan Richman The New Teller
Jonathan Richman RoadRunner
Earthquake Tall Order For A Short Guy
Jonathan Richman Government Center
Jonathan Richman It Will Stand
Greg Kihn Mood Mood Number
Earth Quake (Sitting In The Middle Of) Madness

Ripped from LP at 320 kbps

Wednesday, December 23, 2009

Fast Floyd and The Famous Firebirds - Devil's daughter (1983) LP Vinyl-Rip

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.

Ripped from vinyl at 320 kbps

Friday, December 4, 2009

The Photos - Irene (1980) 7" EP

Four songs from the poor men's Blondie (that' how they were pictured).
Great and catchy power pop here.

The first two tracks appeared on their self-titled debut album. The last two tracks did not.

Ripped from 7" ep at 320 kbps



Tuesday, December 1, 2009

Atrox - Sporco Natale (1992) 7" Vinyl-Rip

Let's begin December with the right attitude.
A christmas song from Italy.

Gli Atrox nascono un imprecisato giorno dei primi anni '80 come band "scolastica" . Non c'era allora un gruppo vero e proprio, ma un insieme di persone senza la minima cognizione tecnico-musicale (chiunque poteva fare parte degli Atrox), che interveniva ai vari concerti di natale, carnevale o fine anno per protestare contro i gruppi che ad oltranza proponevano covers di Eagles, Deep Purple, cantautori o cori da stadio. Le prime fugaci apparizioni portarono subito alla luce quella che resterà poi la linea base del gruppo, ovvero l'espressione in "musica urgente" delle urgenze creative dei componenti, nonché un primo nucleo 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.
(per l'ntervista completa clikka qui)

Ripped at 320 from 7" vinyl


U.K. Subs - Keep on running(til you burn) (1981) 7" Vinyl-Rip

The last single for GEM was their all out attempt to get a top ten single. This included slick production and bribing the band to ware new romantic clothes. It did chart and the Subs played their last Top Of The Pops. They rushed out a limited version with two extra tracks to try and puss the single higher into the charts, but instead it fell. GEM tried to re negotiate the contract but could not make an agreement and the Subs moved on to NEMS records.
1) Keep On Running (Till You Burn) (Harper/Gibbs)
2) Perfect Girl (Harper/Garratt)

Ripped from 7" at 320 kbps

U.K. Subs - Party in Paris (1980) 7" Vinyl-Rip

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.

1) Party In Paris (Harper)
2) Fall Of The Empire (Harper/Garratt/Nixon)

Ripped from orange 7" at 320 kbps

U.K. Subs - Teenage (1980) 7" Vinyl-Rip

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.

1) Teenage (Harper)
2) Left For Dead (Harper/Garratt)
3) New York State Police (Harper/Garratt/Slack)

Ripped from 7" at 320 kbps


U.K. Subs - Warhead (1980) 7" Vinyl-Rip

This was the 4th top 30 single for the Subs. The front cover was developed from a drawing by Nicky Garratt.

1) Warhead (Harper/Slack)
2) The Harper (Garratt)
3) I'm Waiting For The Man (Reed)

Ripped from 7" at 320 kbps

U.K. Subs - Tomorrow's Girls (1979) 7" Vinyl-Rip

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)
2) Scum Of The Earth (Harper/Garratt)
3) Telephone Numbers (Harper/Garratt)

Ripped from Blue Vinyl at 320 kbps

Porch - 7" (1993) 7" Vinyl-Rip

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." (

Ripped at 320 kbps from 7"

Friday, November 13, 2009

Jonathan Richman & The Modern Lovers - 88 (1988) LP Vinyl-Rip

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." (

a1 Dancin' Late at Night
a2 When Harpo Played His Harp
a3 Gail Loves Me
a4 New Kind of Neighborhood
a5 African Lady
b1 I Love Hot Nights
b2 California Desert Party
b3 Everything's Gotta Be Right
b4 Circle I
b5 I Have Come Out to Play
b6 The Theme from Moulin Rouge

Ripped from vinyl at 320 kbps

Tuesday, November 3, 2009

Pond - Wheel / Cinders (1992) 7" Vinyl-Rip

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

More info about the band here

a1 Wheel
b1 Cinders

Ripped from 7" at 320 kbps

Holy Rollers - Watching the grass grow (1993) 7" Vinyl-Rip

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.

