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. (Wikipedia.org)

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

Alice Donut - The Untidy Suicides of Your Degenerate Children (1992)

Alice Donut formed in the punk underground of New York City's Lower East Side in 1987, eventually releasing six studio albums and one live LP (recorded at CBGB's) before breaking up eight years later. Jello Biafra initially encouraged the group and signed them to his Alternative Tentacles label, where Alice Donut released all of their albums. The band's punk style was occasionally leavened with elements of oddball country and funk, but by 1993's Pure Acid Park the sound was commercialized a bit, much like fellow psychedelic punks the Butthole Surfers. Alice Donut couldn't cash in, however, and broke up in 1995.

1 Magdalene
2 Untidy Suicides
3 Loteria
4 The Tingler
5 Every Body Is on Sale
6 Hang the Dog
7 Son of a Disgruntled X-Postal Worker Reflects on His Life While Getting stoned..
8 Annie's Empty
9 Loteria
10 Medication
11 Things Have Never Looked Better
12 Wire Mother
13 She Loves You She Wants You Its Amazing How Much Head Wounds Bleed
14 Loteria
15 In My Head

Ripped at 320 kbps

Swell Maps - A Trip to Marineville (1979)

Noisy and experimental, Britain's Swell Maps experienced little commercial success during the course of their chaotic career, but in hindsight they stand as one of the pivotal acts of the new wave: not only was the group an acknowledged inspiration to the likes of Sonic Youth and Pavement, but their alumni - most notably brothers Nikki Sudden and Epic Soundtracks - continued on as key players in the underground music community. Although Sudden (vocals/guitar) and Soundtracks (piano/drums) formed the first incarnation of the Swell Maps as far back as 1972, the group did not begin to truly take shape until 1976, when the siblings enlisted bassist Jowe Head and guitarist Richard Earl. In the spirit of punk's "do-it-yourself" mentality, they formed their own label, Rather Records, and issued their debut single - the brief, jarring "Read About Seymour" - in the early weeks of 1978. Local media support soon won the group a distribution pact with Rough Trade, but they did not resurface until over a year later with the single "Dresden Style."
In mid-1979, the Swell Maps released their full-length debut A Trip to Marineville, a crazy-quilt of punk energy and Krautrock-influenced clatter. After the release of the speaker-shredding single "Let's Build a Car," the group recorded one final studio LP, Jane from Occupied Europe, before breaking up. Each of the members followed their own career paths, playing solo and forming bands: Sudden formed the Jacobites, Soundtracks joined Crime and the City Solution, and Head played with the Television Personalities. - Jason Ankeny

  1. HS Art
  2. Another Song
  3. Vertical Slum
  4. Spitfire Parade
  5. Harmony In Your Bathroom
  6. Don't Throw Ashtrays At Me
  7. Midget Submarines
  8. Bridge Head
  9. Full Moon In My Pocket
  10. Blam!!
  11. Full Moon Reprise
  12. Gunboats
  13. Adventuring Into Basketry
  14. My Little Shops
  15. Loin Of The Surf
  16. Doctor At Cake
  17. Steven Does
  18. Bronze And Baby Shoes
Ripped at 320 kbps

Zoinks! - Stranger anxiety (1996)

Before Zac Damon was ever in Screeching Weasel and Big in Japan, he was in Zoinks!, one of the greatest punk bands ever (if you ask me anyway). This album is a collection of Zoinks! songs that were on 7 inch's and compilations. The CD booklet explains where they came from in much more detail, and also gives listings of the labels you can get the original releases from, so I'm not gonna waste my time telling you about that. I will tell you that this CD contains two of my favorite punk songs ever. 'Stumble', which is a cover of a Man Dingo song, and 'Pedestal' are two classics. 'Stumble' has an unbelievably catchy chorus and guitar hook, while 'Pedestal' has one of the best guitar parts and some of the best drumming I've ever heard. By the way, Bob Conrad is one of the best technical drummers in punk rock, and Zoinks! are worth checking out for him alone. (from www.punknews.org)

Ripped at 192 kbps
1. Dirty Underwear
2. Page Five (Blue Violet)
3. Roid Rage Talkshow
4. Ten Cents Stamps
5. Stumble
6. Bridge Over Brautigan
7. Pedestal
8. Hooray!
9. Not as If
10. Rope Tied
11. Last Song for Barbie
12. Sapsucker Sluggo
13. Brawler
14. Garbage
15. Carcinogen (Not About Smoking)
16. Yearbook
17. Locked In
18. False Face
19. New Shoes

The Saints - Nothing Is Straight in My House (2005)

Since 1997's Howling, Chris Bailey has been working hard to re-establish the Saints's reputation as a tough, hard-edged rock & roll band after a string of pop-oriented albums in the 1980s, and 2005's Nothing Is Straight in My House takes a further step in the right direction by pairing Bailey with one of the best guitarists in Australian rock, Marty Willson-Piper of the Church. While Nothing Is Straight in My House is a far cry from the punk-flavored assault of (I'm) Stranded, the pounding opening salvo of "Porno Movies" shows Willson-Piper knows how to confidently make with the crunch, while drummer Pete Wilkinson and bassist Caspar Wijnberg set up a menacing throb in the background. While Bailey does throw in a few mid-tempo numbers along the way, such as the folk-rock-influenced "I Couldn't Help Myself" and "Garden Dark," the good news is "Bang On," "Paint the Town Electric," and "Nylon Pirates" find the Saints rocking out with smarts, swagger, and supreme confidence, and Chris Bailey is once again producing the sort of sneering vocals that made him a contender back in the day. Bailey is also writing up to his best standard on this set, and while the overly clean production sometimes holds the band back, the fact is this album rocks, and when it comes to the Saints, that's always good news. Great stuff. (Allmusic.com)

