Chicago act that put out a bunch of 7" in the early-mid 90's The only thing i found googleing their name is the picture of a gig poster in Chicago 1994 (as you can see at the bottom of the post). They recall to me the Velvet Underground meeting Jesus and the Mary Chain with no distortion on the guitar on side A, and a great Petrolio on side B that make me think of Go-Betweens (and I'm talking about three of my favourite bands here!!). This record hits!
The Vix Krater-Petrolio
Ripped from Vynil at 320kbps Cover and labels included. Ripped from vynil at 320kbps Cover art and labels included
In 1980 copies of this flexi disc were piled on record shop counters so that people could take it for free. Factory records declared that this would have never become a collector's item as long as the company existed. Well we all know what happened to Factory......Unfortunately!!! Still this hasn't become such a collector's nightmare, but if you only heard these songs on cd, and if you have never had the lucky and almost mystical trip of listening to a flexi that went through many years of playing, then you should definitely give it a try. No credit card could pay for the experience of all the clicks and noises you are going to be listening in this one.
Tracklist a1 Komakino b1 Incubation b2 As You Said
Ripped at 320kbps from flexi P.S.: I deliberately decided not to play any digital declicking and stuff like that. This is exactly how it comes from my deck. Enjoy
I could number with the fingers of one hand the records that really influenced my life (not in a barely musical sense). GI by The Germs is definitely one of those pieces of life and heart. I was 15, just dropped out secondary school and , i remember as it was today, my friend coming over to my parent's house with a bag full of records. .....now.....My friend (i won't tell his name),second son of a well known journalist, was a great recordshop lifter (I admit i went with him many times to"find" music(that's what we used to say to each other "let's go "find" some music!!!). So that day he was coming over with the day's before "shopping" bag. I also have to say that he used to leave many of the records he "found" over to my house , so that his parents wouldn't get suspicious about his growing record collection. The black album with the blue circle, got our attention immediately. Now I have to tell you a theory we used to have back then. The theory was that if the first song of side b of an album was good, then the rest of the album wouldn't be so bad...don't ask me why!?!?! ...and there we were....MEDIA BLITZ.........
I couldn't believe it!! What!?! What!?! We looked at each other like:"What the fuck was that?? and that time the second song was over...I didn't even hear it! I was still wondering about what I had just listened to. I had never heard anything that potent and fast and angry and most of all, that short. (That's only because I hadn't heard the first song of side A....... Wow...I hardly never had that feeling again for a record.. just started to come back to reality and side B was already over. I wanted to listen to it again and again when my friend goes "Just noise that guy doesn't know how to sing and crap and shit like that" and pulled out another record off of its sleeve and put it on. Don't even remember what it was. Nothing could be compared to The Germs. I put the record back in its sleeve and started to read the lyrics: it was a trip through the anger towards the world I was feeling inside myself... After a couple more records, my friend went home and left, as usual a bunch of records to me . That night and the following days, while i was falling in love with Lorna Doom, I listened to that record over and over and over..... I literally went beserk after that record... You know what else was in that bag? "Group Sex" by a Los Angeles band named "Circle Jerks".... ....but that's another story....
CHECK this great Darby Crash biography that was sent to Tooshortalife from Culturanta.