Eight of the ten tracks on "Fabuley" were recorded at Inner Ear Studios, produced by Ian MacKaye, Don Zientara & Holy Rollers. The other two tracks were recorded on a 4-track and were produced by Geoff Turner (Gray Matter, 3) Charles Bennington & Holy Rollers.

After recording "Fabuley", Maria Jones left THE 'ROLLERS to pursue other projects in San Francisco, and was replaced by a temporary drummer, Christian Smith.

At the beginning of 1992 THE HOLY ROLLERS met drummer Ed Trask through mutual friends. Shortly after their introduction, Ed moved from Richmond, Virginia to join the group. The newly restored three-some quickly embarked on a US tour the following Spring. Upon their return home, they decided to invite a fourth member into the band. With the addition of fellow Richmond native, Chris Bopst, Joe Aronstamn moved to guitar.

Now with two guitars and a powerful rhythm section, they were ready to record. In April 1993, THE HOLY ROLLERS released the first single from their self titled newest album, "Watching The Grass Grow" b/w "Toy". And in late August DISCHORD released their self titled LP.

In 1994 they ran into further drummer problems as Ed Trask quit the band to join Kepone. Joe wants to eventually put out a new record and focus on touring the US heavily after finding a replacement drummer.

Ripped from 7" at 320 kbps

Sunday, July 12, 2009

Bivouac - Good day song (1993) 7" vinyl-rip

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. (

a1 Good day song
b1 Squeakers,bess,bread,beans and cash

Ripped from 7" at 320 kbps

Dinosaur Jr. - Just like heaven (1989) 12"EP vinyl-rip

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.

Ripped at 320kbps from 12" Ep

Saturday, July 11, 2009

John Peel Festive 50 1978

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.

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.

Thanks to the original torrent uploader

Various bitrate
Split in 3 Rar files
Enjoy 1
Enjoy 2
Enjoy 3

Friday, July 10, 2009

Thursday, July 9, 2009

The Jam - Mama We're All Different Now (?) LP vinyl-rip

16 tracks of rare demo versions and outakes

A1 Left, Right And Centre
A2 So Sad About Us
A3 It's Too Bad
A4 David Watts
A5 See-Saw
A6 Liza Radley
A7 And Your Bird Can Sing
A8 But I'm Different Now
B1 England (I Miss You Now)
B2 Dream Time
B3 Dead End Street
B4 No One In The World
B5 Rain
B6 Get Yourself Together
B7 We've Only Started
B8 Walking In Heaven's Sunshine

Ripped from red Lp at 320kbps

Tuesday, July 7, 2009

VV.AA. - The Moonlight Tapes (1980) LP vinyl-rip

Compilation of tracks of various bands (including the Damned as ‘School Bullies’) recorded live at the Moonlight Club, West Hampstead in 1979.

Ripped from LP at 320 kbps

Mary Lou Lord - Some Jingle Jangle Morning/Western Union Desperate (1993) 7" vinyl-rip

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.
Lord's interest in music started when she worked as a DJ for a college radio station in the Boston area as a teenager. When the station changed format, she decided to concentrate on making her own music. After a stint at Boston's Berklee School of Music, she moved to London and learned the art of busking in the subway. 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.
While most of Lord's live shows have been just her and her acoustic Martin guitar (even those beyond the subway), with the recording of Got No Shadow, she moved in the direction of electric pop-rock. She has recorded songs for two tribute albums -- "Power to the People" for Working Class Hero, a John Lennon tribute, and "Jump" for Everybody Wants Some, a Van Halen tribute released in fall of 1997.
Lord made the leap to the majors in 1997, signing with the Sony subsidiary Work. Her major-label debut and first full-length album Got No Shadow was released in January 1998.