1 Porno Movies
2 Madman Wrecked My Happy Home
3 Nothing Is Straight in My House
4 Digging a Hole
5 I Couldn't Help Myself
6 Paint the Town Electric
7 Nylon Pirates
8 Bang On
9 Taking Tea With Aphrodite
10 Passing Strange
11 Garden Dark
12 Where Is My Monkey
13 Nothing is Straight (Slight Return)

Ripped at 192 kbps

The Ex - Mudbird Shivers (1996)

This astonishing post-punk group from Amsterdam formed in 1979, and produced a baffling amount of material on 7", LP, and CD throughout the '80s and '90s. Mudbird Shivers is a fantastic introduction to their varied material, which is high-energy post-punk in a similar vein to Fugazi, Crass, and Shellac. Incidentally, they have toured with the former and have had material produced by Steve Albini. Fitting that this abrasive and pragmatic producer should be hired to capture their energy which is often best witnessed on stage, where spontaneity is at its optimum. That isn't to say that that energy isn't here. To describe their approach, the Ex is a quintet of guitars percussion and vocals -- stylistic references would be Captain Beefheart for all the angular abrasive guitar work and syncopated rhythm, early P.I.L. in that they share the influence of African and Jamaican musics -- but the most striking reference is European traditional and folk, given a post-punk electric shock on this engaging album. Highly political in their lyrical content, the range here covers angular bass and drum rhythms while guitars skate about colliding in squalls of noise like Sonic Youth that surpass the hardest post-punk rockers such as Jesus Lizard or June of 44 in energy. At other moments, folk songs 1are given simple guitar and vocal arrangements that provide relief from the barrage of propulsive noise workouts. These folk songs, such as "The Carpenter," recall British folk revivalists Kevin Coyne and Burt Jansch in some ways, and they may sound unusual when considering that the rest of the album is made up of avant-rock chaos and political diatribe that is far from subdued. Like the Sonic Youth of "Evol," their ambition is to cover a wide range of moods on this album, and similarly allow their syncopated songs to collapse into improvisational string-noise storms -- moments that come as blissful relief from the pummeling syncopation of "Rhet Roper," the lyrics directed at a reporter. Of the Ex collection, this is one of the more accessible recordings; while it is a classic sprawling double set similar to the Crass concept albums, it explores more experimental aspects of the group in different settings. While "The Ex and Guests" is another double set that has the group working with free improvisers in ad hoc settings, here they reach the peak of their aesthetic as they did on the much-loved Scrabbling at the Lock where the late cellist Tom Cora gives their barrage a melodic edge with his folk-inflected cello. Mudbird Shivers is as essential as that album for fans of skewered abrasive post-punk, and it is in keeping with the aesthetic of the Touch and Go label with whom they signed in the '90s.

Ripped at 320 kbps

Original Sinners - Original Sinners (2002)

Supported by a stellar cast of musicians, including members of the Distillers and Sluts for Hire, L.A. punk chanteuse Exene Cervenka makes a welcome return as frontwoman for Original Sinners, displaying a fire and focus not seen since her days in X. The album opens with the scorching "Birds & Bees," driven by exhilarating surf beats and punk guitar breaks. Songs about white-trash love gone wrong abound, but always with a wry, ironic twist that is uniquely Cervenka's. The alcohol-drenched country-rock duet between Cervenka and Jason Edge, "Whiskey for Supper," recalls her off-key harmonizing with John Doe; her lyrics are characteristically and hilariously skewed ("I need a little bartenderness/Assault and flattery/Pleading internally...Spin the bottle, spin the bed/Crazy in love or crazy instead?"). "One Too Many Lies" starts as just another twangy been-done-wrong-by-a-cheatin'-man song and ends as a sort of gritty, redneck feminist anthem ("You said a woman should learn her place/That's the one lie that I'm talking about/Really you know I don't mind the rest/That's the one lie that made me/Tear up my wedding dress") that's propelled by blazing steel-guitar riffs and driving rhythms. Several instrumentals serve to showcase the greener musicians' chops (lest they be upstaged by Cervenka's distinct vocals?): Soto's "Alligator Teeth" and "Mourning After" and the Cervenka-penned album-closer, "Tick Tock." This is a great first effort from Original Sinners that'll have nostalgic X fans thrilling. (Allmusic.com)

Ripped at 192 kbps

Messer Chups - Hyena Safari (2006)

Listening to a Messer Chups album is like walking through a haunted house; you're never sure what's lurking behind the next corner. The Russian duo of Oleg Gitarkin and err, Zombie Girl, return with another slab of twisted, sound-effect driven surf and garage rock guaranteed to turn heads as the soundtrack to your next retro Halloween party. There are scant credits so it's impossible to say if the many samples of what seem to be classic schlock horror movies are composed by the band or actually grabbed from old flicks. Regardless, the result will keep you entertained through all 18 cuts and 50 minutes.
With the heavy Cramps meets the Ventures schtick, it would be easy for this to devolve into a repetitious cliché, and in fact tracks such as "Coffin Dolls" with its mournful cello behind fun house noises could have been left on the cutting room floor. But the band typically reigns in those tendencies. The tunes are short, tight and generally don't overstay their welcome, even if the album does start to lose steam in the homestretch. But before that it's a roller coaster ride of sonic lunacy featuring reverbed guitar careening around stripped down trashy surf rockers that only need Screamin' Jay Hawkins' voodoo vocals as icing. Covers of Henry Mancini's "Charade," "Music to Watch Girls By" (turned into "Music to Watch Zombie Girl By") and "Popcorn"(here titled "Popcorno"), none credited to their original writers, effectively bring Messer Chups' warped spin on these oldies. Occasional whistling also adds to the weirdness. Turn down the lights, lock the doors, push play and wander through the band's campy B-movie world. (allmusic.com)

Highly recommended

1 Night of Open Coffins
2 Cat's Mummy
3 Inferno Image
4 Charade
5 Dark Dealer
6 Popcorno
7 Skeleton Topless
8 Last Last Inch
9 Little Blood Sucker
10 Devil out of Fashion
11 Music to Watch Zombie Girl By
12 Sex Change
13 Fender Satanic Limited Edition
14 Hexe Chips
15 Coffin Dolls
16 First Love of Szandor Diabolikoff
17 Hyena Club
18 Jamaica