Tracklist a1. What We Do Is Secret a2. Communist Eyes a3. Land of Treason a4. Richie Dagger's Crime a5. Strange Notes a6. American Leather a7. Lexicon Devil a8. Manimal a9. Our Way a10. We Must Bleed b1. Media Blitz b2. The Other Newest One b3. Let's Pretend b4. Dragon Lady b5. The Slave b6. Shut Down (Annihilation Man)
Ripped from perfect and shiny 180 grams vynil at 320kbps Enjoyfrom RS Enjoy from DivShare
Rare and very good sounding Joy Division 1981 bootleg
Tracklist 1 Digital 2 Glass 3 Dead souls 4 Exercise one 5 Sound of music 6 Love will tear us apart 7 Wilderness 8 Insight 9 Isolation 10 These days 11 Transmission 12 She's lost control
Tracks 1-2 from "A Factory Sample" (FAC 2). Track 3 from "Licht Und Blindheit" (Sordide Sentimental). Track 4 from "The First Peel Session". Tracks 5-6 from "The Second Peel Session". Tracks 7-12 Live: Ajanta Theater, Derby,April 19 1980. More info on Joy Division bootlegs here
"Here To Ruin Your Groove" is an Antiseen 1996 classic. This is the one where the Antiseen joined forces with Michael Bruce from the original ALICE COOPER GROUP on the band's cover of "Sick Things." Also, featured here is the tribute to one of Wrestling's greatest madmen, Terry Funk on the toe-tapping "Funk U," plus a whole karma-altering load of classics such as "Spare Change," "Self-Induced Lobotomy," "Ugly American," "Justifiable Homicide," Tracklist 1 Ugly American 2 The Dean Of Sods Speaks #1 3 Spare Change 4 People Like You 5 The Dean Of Sods Speaks #2 6 Funk U (A Tribute To Terry Funk) 7 Misery 8 The Dean Of Sods Speaks #3 9 We Got This Far (Without You) '96 10 Radio Ruined Groove 11 Billy The Kid (A Real American Hero) 12 Self Induced Lobotomy 13 Sick Things 14 O.D. For Me 15 Needle And The Spoon 16 The Dean Of Sods Speaks #4 17 Justifiable Homicide 18 Fornication / Fuck All Y'All
Swell Maps were an experimental English rock group of the 1970s from Birmingham, that foreshadowed the birth of post-punk. Influenced by the disparate likes of T.Rex and the German progressive outfit, Can, they created a new soundscape that would be heavily mined by others in the post-punk era. Despite existing in various forms since 1972, Swell Maps only really came together as a musical entity after the birth of British punk rock. Consisting of brothers Epic Soundtracks (real name Kevin Godfrey) and Nikki Sudden (real name Nicholas Godfrey) two Solihull based teenagers, plus Richard Earl, David Barrington, John Cockrill and Jowe Head, the band cut the single "Read About Seymour" as their debut in 1977, soon after the brothers left Solihull School (also home of Spizzenergi). It is widely considered one of the classic punk era singles[citation needed]. Epic's drumming mixed with Nikki's unique melodies crafted over the assorted threads cast by the six musicians set the band apart from the others. After recording their first John Peel session Swell Maps went into WMRS studio to record their first album A Trip to Marineville, which was released in 1979. With hard rocking punk numbers like "H.S. Art" interspersed by ambient instrumentals and other experimental interludes like "Gunboats", the album marked the band out as innovative non-musicians. The album went #1 on the new Independent chart. The band cut one more album, The Swell Maps in 'Jane From Occupied Europe', in 1980, which pushed further into post-punk territory. They displayed their ingenuity for creating everything from industrial surf instrumentals like the opener "Robot Factory" to perverse ballads like "Cake Shop Girl". Even while they were falling apart during these sessions they were pushing the musical boundaries beyond what punk originally had to offer. They sought to release much of their early forays in lo-fi experimenation in the compilation, Whatever Happens Next..., before splitting up. Since their split the legend of the Swell Maps has grown, through their influence on the C86 bands, lo-fi, and other pioneers like Sonic Youth and Pavement. Individual members of the band (especially Nikki Sudden, Epic Soundtracks and Jowe Head) went on to solo careers. The band's catalogue has recently been remastered and reissued and further dips into their archives can be expected. An EP of especially zany tracks was released under the name of the Phones Sportsman Band in 1980. After an interval of over 25 years away from music, the Phones Sportsman Band has now reformed in January 2008. Epic Soundtracks died of unknown causes at the age of 37 in 1997 and Nikki Sudden died at the age of 49 in March 2006. (From Wikipedia) Tracklist A1 Robot Factory A2 Let's Buy A Bridge A3 Border Country A4 Cake Shop A5 The Helicopter Spies A6 Big Maz In "The Desert From The Trolley" A7 Big Empty Field A8 Mining Villages B1 Collision With A Frogman vs. The Mangrove Delta Plan B2 Secret Island B3 Whatever Happens Next.... B4 Blenheim Shots B5 A Raincoat's Room*
*P.S.: I jointed together songs b4 and b5. I decided so because it was impossible to split it without spoiling 'em. So,song b4 is: Blenheim Shots/A Raincoat's Room
1991 album of one of the greatest hardcore bands of all times. From Indianapolis: Zero Boys.