Mary Lou Lord jumps from sentimental folk that lures you in with her sweet voice to a bouncy pop flavor of punky riffs that remain blissful in it's entirety. The word "pop" could be used so many time in order to describe this single that it would eventually lose all meaning. Both "Some Jingle Jangle Morning (When, I'm Straight)" and "Western Union Desperate" are a nice structure of delicate arrangements that are hands down, probably some of the best material Mary Lou Lord has ever recorded.

Ripped at 320 kbps from 7" vinyl

Monday, July 6, 2009

Celibate Rifles - Pretty pictures/Kent's theme (1983) 7" vinyl-rip

Pretty rare 7" from one of the best bands from Australia

Playing stripped-down, loud, and fast Ramones-inspired guitar rock, the Celibate Rifles were one of the earliest punk bands to emerge during the post-Radio Birdman/Saints era. Taking their cues from these Aussie bands, along with the American hard rock of the Stooges, MC5, and Blue Oyster Cult, the Rifles were led by the twin-guitar attack of Kent Steedman and Dave Morris, and the deadpan baritone of vocalist Damien Lovelock. They exploded out of the gates in 1982 with a series of records (released in Australia only) fueled by high-speed guitars, wah-wah-strangulated solos, and cartoon-ish, tongue-in-cheek lyrics.

Playing initially for crowds of hard rock-loving surfers, it didn't take long for the Rifles to develop a following. Outside of the continent, however, they were virtually unknown. That changed in 1985 with the release of Quintessentially Yours, a lengthy EP that was a collection of tracks from earlier albums. Although the Rifles didn't receive the attention of many lesser American and English bands, the releases kept coming, and they were all excellent. What didn't help was a seeming disinterest the band had in touring America. But when you're an Australian band, it's easy to see why: it's expensive, it takes forever to get there, and why bother when the records aren't getting the kind of reception they deserve? As a result, the Rifles last toured America in 1987, which is too bad, because their great live album (Kiss, Kiss, Bang, Bang), recorded at CBGB's on that tour, proves them to be a white-hot live band.(from

Ripped from 7" at 320kbps

Sunday, June 14, 2009

Silver Chapter - Teenage Screamer (1990) 12" EP Vinyl Rip

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

1 Teenage Screamer
2 Ramalama (ramalamalama)
3 Cleopatra
4 Angel b true

Ripped from 12"EP at 320 kbps

Jonathan Richman & The Modern Lovers - Jonathan sings (1983) LP Vinyl-Rip

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.

1. That Summer Feeling
2. This Kind of Music
3. Neighbors
4. Somebody to Hold Me
5. Those Conga Drums
6. Stop This Car
7. Not Yet Three
8. Give Paris One More Chance
9. You're the One for Me
10. When I'm Walking

Ripped from LP vinyl at 320kbps

Saturday, June 13, 2009

The Joykiller - The Joykiller (1995) LP Vinyl-Rip

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)

01. Love You More Dead
02. Show Me The System
03. We Got A God
04. Seventeen
05. I Wanna Drink Over You
06. Go Bang
07. The Other
08. Monday
09. She
10. Unconscious
11. Baby Sitter
12. Nobody's Here To Stay
13. Never Come Back To Me
14. Less Than Crazy
15. She's Having Fun

Ripped from vinyl Lp at 320 kbps

Sunday, June 7, 2009

67 - Bright Black (1993) 7" Vinyl-Rip

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


a1 Bright black

b1 Iron

Ripped at 320 kbps from 7"


Wednesday, May 13, 2009

Devo - Mongoloid/Jocko Homo (1977) 7" Vinyl-Rip

"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.
"Mongoloid," like many of Devo's early songs, was built on a motorik beat. The song opens with a 4/4 electric bass line, which is then joined by drums, and electric guitar. Over this, a swooping synthesizer line is played on Minimoog, using the pitch bend to create a spooky effect. The synth is not used as a lead instrument during the song, but only the opening and closing. The doubled vocals are sung simultaneously by both Gerald V. Casale and "Bob 1" (Bob Mothersbaugh). On the original single, the vocals are deliberately sung in a nasal fashion.