Ripped at 192 kbps
File Size: 74504 KB

Sunday, April 26, 2009

Hash Palace - Overday/Rise (1993) 7" Vinyl-Rip

Grunge(?) Punk(!) with some old 60's/70's influences.
Good 7" for this band that sounds to me as Ted Nugent meets Redd Kross.
Good vocals too.
Ripped at 320 kbps from 7" vinyl

Saturday, April 25, 2009

The Bo Weevils - That Girl/I Want Youl (1986) 7" Vinyl-rip

The Bo-Weevils (1985-97) were a Melbourne, Australia based psychedelic rock band blending psychedelic music, pop music, garage rock and rock music. Their early garage incarnation was a lot easier to classify and won fans easily, but the band evolved away from these roots from the late 80's into more cerebral and accomplished directions.

They had a dedicated cult following in Australia and Europe during the late 1980s to mid 1990s, and performed many impassioned local shows as well as tours to Sydney, Adelaide and Wellington. Elements of their sound are similar to aspects of successful contemporary Australian bands of the time, such as Died Pretty, Hoodoo Gurus, The Stems and The Church as well as American groups Green on Red and The Dream Syndicate.

Bass player Neil Rogers has been described as a 'doyen' of Australian Music by Music Journalist Patrick White of The Age, for his 20 years as a DJ on Melbourne Radio Station 3RRR. Rogers continues to host the Aus Mood show on a Thursday evening playing exclusively Australian acts.(From Wikipedia)

Ripped from vinyl at 320kbps

VV.AA. - Gathered (1982) LP Vinyl-Rip

Originariamente uscita per la Electric Eye nel 1982, è storicamente la PRIMA compilazione a dar spazio al “nuovo” rock italiano.

1982. Il punk ha fatto in tempo a ritagliarsi un ruolo definito, ovvero quella militanza fuori partito e anti-istituzionale, alla maniera dei Crass, che lo rende appannaggio del conflitto sociale, meno che della ricerca intellettuale - prerogativa, invece, del post-punk.
Nell’indifferenza generale dei mass media, fanzine come Rockerilla sentono invece la missione di provare un serio giornalismo musicale, in modo da sostenere lo sviluppo della scena italiota e promuoverne l’ascesa a livello internazionale. Con queste premesse, è lecito supporre quanto una tale rivista avesse meno a cuore una battaglia sociale rispetto a un suono nuovo.
Gathered è così dedicata alla nuova ondata di gruppi che sono riusciti a conquistare una certa notorietà (seppure nell’underground) e che si possono già dire “rappresentativi”. La prima conseguenza è l’impressione, al primo ascolto odierno, di una scopiazzatura generalizzata dei modelli inglesi o americani. Ma facciamo finta, per un momento, di uscire dai postumi della sbornia del revival new-wave degli ultimi anni; proviamo a insinuarci nella profondità del tempo. Diversi ci appariranno, questi gruppi, se pensiamo che sono stati tra i primi a importare punk e new wave esteri. Se proprio non vogliamo chiamarli pionieri, cerchiamo ci capacitarci dell’impatto di novità che hanno provocato, soprattutto nei live; dal vivo (ovvero nel modo più fruibile) questi musicisti hanno lavorato a un minimo comune denominatore da cui avere la possibilità di ripartire, condicio sine qua non della creatività, purché senza tradizione italiana, grado zero di una nuova stagione musicale.
Così tornando a Gathered, ha un sapore diverso pensare al suo sguazzare nel funk bianco e nel mondo dei Joy Division – e soprattutto della voce di Ian Curtis. Venice degli State Of Art sviluppa su una base funk newyorkese una parte vocale che sarebbe stata perfetta per il Curtis dell’immediato dopo-Warsaw. Stesso discorso per gli X-Rated (Tokyo Alert). I Victriola hanno chitarre più che imparentate ai Cure di Faith. La cantante degli Style Sindrome ricorda, senza nessuna difficoltà, la solita Siouxsie.
Not Moving

Di mezzo agli emuli, però, ci sono già lampi estranei dall’andazzo. I Not Moving, con un rockabilly da thriller eroinico (Baron Samedi) su tastiere elettroniche (e vi pensiamo, o Suicide). O addirittura i Death SS, gruppo heavy-metal bafomettiano – ed è interessante notare come l’atmosfera oscura li facesse confluire in un paragone con lo standard dark, già allora assestato. E poi Haiti Blues, il witz jazz-wave degli Eazy Con, che ripete un’idea del sassofono (memore di Sonny Rollins) sopra una drum machine e una calda voce transgender. I Pankow. E, per concludere, i Dirty Actions, tra le prime band ad affacciarsi al post-punk, con una particolarità: cantano la loro Bandana Boys nella lingua di Dante.

Quest’ultima nota fece storcere il naso a Campo, Sorge e soci. La prima forma di appaiamento con gli anglosassoni, infatti, doveva essere la lingua; troviamo, tra le recensioni di allora, parole inglesi e non più ridicoli inglesismi, e, a proposito di casi come quello dei Dirty Actions, qualche recriminazione linguistica – a sfavore dell’italiano – da riscattare con la musica. Lo stesso atteggiamento accolse due delle band che spostarono il baricentro di interesse da Genova a Firenze, Diaframma e Litfiba, le due componenti più famose (col senno di oggi) che compaiono su Body Section, la seconda uscita che trattiamo. È passato solo un anno, da Gathered (siamo alla fine del 1983) – ma quel grado zero di cui sopra è stato raggiunto e superato, e si provano le varianti – tanto che, in un’intervista, i Rinf (tra le cose migliori di questa compilation) arrivano a dichiararsi “disgustati” dal fatto che tutti si limitassero a fare funky.
Ma, insieme al funk, Body Section perde anche un po’ di freschezza. Divisa in due parti – la “Blue Section”, più “soft”, e la “Red Section”, più sperimentale – segna l’ingresso di una pesantezza di layer, synth, e quelle che sarebbero diventate le “solite tastiere”. Il post-punk si sta tramutando in dark-wave (è il caso di Vanity Fair dei Frigidaire Tango – di cui parliamo più in basso, oppure di Dreamtime Comes dei Kirlian Camera); già si affaccia il synth-pop (si ascoltino i Jeunesse D’Ivoire di A Gift Of Tears, per avvertire il passaggio, o i Modo di Eyes In The Mirror, per il punto di non ritorno).