Tracklist 1 Beach Blanket Boi-Oi-Oi 2 Bloods Good 3 Godless Girl 4 On the Pavement 5 Trust Anyone 6 You and Your God 7 Amerika 8 Indianapolis 9 Fly Bite 10 Parasite Man 11 Black Network News 12 Open 13 Doctors Are Doin' It for Themselves 14 Positive Change
By the late 1980s, DC's punk underground had produced dozens of bands, but only a handful of the musicians were women. This was not a fair representation of the DC punk community, however, as there were many women active throughout the scene, and this disparity had already become a much discussed topic within the ranks. The members of Fire Party were certainly aware of this situation, but while they were clear about their desire to play together, they tried to avoid the "all-girl band" tag that was so easily being handed out at that time. Fire Party wanted their work to stand on its own, and although they released two excellent EPs on Dischord in 1988 and 1989 they found it difficult to escape the novelty aspect of their lineup, especially in the States. Fortunately, the band was able to make a number of trips to Europe, and there they encountered audiences that seemed more interested in the music being played rather than who was playing it. (from www.dischord.com). (from www.dischord.com). Fire Party EP is still available from Dischord Records, so if you like the band, just buy it!!! Fire Party - Drowning Intentions
Vocalist Amy Pickering, bassist Kate Samworth, guitarist Natalie Avery, and drummer Nicky Thomas were Fire Party, a Washington, D.C.-based band that recorded for Ian MacKaye's Dischord label. Formed in 1986, the quartet released a self-titled six-song EP in 1988 and an album called New Orleans Opera the following year. They broke up at the turn of the decade. Six years after the split, Dischord released a self-titled compilation that combined the two major releases with a 1989 session for the BBC's John Peel and a song off the various-artists State of the Nation album. Valuable members of the D.C. punk community, Fire Party inspired a number of young women from the scene to become musicians and form bands. (from Allmusic.com)
Tracklist a1 Make It Quick a2 Bite a3 First Course a4 Gethsemane b1 Prisoner b2 Fire b3 Only Nine Mottos b4 New Orleans Opera Ripped from vynil at 320kbps
1986 Anti-apartheid benefit compilation with many of the best European and American bands of the time. Produced by Mordam Records and Konkurrel.
Tracklist A1 Scream Feel Like That A2 Challenger Crew Holidays In Amsterdam A3 Morzelpronk Frippery A4 Social Unrest American Steel A5 Ex, The Dallas; Texas 1988 B1 Depraved Visions Of Change B2 Victims Family Lock Of Interest B3 B.G.K. Nothing Can Go Wrong B4 Rhythm Pigs Funeral Of A Friend B5 Everything Falls Apart Pain B6 Kafka Prosess Children Of Love B7 S.C.A. Frustrated B8 76% Uncertain Another
Thanks to the break-away success of the "Money (That's What I Want)" single, this Dada/Fluxus inspired debut album by The Flying Lizards became an instant sleeper (even being released on 8 track!), and ultimately made it onto a certain generation's list of "favorite albums of all time" because of it's catchy humor and accessibly abstract qualities. Arty and erratic, but somehow symmetrical, this album has everything from irreverent Zappa/Residents humor and catchy Kraftwerk robotics, to Eno sound-scapes and chilly, Joni Mitchell-esque ballads framed in Cage found-sound hi-jinks. The postmodern subjects of the album are often presented in a quirky and robotic sound that was appropriate for (and slightly ahead of) it's time. Yet for the Lizards, even when the sound of the music is stop/start herky-jerky and Devo-esque, it's mid tempo sound is heavily reverb-ed, spacious and soothing. In some of the album's brightest moments, themes of 80's materialism and Orwellian prophecy are conveyed not with synths, samples and deconstructed 4/4 beats, but with sounds of breezy dub, homemade percussion and the hum-able summer dusk ambiance of your favorite modern suburb.....(Read the rest of the article on www.markallencam.com)
Irlandese di nascita, David Cunningham si formo` artisticamente a Londra, dove dapprima s'avvio` alla pittura e al teatro. Introdotto invece alla musica dell'avanguardia, compose Error System, raccolto su Grey Scale (1977), un brano manifesto dell'alea inglese (gli esecutori devono ripetere un pattern fisso all'infinito, ma appena uno di essi sbaglia gli altri devono cominciare a ripetere il suo sbaglio, e cosi` via). In breve il compositore divenne anche produttore, aiutando gruppi punk e post-punk in erba a registrare i loro dischi.