"Jocko Homo" is the B-side to Devo's first single, "Mongoloid." Based on a chant from the movie Island of Lost Souls,[1] "Jocko Homo" is considered to be Devo's anthem. The title is taken from an anti-evolution tract called Jocko-Homo Heavenbound by B. H. Shadduck. The song revolves around an idiosyncratic descending guitar riff and absurdist lyrics. The song peaked at #62 on the UK Singles Chart.
(from Wikipedia)

Ripped at 320kbps from 7" vinyl

Sunday, May 3, 2009

Sweel Maps - Peel Session 16/10/1978

This was the first Swell Maps' Peel Session on the 16th october 1978

1 Read About Seymour
2 Harmony In Your Bathroom
3 Full Moon In My Pocket/Blam/Full Moon Etc
4 International Rescue
5 Another Song

Line -up was:

Epic Soundtracks (Paul Godley) (Drums)
Jowe Head (Bass)
Nikki Sudden (Godley) (Guitar)
Biggles (Guitar)

Thanks to original torrent uploader


Big Black - Peel Session (1987) 7" Bootleg Vinyl-Rip

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.

This is a Bootleg single of Big Black's 1987 Peel session.

The line-up was:
Bass - David Riley
Guitar - Santiago Durango
Guitar, Vocals - Steve Albini

A1 Dead Billy
A2 Ugly American
B1 Newmangenerator
B2 L Dopa


Friday, May 1, 2009

John Peel Festive Fifty 1980

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.

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.


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

Enjoy second

Tuesday, April 28, 2009

Bow Wow Wow - See Jungle! See Jungle! Go Join Your Gang, Yeah, City All Over! Go Ape Crazy! (1981) LP Vinyl-Rip

OK Now...
It's been pouring rain for the last 5 days.....talking about pouring!!!
So , waiting for next summer to come soon here's an african-tropical sounding little record. Make believe.....

Bow Wow Wow was a quartet organized by U.K. manager Malcolm McLaren (best known as the mastermind behind the Sex Pistols) at the start of the '80s. McLaren matched the trio of musicians who had constituted Adam Ant's Ants -- Matthew Ashman (b. 1962) on guitar, Leigh Gorman (b. 1961) on bass, and David Barbarossa (b. 1961) on drums -- with teenage singer Annabella Lwin (b. Oct. 31, 1965), retaining the earlier group's African-derived drum sound. In 1983, Lwin quit the group for a solo career, and the remaining three changed their name to the Chiefs of Relief. Both Lwin and the Chiefs issued their own albums. In 1995, Ashman passed away due to diabetes. Headed by Lwin and 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.
Malcolm McLaren, of Sex Pistols fame, made teenager Annabella Lwin the centerpiece of his next creation. Backing her with members of Adam & the Ants, they were dubbed Bow Wow Wow and released See Jungle! See Jungle! in 1981. The focus was on style and the music was a mix of dance and new wave always with a heavy nod toward percussion. The results are mixed and you sometimes have the feeling that you are hearing the same song repeated. However, it's difficult not to find yourself drumming your fingers to the frantic beats. Lwin makes sure that you never forget that she's only 15, either through her vocal delivery or her outright declarations (as on "Chihuahua"). The band also serves up an interesting spaghetti Western instrumental on "Orang-outang" and everything falls into place on "Go Wild in the Country," with Lwin's uninhibited shrieks touting the merits of getting away from it all. (

a1 Jungle Boy
a2 Chihuahua
a3 Prince of Darkness (Sinner! Sinner! Sinner!) [Instrumental]
a4 Mickey Put It Down
a5 (I'm A) TV Savage
a6 Elimination Dancing
b1 Golly! Golly! Go Buddy!
b2 King Kong
b3 Go Wild in the Country
b4 I'm Not a Know It All
b5 Why Are Babies So Wise
b6 Orang Outang
b7 Hello, Hello Daddy (I'll Sacrifice You)

Ripped from LP vinyl at 320 kbps

Monday, April 27, 2009

Mark Stewart & Maffia -Learning to Cope with Cowardice (1981-2006)

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.]

Ripped at 320 kbps