Rimane, certo, la tensione, la perturbazione delle idee; lo è il boogie violento dei Vov Rei, dal titolo Fear, che sembra uscire dritto dai Bauhaus di In The Flat Field – dopo un’intro alla Spacemen 3 (!). E, sopra a tutti, si stagliano le costruzioni dei Die Form (anima della “Red Section”), presentati come miscela industriale che ricorda Sheffield tanto quanto le parabole schizzate del Pop Group. Ciò che sembra spazzato via è la veemenza irriflessa del punk; ciò che si fa strada è la raffinatezza. (da www.sentireascoltare.com)

01. VICTROLA Into his gloves
02. STATE OF ART Venice
03. X-RATED Tokyo alert
04. NOT MOVING Baron Samedi
05. BLAUE REITER A correct adulation of himself
06. DEATH SS Terror
07. DIRTY ACTIONS Bandana boys
08. B-SIDES Automaton's
09. STYLE SINDROME Waving in the dark
10. WAX HEROES Maimed
11. EAZY CON Haiti blues
12. PANKOW We are the joy

Ripped at 320 kbps from vinyl Lp
File size: 106840 KB

RAF PUNK - W la resistenza (1981)

Non riuscivo a trovare qualcosa che potesse celebrare questa "giornata della liberazione"(da chi?da cosa?ce ne/ve ne siamo/siete davvero liberati) così ho pensato che questa "canzone"(ah ah ah!!!) potesse essere rappresentativa nel 1981 come nel 2009.
Buon ascolto.

Thursday, April 23, 2009



Scusate, ma io non darò neanche un centesimo di euro a favore di chi raccoglie fondi per le popolazioni terremotate in Abruzzo. So che la mia suona come una bestemmia. E che di solito si sbandiera il contrario, senza il pudore che la carità richiede. Ma io ho deciso. Non telefonerò a nessun numero che mi sottrarrà due euro dal mio conto telefonico, non manderò nessun sms al costo di un euro. Non partiranno bonifici, né versamenti alle poste. Non ho posti letto da offrire, case al mare da destinare a famigliole bisognose, né vecchi vestiti, peraltro ormai passati di moda.

Ho resistito agli appelli dei vip, ai minuti di silenzio dei calciatori, alle testimonianze dei politici, al pianto in diretta del premier. Non mi hanno impressionato i palinsesti travolti, le dirette no – stop, le scritte in sovrimpressione durante gli show della sera. Non do un euro. E credo che questo sia il più grande gesto di civiltà, che in questo momento, da italiano, io possa fare.

Non do un euro perché è la beneficienza che rovina questo Paese, lo stereotipo dell’italiano generoso, del popolo pasticcione che ne combina di cotte e di crude, e poi però sa farsi perdonare tutto con questi slanci nei momenti delle tragedie. Ecco, io sono stanco di questa Italia. Non voglio che si perdoni più nulla. La generosità, purtroppo, la beneficienza, fa da pretesto. Siamo ancora lì, fermi sull’orlo del pozzo di Alfredino, a vedere come va a finire, stringendoci l’uno con l’altro. Soffriamo (e offriamo) una compassione autentica. Ma non ci siamo mossi di un centimetro.

Eppure penso che le tragedie, tutte, possono essere prevenute. I pozzi coperti. Le responsabilità accertate. I danni riparati in poco tempo. Non do una lira, perché pago già le tasse. E sono tante. E in queste tasse ci sono già dentro i soldi per la ricostruzione, per gli aiuti, per la protezione civile. Che vengono sempre spesi per fare altro. E quindi ogni volta la Protezione Civile chiede soldi agli italiani. E io dico no. Si rivolgano invece ai tanti eccellenti evasori che attraversano l’economia del nostro Paese.
E nelle mie tasse c’è previsto anche il pagamento di tribunali che dovrebbero accertare chi specula sulla sicurezza degli edifici, e dovrebbero farlo prima che succedano le catastrofi. Con le mie tasse pago anche una classe politica, tutta, ad ogni livello, che non riesce a fare nulla, ma proprio nulla, che non sia passerella.

C’è andato pure il presidente della Regione Siciliana, Lombardo, a visitare i posti terremotati. In un viaggio pagato – come tutti gli altri – da noi contribuenti. Ma a fare cosa? Ce n’era proprio bisogno?
Avrei potuto anche uscirlo, un euro, forse due. Poi Berlusconi ha parlato di “new town” e io ho pensato a Milano 2 , al lago dei cigni, e al neologismo: “new town”. Dove l’ha preso? Dove l’ha letto? Da quanto tempo l’aveva in mente?

Il tempo del dolore non può essere scandito dal silenzio, ma tutto deve essere masticato, riprodotto, ad uso e consumo degli spettatori. Ecco come nasce “new town”. E’ un brand. Come la gomma del ponte.

Avrei potuto scucirlo qualche centesimo. Poi ho visto addirittura Schifani, nei posti del terremoto. Il Presidente del Senato dice che “in questo momento serve l’unità di tutta la politica”. Evviva. Ma io non sto con voi, perché io non sono come voi, io lavoro, non campo di politica, alle spalle della comunità. E poi mentre voi, voi tutti, avete responsabilità su quello che è successo, perché governate con diverse forme - da generazioni - gli italiani e il suolo che calpestano, io non ho colpa di nulla. Anzi, io sono per la giustizia. Voi siete per una solidarietà che copra le amnesie di una giustizia che non c’è.