La familiarita` con la musica elettronica e con lo studio di registrazione tornarono utili quando Cunningham decise di dar vita a un gruppo rock, un'idea immortalata sull'album Flying Lizards (Virgin, 1980). Annidate fra cover tecnologiche irriconoscibili di Eddie Cochran e Brecht/Weill, le ballate elettroniche di Cunningham hanno il sapore del divertimento colto, realizzato giocando in studio a chi le combina piu` grosse. Un certosino lavoro di overdub supplisce ampiamente alla (voluta) scarsezza della strumentazione: Cunningham si comporta come un artigiano i cui arnesi sono le macchine dello studio (corredate da oggetti casuali, quali scatole metalliche e fogli di carta) e la cui materia prima e` la pop song. Alla fine e` capace di erigere un'imponente sinfonia per ritmi meccanici e voci bianche, trafficando sicuro e disinvolto le alchimie opposte della sperimentazione e del consumo, all'insegna delle teorie "storiche" delle avanguardie underground e psichedelica. Alle tastiere Cunningham emula Brian Eno, stende cioe` quel tappeto di effetti che serve a creare il contrasto fra prima e dopo la scienza. Rispetto a Eno c'e` comunque un uso piu` fantasioso delle parti vocali (soprattutto il fascino arcano di Her Story, nenia paradisiaca per solfeggio femminile con inflessioni da muezzin simile a certi fischiettii metafisici di Wyatt), un tono medio piu` umoristico (la satira surreale di TV, quasi una Bonzo Band con qualche circuito in piu`). Su tutto svetta il tribalismo disco-psichedelico di Russia, delirio pantagruelico senza ritegno al limite della "devoluzione", prototipo della nuova musica metronomica perturbata da improvvisazioni impercettibili e da gag grottesche) e infine una maggior dimestichezza con le cose dell'avanguardia (il minimalismo rock di The Flood, la cupa elettronica teutonica di Trouble, fino all'alea di Events During The Flood, un brano per l'appunto costruito su un altro brano, come dice il titolo). Gli unici elementi sistematici sono il drumming ossessivo del ballabile moderno e un canticchiare di fantasmi fuori campo. Ad essi il genio del compositore sovrappone un numero impressionante di trovate, minute e stupidine, che costituiscono in fondo la vera essenza dei brani. Attraverso queste caricature stranianti il complesso celebra l'apoteosi programmata dell'idiozia collettiva. Non a caso le sue devastanti cover lo segnalano come il piu` pericoloso dei terroristi del meta-rock (e in particolare il massacro scientifico di Money, forse il piu` bel risultato di sempre in fatto di cover).
