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. (allmusic.com)

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

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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.


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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
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...ma si sparano allo specchio per vedere un uomo morto

Oggi è una giornata così.

Fucktotum-Si ammazzano a Torino.

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

16 tracks of rare demo versions and outakes

Tracklist
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

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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.

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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.

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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 Allmusic.com)

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