Io non lo do, l’euro. Perché mi sono ricordato che mia madre, che ha servito lo Stato 40 anni, prende di pensione in un anno quasi quanto Schifani guadagna in un mese. E allora perché io devo uscire questo euro? Per compensare cosa? A proposito. Quando ci fu il Belice i miei lo sentirono eccome quel terremoto. E diedero un po’ dei loro risparmi alle popolazioni terremotate.

Poi ci fu l’Irpinia. E anche lì i miei fecero il bravo e simbolico versamento su conto corrente postale. Per la ricostruzione. E sappiamo tutti come è andata. Dopo l’Irpinia ci fu l’Umbria, e San Giuliano, e di fronte lo strazio della scuola caduta sui bambini non puoi restare indifferente.

Ma ora basta. A che servono gli aiuti se poi si continua a fare sempre come prima?
Hanno scoperto, dei bravi giornalisti (ecco come spendere bene un euro: comprando un giornale scritto da bravi giornalisti) che una delle scuole crollate a L’Aquila in realtà era un albergo, che un tratto di penna di un funzionario compiacente aveva trasformato in edificio scolastico, nonostante non ci fossero assolutamente i minimi requisiti di sicurezza per farlo.

Ecco, nella nostra città, Marsala, c’è una scuola, la più popolosa, l’Istituto Tecnico Commerciale, che da 30 anni sta in un edificio che è un albergo trasformato in scuola. Nessun criterio di sicurezza rispettato, un edificio di cartapesta, 600 alunni. La Provincia ha speso quasi 7 milioni di euro d’affitto fino ad ora, per quella scuola, dove – per dirne una – nella palestra lo scorso Ottobre è caduto con lo scirocco (lo scirocco!! Non il terremoto! Lo scirocco! C’è una scala Mercalli per lo scirocco? O ce la dobbiamo inventare?) il controsoffitto in amianto.

Ecco, in quei milioni di euro c’è, annegato, con gli altri, anche l’euro della mia vergogna per una classe politica che non sa decidere nulla, se non come arricchirsi senza ritegno e fare arricchire per tornaconto.
Stavo per digitarlo, l’sms della coscienza a posto, poi al Tg1 hanno sottolineato gli eccezionali ascolti del giorno prima durante la diretta sul terremoto. E siccome quel servizio pubblico lo pago io, con il canone, ho capito che già era qualcosa se non chiedevo il rimborso del canone per quella bestialità che avevano detto.

Io non do una lira per i paesi terremotati. E non ne voglio se qualcosa succede a me. Voglio solo uno Stato efficiente, dove non comandino i furbi. E siccome so già che così non sarà, penso anche che il terremoto è il gratta e vinci di chi fa politica. Ora tutti hanno l’alibi per non parlare d’altro, ora nessuno potrà criticare il governo o la maggioranza (tutta, anche quella che sta all’opposizione) perché c’è il terremoto. Come l’11 Settembre, il terremoto e l’Abruzzo saranno il paravento per giustificare tutto.

Ci sono migliaia di sprechi di risorse in questo paese, ogni giorno. Se solo volesse davvero, lo Stato saprebbe come risparmiare per aiutare gli sfollati: congelando gli stipendi dei politici per un anno, o quelli dei super manager, accorpando le prossime elezioni europee al referendum. Sono le prime cose che mi vengono in mente. E ogni nuova cosa che penso mi monta sempre più rabbia.

Io non do una lira. E do il più grande aiuto possibile. La mia rabbia, il mio sdegno. Perché rivendico in questi giorni difficili il mio diritto di italiano di avere una casa sicura. E mi nasce un rabbia dentro che diventa pianto, quando sento dire “in Giappone non sarebbe successo”, come se i giapponesi hanno scoperto una cosa nuova, come se il know – how del Sol Levante fosse solo un’ esclusiva loro. Ogni studente di ingegneria fresco di laurea sa come si fanno le costruzioni. Glielo fanno dimenticare all’atto pratico.

E io piango di rabbia perché a morire sono sempre i poveracci, e nel frastuono della televisione non c’è neanche un poeta grande come Pasolini a dirci come stanno le cose, a raccogliere il dolore degli ultimi. Li hanno uccisi tutti, i poeti, in questo paese, o li hanno fatti morire di noia.
Ma io, qui, oggi, mi sento italiano, povero tra i poveri, e rivendico il diritto di dire quello che penso.
Come la natura quando muove la terra, d’altronde.

Giacomo Di Girolamo

Wednesday, April 22, 2009

Phantom Payn - Vol. II (1991) 7" EP Vinyl-Rip

A1 The People In My Town Are Full Of Shit
A2 While She Is Sleeping
B1 The Gospel According To 25
B2 Laughing All The Way To The Bank