When most people think Dischord, they recall the early-'80s hardcore days. But Dischord actually peaked later in the decade, when the wildly improved Government Issue and a bunch of new bands formed out of the old ones, all slowed down their tempos to more manageable punk levels, and concentrated on developing melodic hooks, adding dimension to the emotional core of the walloping sound (thus the overused, too blanketed term "emocore"). 3, a 1986-1988 D.C. band formed out of the ashes of Gray Matter (leader Geoff Turner) and Minor Threat (drummer Jeff Nelson) and two others, was the perfect example. A solid band through and through, 3's lone LP, sadly released posthumously (as was the case for far too many Dischord bands of the time) was totally catchy punk, with dollops of obvious sincerity and passion, typically lacking with later punk outfits. (from The Big Takeover, All Music Guide)
If you know and love the sounds of the Cramps or other fuzzy psych stuff , raunchy rock'n'roll and weird musical personalities this one is packed with gems.
Tracklist 1 Dean Carter Jailhouse Rock 2 Lee Dresser & The Krazy Kats Beat Out My Love 3 Ventures, The Fourth Dimension 4 J.J. Jackson & Jackals, The Oo-Ma-Liddi 5 Sonics, The He's Waitin' 6 Wailers, The Dirty Robber 7 Carol Connors & Cycles, The Yum Yum Yamaha 8 Flower Children, The Mini-Skirt Blues 9 Sparkles, The Hipsville 29 B.C. (I Need Help) 10 Jim Lowe The Green Door 11 Mel Smith & The Night Riders Pretty Plaid Skirt (And Long Black Sox) 12 Runabouts, The When I Get The Blues (The Strangeness In Me) 13 Tommy "Jim" Beam And The Four Fifths Golden Boy 14 R. Lewis Band Get Off The Road (& Spoken Intro)
An indie-rock subversive who has been known to perform in dresses almost as much as his ex-wife Courtney Love, Falling James (Moreland) has led the Leaving Trains with a revolving lineup since the group formed in 1980. Originally in a Los Angeles punk band named the Mongrels during 1978-79, Falling James formed the Downers in 1980 (with David Roback, later of Mazzy Star, and John Hoffs, the brother of the Bangles sisters) and then the Leaving Trains later that year, with guitarist Manfred Hofer, bassist Tom Hofer, keyboard player Sylvia Juncosa and drummer Hillary Laddin. The band gigged around the area during the next three years, but included only the Hofer brothers by the time Leaving Trains debuted on vinyl with 1984's Well Down Blue Highway, on Bemisbrain/Enigma Records. (From Allmusic.com) Great and rare to find album.
Tracklist a1 Bringing Down the House a2 Leaving Train a3 All My Friends a4 Always Between Wars a5 You Can't See a6 I Am in a World Crash With You a7 March 7th b1 Hometown Blues b2 She Knows the Rain b3 Creeping coastline of lights b4 Virginia city b5 Going Down to Town
Friends of Betty was noise/folk/punk band band from Chicago that was formed by Tim Rutili and Glynis Johnson sometime in the mid '80's. Ben Massarella was the band's original drummer, but he was later replaced by John Rowan. Rutili, 27, had moved to Chicago in 1984 to attend Colombia College's film school. He soon met Glynis Johnson and the two moved in together with plans for starting a band. With Johnson on bass, Benny Massarella on drums (later replaced by John Rowan, who would go on to fame under the guise of Blackie Onassis in Urge Overkill) and Rutili on a souped-up acoustic guitar, Friends of Betty played a sort of loud and fast folk/punk hybrid. According to those who saw these early performances, the results, although interesting, weren't very good. "I played an acoustic because that was the only guitar I had," explained Rutili. "I had a pickup and a distortion pedal. It didn't sound very acoustic; it sounded really bad." Friends of Betty put out its only album, Blind Faith II, on Underdog records in 1988. Friends of Betty embarked on a brief tour of Europe in 1990 ("We managed to not lose any money," said Rutili). But upon returning home, they felt a change was needed. Friends of Betty became Red Red Meat, but the band played only a few shows the next two years. "We went a year without playing a show," recalled Rutili. "We just hung out and played and released a single ("Hot Nikkety Trunk Monkey"). But we were getting to be better songwriters." Extract from http://www.illinimedia.com
The cover is a great parody of the Blind Faith first album.
This is a great collection of obscure garage rock recordings from the sixties, providing 71 minutes of raw teenage punk rock.