Ripped from 7" Vinyl EP at 320 kbps

Sunday, April 19, 2009

The Jon Spencer Blues Explosion – Jukebox Explosion

Formed in 1991 after the demise of Jon Spencer's seminal band Pussy Galore, the Jon Spencer Blues Explosion has always included drummer Russell Simins and guitar ace Judah Bauer. Taking cues from rock, punk, R&B, garage, hardcore, and hip hop idioms, while transcending the limitations of each, the Blues Explosion created a new sound which they've spent the last 16 years honing and redefining. Their music is as deft and bold and life-affirming as the Meters, the Magic Band, or the Birthday Party.
Jukebox Explosion captures one of the most exciting, original, and influential bands to emerge in the 1990s at the absolute peak of their powers. If you dig rock 'n' roll music, this stuff is absolutely essential.
Given their fervent belief in all that is loud, sleazy, and butt-shakable, it's no great surprise that the Jon Spencer Blues Explosion saved some of their most raucous performances for that most all-killer, no-filler of audio formats, the 7" single. Jukebox Explosion crams 18 JSBX sides that were previously available only on 7" vinyl (most as part of In the Red's Blues Explosion Jukebox Series) or were never before released onto one CD for the turntable deprived, and if this set lacks a bit of the coherent flow of the group's best albums, for sheer party-down noise this is high-octane frenzy at its most satisfying. While some observers have grumbled that JSBX's work in the 21st century hasn't been up to the standards they previously established, even the newer tracks on Jukebox Explosion roar like a mountain lion on steroids, with the Plastic Fang outtake "Ghetto Mom" sounding as good as anything on board. Other high points include "Caroline," a venomous kiss-off to the band's former record label; the slow and melodramatic "Jailhouse Blues" (a cover of an old Andre Williams number); the heavy-grinding "Showgirl" (featuring Cristina Martinez of Boss Hog on backing vox and previously available as a giveaway from Sassy Magazine, of all places); and "Curfew Blues," a soulful strut Spencer confesses was ripped off from Earl King at the fade. If you prefer JSBX's more polished efforts such as Acme and Plastic Fang, Jukebox Explosion may not be your cup of cheap whiskey, but if you want to hear this band rocking full-stop, this does the job as well as anything these guys have released since Crypt Style. Points added for the excellent cover artwork by Mort Todd, which should look familiar to fans of the Back from the Grave series.

Ripped at 320 kbps

Red Lorry Yellow Lorry - Open Up (1988)7" Vinyl-Rip

If you loved Joy Division, you'll like Red Lorry Yellow Lorry, who similarly inhabit a bleak world in which swirling guitar figures and pretentious, gloomy lyrics are the only comforts. While Joy Division was the unchallenged champ of these nether regions, Leeds' Lorries work the territory with enough savvy and intelligence (not to mention a cool suppressed-acid-rock guitar sound) to make it work.

a1 Open Up
b1 Another Side

Ripped at 320 kbps

New bomb Turks/Devil dogs - Split 7" (1993) Vinyl-Rip

The Devil Dogs were a New York-based garage punk band, started in 1989 by Andy Gortler (guitars), Steve Baise (bass) and Paul Corio (drums). They parted in late 1994.
Steve Baise collaborated with members of Turbonegro on a mid-'90s band called The Vikings.
Noise for Heroes has a nice article about The Devil Dogs that originally appeared in NFH #18 in the winter of 1990, and you can find it here.
On this split 7" they cover New Bomb Turks' s 'Tattooed apathetic boys' while the band from Columbus is playing their 'Dogs on 45 Medley'
All this has been ripped for everyone's joy at 320 kbps from 7" vinyl.

Wednesday, April 15, 2009

The Accused - Martha Splatterhead's Maddest Stories Ever Told (1988)

Fusing hardcore punk and heavy metal into a furiously thrashing hybrid, Seattle's the Accused invariably described to their style as "splattercore," a reference to their chief lyrical inspirations -- horror films and comic-book violence. It was a far cry from the political leanings of vocalist/bandleader Blaine Cook's previous band, the Fartz, but it gave them a definite crossover appeal among both punk and metal audiences. With their roots in hardcore, the Accused presaged the rise of the Seattle scene, but never fit into the grunge movement that sprang up around them. Some of their key personnel went on to join the grunge-metal band Gruntruck, but in their own lifespan, the Accused were a different enough beast that they weren't able to capitalize on all the attention afforded the Northwest underground.The Accused were formed in Seattle in 1981, originally consisting of vocalist John Dahlin, guitarist Tom Niemeyer, bassist Chibon "Chewy" Batterman, and drummer Dana Collins. Their first release was a split LP with the Rejectors, at which point they were playing straight-ahead hardcore. However, the other members' taste for metal pushed Dahlin out of the band in 1984, and his place was taken by ex-Fartz vocalist Blaine Cook (reverting to his real name after billing himself as Blaine Fart). Powered by Cook's demented vocals, the band issued its limited-edition debut EP, Martha Splatterhead (named after their monstrous new mascot), on the small Condor Records label.Continuing to hone their sound through touring, the Accused finally completed their first full-length LP in 1986; issued on Subcore Records, The Return of Martha Splatterhead established their hyperspeed approach and earned them a deal with the thrash label Combat. During the supporting tour, bassist Batterman was asked to leave, and the group brought in Alex "Maggot Brain" Sibbald as his replacement. Sibbald made his debut on 1987's More Fun Than an Open Casket Funeral, which significantly expanded the group's cult following. The 1988 follow-up, Martha Splatterhead's Maddest Stories Ever Told, featured a guest appearance by Metal Church guitarist Kurdt Vanderhoof.Combat subsequently dropped the Accused, who signed with a Seattle-area label called Nastymix, which was primarily associated with rap (specifically, launching the career of Sir Mix-a-Lot). There was also a change on the drumming front: Dana Collins departed in 1988, and was replaced by Steve Nelson for the half-studio, half-live Hymns for the Deranged mini-album. Following his exit, the powerhouse Josh Sinder came onboard in 1989, and appeared on the group's Nastymix debut, Grinning Like an Undertaker, the following year. 1991 brought the Straight Razor EP, and also the departure of Sinder, who joined Tad; he was replaced by Devin for the final Accused album, 1992's Splatter Rock. Niemeyer joined Skin Yard vocalist Ben McMillan in the grunge-metal band Gruntruck, a later version of which included Sibbald and Sinder as well; Sibbald and Sinder would later move on to a new project, the Hot Rod Lunatics. Cook sang for a time with a new band called the Black Nasty, whose lone album was released only locally. (From Allmusic.com)

1 Psychomania
2 The Bag Lady Song
3 Inherit the Earth
4 Deception
5 Molly’s X-Mas ’72
6 I’d Love to Change the World
7 You Only Die Once
8 Sick Boy (Live-GBH cover)
9 Chicago
10 Starved to Death
11 War=Death ’88
12 The Maddest Story Ever Told
13 Intro
14 Scared of the Dark
15 Losing Your Mind
16 Smothered Her Trust
17 Lights Out
18 The Hearse

Ripped from vinyl at 320 kbps

Tuesday, April 14, 2009

Bratmobile - The Real Janelle (1994) EP Vinyl-Rip

Bratmobile formed when University of Oregon students Allison Wolfe and Molly Neuman collaborated on an influential feminist fanzine, Girl Germs. The band played its first show as a two-woman act at Olympia's North Shore Surf Club on February 14, 1991, with Molly and Allison sharing duties on guitar, drums, and vocals.

During spring break 1991, Allison and Molly went to Washington, DC to follow Beat Happening and Nation of Ulysses on tour and try to work on a new form of Bratmobile that, at that time , included Jen Smith and Christina Billotte in the line-up. Together, they recorded and released a cassette tape entitled Bratmobile DC. Beat Happening's Calvin Johnson had previously introduced Molly to nascent guitarist Erin Smith from Bethesda, Maryland during the Christmas holiday in December, 1990 at a Nation of Ulysses show in Washington, DC. Smith was co-author, with her brother, of the much-revered TV pop culture fanzine Teenage Gang Debs when Allison and Molly asked her to jam with them. It clicked, and in July 1991 the trio played their first show as a 3-piece with Molly Neuman on drums, Erin Smith on guitar, and Allison Wolfe on vocals. They were just in time to play at the historic International Pop Underground Convention in Olympia, Washington, becoming the only band to appear twice.

From their first shows, Bratmobile were considered an exciting and important addition to the fertile early '90s NorthWest scene. From 1991 to 1994 Bratmobile released a classic album, Pottymouth, and an EP, The Real Janelle, on Kill Rock Stars, as well as The Peel Session recording before the intense media scrutiny and inner pressures of the Riot Grrrl movement hastened the band's breakup (on stage, no less) in 1994.(From Wikipedia)

Bratmobile's second 12", and their last release for close to six years, 1994's The Real Janelle is a big step up from the chaotic Pottymouth, both in musical skill and clarity of thought. The songs are more pointed -- "Brat Girl" is a violent screed holding up the infamous suburban high school serial rapists "the Spur Posse" as the ultimate result of the kind of emotional abuse touched on in "And I Live in a Town Where the Boys Amputate Their Hearts" -- and also more subtle. The low-key, quietly tense "Yeah, Huh?" is almost downright pretty in comparison to a full-force punk-rocker like "Die," but even the latter song is more controlled and direct than Bratmobile's earliest releases. The highlight, however, is the title track, the catchiest song of Bratmobile's career, and a scrappy punk-pop D.I.Y. classic.(From Allmusic.com)

Ripped at 320 kbps

Wednesday, April 8, 2009

VV.AA. - Live from The Masque Forming-Year one (1996)

"Do you wanna know what punk is?
Punk is crazy!!!"
this is how this album starts
This is the first of three albums dedicated to The Masque, the famous punk venue in Los Angeles, and produced by Exene from The X.

from Wikipedia: While the New York club scene showed a clear (if wary) support of punk rock once the Ramones and their brethren made it apparent they weren't going away, the Los Angeles underground rock scene -- which in retrospect seems to have spawned just as many memorable bands -- was without a real home until Brendan Mullen opened the Masque (located in the basement of a porno theater) in the summer of 1977. When the L.A.P.D. closed down the Masque in early 1978 for building code violations, 19 of the city's leading punk bands held a two-day benefit to raise funds to keep the Masque open (and it says a great deal about the Masque's importance that so many musicians would be willing to play a benefit to help out a club owner). This disc (the first in a series of three) is culled from four-track recordings of the benefit shows, and if the audio defines "warts and all" (it's generally adequate, but rarely especially good), the performances offer lots of blood, sweat, and fire. While a faulty PA kills John Denny's vocals for nearly half of the Weirdos' set, what's here conforms their reputation as L.A.'s first great punk band; they're blisteringly tight, and the anthemic "Teenage" and "We've Got the Neutron Bomb" are outstanding. The Bags (with Patricia Morrison, later of the Gun Club and the Sisters of Mercy, on bass) sound sloppy but enthusiastic, and their five cuts here pack a lot more punch than their few studio recordings.
The Germs' growth from initial incompetence into one of L.A.'s most curiously powerful bands should be an inspiration to rock neophytes everywhere; sadly, their set here shows they had a way to go before they would approach the rough genius of (GI), but it beats the hell out of the painful sludge of the Germicide: Live at the Whiskey cassette, thanks to the energizing presence of Weirdos' drummer Nickey Beat behind the traps. And if the Skulls were one of L.A.'s second-division punk outfits, they split the difference between Ramones-style energy and Sex Pistols-style rancor with vigor and fine ranting spirit. This is as close as we'll get to knowing what a night at the Masque could have been like, and from the sound of this disc, a great wild party was had by all.

Ripped at 320 kbps


The Zeros - Don't push me around (1991)

The Zeros, aka "the Mexican Ramones", were an American punk rock band, formed in 1976 in Chula Vista, California. The band was composed of Javier Escovedo (younger brother of Alejandro Escovedo) on vocals/guitar and Robert Lopez (later known as El Vez, "The Mexican Elvis") on guitar, who were both attending Chula Vista High School; and Hector Penalosa, bass, and Baba Chenelle, drums, who attended Sweetwater High School.

In 1977, The Zeros played their first major gig in Los Angeles at the Orpheum Theater, across the street from Tower Records/Sunset Strip, an influential record store. Opening the show was the first ever performance by The Germs, followed by The Zeros and then The Weirdos. The gig was promoted by Peter Case of The Nerves who later fronted The Breakaways and The Plimsouls. The Zeros first release, "Wimp" b/w "Don't Push Me Around" was released in 1977 on Bomp Records.

In 1978, Hector left the band briefly to live and play in Los Angeles, and was replaced by Guy Lopez, Robert’s brother. Soon after, Robert left to live in L.A. as well and his brother quit the Zeros also. Hector rejoined the band and they continued as a trio, and eventually relocated to San Francisco. In 1980, the band recorded a new single with the songs "They say," "Girl on the Block" and "Getting Nowhere Fast." After more touring that led to Austin, Texas and New York City, the band fizzled out. (from Wikipedia)

Ripped at 320 kbps

Tuesday, April 7, 2009

Moe Tucker - Dogs Under Stress (1994)

Dogs Under Stress is the fourth studio album by Maureen Tucker. It was released in 1994.