Tracklist A1 Chentelles Be My Queen A2 Little Willie And The Adolescents Get Out Of My Life A3 Ken And The Fourth Dimension See If I Care A4 Me And Them Guys I Loved Her So A5 Interns I've Got Something To Say A6 Intruders Five Ain't Comin' Back A7 Monacles I Can't Win A8 Lil' Boys Blue I'm Not There B1 Jerry And The Others Don't Cry To Me B2 Fugitives (2) You Can't Blame That On Me B3 Raunch Hands Tiger Guitars B4 William The Wild One Willie The Wild One B5 Murphy And The Mob Born Loser B6 Mods* You've Got Another Thing Comin' B7 Sir Winston And The Commons We're Gonna Love B8 Royal Flairs Suicide B9 Montells You Can't Make Me
The Banned were a English Punk / New Wave outfit in the late 1970s, originated from Tooting and Camberwell in London. The Banned had a UK hit in 1977 with "Little Girl", a cover version of a 1966 U.S. hit song by the Syndicate of Sound.
Chrome was a band founded in San Francisco, California in 1976. Inspired by mid-70s punk rock and rock groups such as Hawkwind and Black Sabbath, Chrome's music incorporated synthesizers and samples, and frequently emphasized themes of science fiction and paranoia. Though their mainstream success was limited, Chrome are now regarded as one of the earliest industrial rock groups. Chrome initially consisted of Gary Spain (bass, guitar, vocals) and Damon Edge (drums and synthesizer), though John Lambdin (vocals, guitar and bass) and Mike Low (guitar, synth, and bass) were quickly recruited. Guitarist Helios Creed joined soon thereafter, and would remain the core of Chrome, alongside Edge. After the first LP, The Visitation, Low and Lambdin left, and after the second LP, Alien Soundtracks, Spain became less involved with the band. Between 1978 and 1982, Edge and Creed (at some point with the Stench Brothers, John and Hillary, as a rhythm section) released a handful of albums. In "The secret history of rock" Helios Creed said they wanted to make some "scary, funny music". Their experimental rock was into science-fiction, alienation and cynicism. When they split the band up in 1983, Damon Edge continued on with the name, hiring a complete new band in Europe. Edge moved to France and released several records under the name Chrome. Damon Edge died in Los Angeles the summer of 1995, of heart failure. After Damon's death, Helios picked up the name and began releasing new material.
The first release of this band was the double A-side single, 'Police Story'/'Killing Machine', which came out in September 1981 and spent twenty-two weeks in the Indie charts.
Lyrics James Kelly lied he said what the cops wanted him to say James Kelly told us of the shit that went on in the cell of his Broke his ribs told him not to speak, said you're drunk now on your feet Into the van Kelly did go never seen again now everybody knows
James Kelly you're dead James Kelly who cares???? James Kelly you're dead James Kelly cares
(From Wikipedia) The Senseless Things formed around the musical partnership of songwriter Mark Keds (vocals, guitar) and Morgan Nicholls (bass, originally guitar), who as 11-year-old schoolboys in Twickenham, Middlesex, UK, put together Wild Division in the early 80s. With the addition of drummer Cass Browne (also occasionally known as Cass Cade and Cass Traitor) they became the Psychotics, playing various venues in their local area despite still being at school. Their first gig together as the Senseless Things followed at the subsequently demolished Clarendon in Hammersmith, London, in October 1986. Auxiliary members at this stage included a keyboard player Ben, then a guitarist, Gerry, who deputized for Nicholls while the latter was studying for his 'O' Levels.
The definitive Senseless Things line-up finally evolved in summer 1987 when Nicholls returned to take over bass, with the new recruit, former BBC clerk Ben Harding, acquiring the vacant guitarist's role. Taking their musical cue from The Ramones and The Dickies, and their spiritual lead from fellow guitar outfit Mega City Four, the quartet embarked upon a hectic touring schedule.