1 Crackin' Up
2 Me, Myself and I
3 I've Seen into Your Soul
4 I Don't Understand"
5 Crazy Hannah's Ridin' the Train
6 Danny Boy
7 Little Girl
8 Saturday Night
9 Train
10 Poor Little Fool
11 I Wanna

Ripped at 320 kbps

Moe Tucker - Oh No, They're Recording This Show (1992)

Another Moe Tucker.
I love this "girl's" albums and this is the live one recorded in France in 1992.

Ripped at 320 kbps


Monday, April 6, 2009

Theatre of Hate - Nero / Incinerator (1981) 12" Vinyl-Rip

Led by singer-songwriter and ex-member of punk band The Pack, Kirk Brandon, the original group also consisted of: guitarist Steve Guthrie, bassist Stan Stammers (The Straps/Epileptics), saxophonist John Lennard and drummer Luke Rendle from Crisis/The Straps.
This is the third single for Theatre of Hate.

Ripped from vinyl at 320 kbps

Theatre of Hate - The hop (1985) 12" Vinyl-Rip

While Conquistador was on Westworld Lp, this was the only edition of The Hop until the cd of Westworld came out.
This 12" came out in 1985, after the band had already dismissed.
Two alternate and longer version of "Do you believe in the western world" and"Original sin" are included.
Produced by Mick Jones.

A1 The Hop
A2 Conquistador
B1 Do you believe in the Westworld
B2 Original sin

Ripped from 12" vinyl at 320 kbps

Friday, April 3, 2009

The Cardiacs - Day is gone (1991) 12" Ep Vinyl-Rip

Cardiacs are an English band formed in 1976. Their broad combination of styles is sometimes referred to as Pronk (progressive punk), although singer Tim Smith prefers the description "Psychedelic" or simply "Pop". Their music is underpinned by Smith's unique singing and songwriting styles, and his poetically cryptic, philosophical and abstract lyrics.
Throughout their long career both fans and critics have always described their sound as entirely unique, varied, complex and often intense.
The music magazine Organ has commented that "one Cardiacs song contains enough ideas for most other band’s entire careers".
The band are also renowned for their profound influence on over three decades of musicians (including the pioneers of the Nu Metal, Avant-Garde Metal and Math Rock genres), manic stage performances and for their strong and enduring cult appeal.
"Day Is Gone" is the sixth single from Cardiacs, taken from the album, Heaven Born and Ever Bright. The other three tracks on the single are exclusive to this release. (from Wikipedia)

Bic Hayes originally recorded the guitar parts. When he was replaced by Jon Poole, much of the guitar was re-recorded, although exactly how much is not clear.

Ripped from 12"vinyl at 320 kbps
File Size: 31060 KB

Wednesday, April 1, 2009

The Leaving Trains - Transportational D. Vices (1989) LP Vinyl-Rip

Guided by magic-man producer Earle Mankey (the Weirdos, Runaways, Concrete Blonde), the Trains recorded two diametrically opposed albums in the late '80s: the short-&-sweet, hard-&-fast punk barrage TRANSPORTATIONAL D. VICES, with guitarist Sam Merrick (Bobbi Brat, the Nymphs); and the languorously obsessive collection of interwoven doom-ridden love songs, SLEEPING UNDERWATER SURVIVORS, recorded with Nymphs guitarist Bobby Belltower during Falling James' 1989-1990 stormy marriage to pre-fame Courtney Love (before everything fell apart, James also produced Hole's debut single).
(from www.theleavingtrains.com).

A1 Dude The Cat
A2 Love Or Die
A3 Cement
A4 Store
A5 Diggin' You
A6 You're Never Gonna Love Me Anymore
A7 Payday
A8 Sue Wants To Sleep
B1 Dead Days
B2 The Worst
B3 Any Old Time
B4 Favorite Bar
B5 Bad Mood
B6 Black Hole
B7 Everybody Loves A Clown

For more Leaving Trains music go here

Ripped from vinyl at 320 kbps
File size: 45982 KB

Ride - Ride (1990) EP Vinyl-Rip

Ride, who took their cue primarily from My Bloody Valentine, was one of most respected bands in existence during a short-lived, yet vital British music movement of the late 1980s and early 1990s. Dubbed by journalists as "shoegazing" for the musicians' habit of staring at the floor while playing live and "the scene that celebrates itself" because bands sometimes attended other like-minded acts' concerts, these bands musically created sounds at odds with traditional pop, rock, and punk.
Often described as ethereal or otherworldly, the shoegazing sound combined a myriad of distorted guitars, swirling keyboards, percussion, and voices--both human and instrumental--that were often indistinguishable from one another, obscuring individual identity. "We try to make the music the personality and keep ourselves quite anonymous," guitarist/vocalist Andy Bell once commented, as quoted by Gavin Stoker in Rock: The Rough Guide.
When grunge (imported from the United States) and Britpop swept across the United Kingdom, however, most of these shoegazing bands fell apart after they were suddenly ignored by the music media and the public. Ride lasted longer than most, staying intact amid critical derision and disinterested fans. The band released its final album, the highly acclaimed Tarantula, in March of 1996.(from www.musicianguide.com)
This one here is their 1st four-track EP release that provides a good overview of Ride circa 1989 -- while "Chelsea Girl" is a piercing example of Ride's churning trash-rock-cum-shoegazer, "Drive Blind" is a distinct marker on the band's path to some sort of glory (and an inglorious fade, alas.)
The EP was combined with its follow-up Play to form the Smile mini-album for the US market in July, 1990. Two years later, in November, 1992, Smile was released the UK, too, after the both British EPs had gone out of print.
Interesting listening.