Track listing
1. Where the secret lies 2. I want to go back 3. I don't want to talk about it 4. You don't want me 5. Girlfriend 6. Standing in the rain 7. When you let me down
Girlfriend
Website : here Link to 1991 article on Noise for Heroes: here Discogs: here
First untitled 7" by Washington DC Band El Guapo, known as Supersystem since the mid 2000s and now defunct. Released on Red Skies at Night (RED001). Vinyl rip at 320, still quite clicky and scratchy but this seems quite hard to find in better condition. Math Rock Post-Hardcore? (This release on discogs, the band on wikipedia)
Issued in 2008, this 17-track collection presents the earliest radio sessions that the influential British post-punk ensemble Killing Joke recorded for the revered BBC DJ John Peel. Highlights of the compilation include fierce versions of "Wardance," "Change," and "Butcher," songs that helped to cement the group's reputation as an uncompromisingly aggressive act. It includes 4 Peel sessions plus a bonus session. Brilliant. Tracklist:
1. Psyche 2. Wardance 3. Nuclear boy 4. Malicious boogie 5. Change 6. Tomorrow´s world 7. Complication 8. The fall of because 9. Tension 10. Butcher 11. The hum 12. Empire song 13. We have joy 14. Chop chop 15. Tension (Bonustrack) 16. Unspeakable 17. Exit
Minuteflag was an experimental jam band collaboration between members of the Minutemen and Black Flag. Their only release, an EP, consists almost entirely of instrumentals with the exception of "Fetch The Water" which features D. Boon on lead vocals. It took place in March 1985, while Black Flag was in the process of writing and recording "Loose Nut" at Total Access Studio in Redondo Beach, CA; the Minutemen had just completed their Project Mersh 12" EP at the same studio the month before. The members involved initially agreed that the material recorded during the Minuteflag sessions would not be released until at least one of the bands had disbanded. The wait would prove to be sadly short; a 12" EP on SST Records as SST 050 came out over a year afterward, by which time The Minutemen had disbanded after the car crash death of guitarist/vocalist D. Boon; Black Flag themselves would split up later in 1986. (From Wikipedia)
Alice Donut is a rock and roll band from New York City. Formed in 1986, disbanded in 1996, and re-formed in 2001, the band toured vigorously and broke up after their 1000th live performance. Between 1987 and 1996, Alice Donut released seven full-length albums and around 15 EPs, singles, and other releases on Jello Biafra's Alternative Tentacles label and various other labels.
Gli Alice Donut sono uno dei gruppi piu' dotti e imprevedibili del nuovo hardcore di New York. Tom Antona, cantante e leader, li formo' con due compagni di scuola alla Columbia University, Ted Hutton e Dave Giffin. Gli Alice Donut nacquero come la risposta di New York ai Redd Kross: un tributo melodico alla sotto-cultura del junk.
The Richard Hell compilation R.I.P.: The ROIR Sessions was originally released in 1984 as a cassette-only release and was later re-released on CD (different cover, same track listing). R.I.P. collects a total of 14 tracks (most studio, some live) and serves as a solid anthology/greatest-hits compilation. The selections span his career from 1975-1984, from one of his first bands (the legendary Heartbreakers with Johnny Thunders) up until a later incarnation of the Voidoids. The sound quality is consistent for the most part, and the music is rough, raw, and rocking -- in other words, classic Richard Hell. An early version of "Love Comes in Spurts" kicks off the album, and with a Heartbreakers' backup, is proof that Hell would have made a more-than-capable leader of the band (Thunders eventually gained control, effectively ending the original lineup). Also included is the depressed ballad "Betrayal Takes Two," the N.Y. new wave of "I'm Your Man," as well as the saxophone-laced "The Hunter Was Drowned." The only criticism of R.I.P. is the omission of one of Hell's best-known tunes, "Blank Generation," but otherwise it's highly recommended. (Greg Prato, All Music Guide) Tracklist 1. Love Comes in Spurts 2. Can't Keep My Eyes on You 3. Hurt Me 4. I'm Your Man 5. Betrayal Takes Two 6. Crack of Dawn 7. Ignore That Door 8. I Live My Life 9. Going, Going, Gone
10. I Can Only Give You Everything
11. I Been Sleepin' on It
12. Cruel Way to Go Down 13. The Hunter Was Drowned 14. Hey Sweetheart
One of my musical guilty pleasures is Spitfire. When they first came out in in 1991 they were thrown into the shoegazing scene, despite the first track on this debut EP(‘Dive’) reminds of '60 psych-rock. A great cover version of the theme of‘Six Million Dollar Man’. Just listen to this. Fun guaranteed. Ripped from vynil at 320kbps
Tracklist A1 If This Is Tuesday.....It Must Be Walla-Walla A2 Bulimic Food Fight A3 Swindel A4 Stew A5 Second To None B1 My Mother Can't Drive B2 Theme From An Imaginary Midget Western B3 Something About.....Amy Carter B4 Flip Side Unclassified B5 Baby Elephant Walk
Un mix curioso di lounge-jazz, new wave, siglette pubblicitarie, campionamenti, easy listenig demenziale, il tutto rigorosamente strumentale.
L’apice della loro “arte del banale” è rappresentata dalla stravolta cover-parodia del brano "Volare (Nel blu dipinto di blu)" di Domenico Modugno, che rappresenta per la new wave italiana quello che la cover dei Devo di "Satisfaction" dei Rolling Stones fu per la new wave americana. Una grande band italiana.
Downloadato dal web Grazie all' uploader sconosciuto - Thanks to original unknown uploader
Tracklist A1. Double Dare A2. In The Flat Field A3. Silent Hedges A4. In Fear Of Fear A5. Of Lilies And Remains A6. Rose Garden Funeral Of Sores B1. Sanity Assassin B2. Terror Couple Kill Colonel B3. Spirit B4. Kick In The Eye B5. Hollow Hills B6. Stigmata Martyr B7. Dark Entries
1 I Don't Mind 2 Autonomy 3 Ever Fallen In Love 4 Mad, Mad Judy 5 Sixteen Again 6 Moving Away From Pulsebeat 7 Noise Annoys 8 Love You More 9 What Do I Get?/Harmony In My Head 10 Everybody's Happy Nowadays 11 You Say You Don't Love Me 12 I Don't Know What To Do With My Life 13 I Believe 14 Fast Cars 15 Breakdown 16 Boredoms
Originally an EP called For the Rest of Us (1998, Kill Rock Stars), Yep Roc's new version is a full-length, now entitled For the Best of Us. This new, expanded version includes five previously unreleased songs recorded during the same sessions as the EP. "I want to put it out again because we can and because it sounds cool," says Doe. And he's right, it does sound cool. It sounds great. Ever since the landmark discography of the punk rock band X, Doe has been a vital, poetic and important figure in the world's musical landscape. For the Best of Us represents some of his most exciting work and marks the beginning of his fruitful collaboration with producer Dave Way (Macy Gray, Sheryl Crow) that has since yielded four albums, including 2005's Forever Hasn't Happened Yet, which was hailed by a long list of critics as one of the top ten albums of 2005. There's an all star band on For the Best of Us featuring Smokey Hormel (Johnny Cash, Tom Waits, Beck) on guitar, Joey Waronker (REM, Beck) on drums, and Tony Marsico (Matthew Sweet) and Steve McDonald (Redd Kross) sharing duties on bass. And because there was no record company or specific release in mind when recording the album, the sense of adventure and freedom is audible. "We recorded it in '96 and '97, a time when things were still pretty open as far as interpreting rock and roll music," Doe says. "So, we certainly felt that - a sense of adventure - when recording it."
For those who like to rock, avoid this album. For those whose tastes are a little more eclectic and aren't afraid of sampling new delicacies, than this will definitely be a tasty little morsel. The most striking element of the record is Poly's gorgeous singing, supported by the supple, jazzy arrangements. Clearly, not as aggressive or confrontational as her work with X-Ray Spex, but equally as rewarding. John Dougan, All Music Guide Ripped at 192Kbps
Cover and labels included.
