Sunday, December 27, 2009
Info on Wikipedia, Here
A2 25 Hours A Day
A3 Big Bad Cadillac
A4 Man Without A Country
A5 California Summertime
A6 Hollywood Nights
B1 Born To Make You Cry
B2 Thunder Road
B3 Summertime Frog
B4 Love Bomb
B5 Living In The Streets
B6 Sex, Dope & Violence
Ripped from Lp at 320kbps
Saturday, December 26, 2009
The Unofficial Jonathan Richman Chords website lists 10 discernibly different versions: seven given an official release and three bootlegs. The 1972 John Cale version was a demo for Warner Brothers, and only saw the light when the Beserkley label in California collected the Modern Lovers' demos and put them out as the Modern Lovers album in 1976. Two more 1972 demo versions, produced by the notorious LA music svengali Kim Fowley, would be released in 1981 on a patchy album called The Original Modern Lovers, and a live version from 1973 would appear a quarter of a century later on the live record Precise Modern Lovers Order. In late 1974, Richman recorded a stripped-down version of the song for the Beserkley, which apparently took a little over two hours. This would be the Roadrunner (Twice), the most successful version. A further take, extended beyond eight minutes, and recorded live, was titled Roadrunner (Thrice) and released as a single B-side in 1977.
While every version of Roadrunner begins with the bawl of "One-two-three-four-five-six" and ends with the cry of "Bye bye!", each contains lyrical variations and deviations in the car journey Richman undertakes during the song's narrative, though it always begins on Route 128, the Boston ringroad that Richman uses to embody the wonders of existence. In one, he's heading out to western Massachusetts, and in another he's cruising around "where White City used to be" and to Grafton Street, to check out an old sporting store, observing: "Well they made many renovations in that part of town/ My grandpa used to be a dentist there." Over the course of the various recordings he refers to the Turnpike, the Industrial Park, the Howard Johnson, the North Shore, the South Shore, the Mass Pike, Interstate 90, Route 3, the Prudential Tower, Quincy, Deer Island, Boston harbour, Amherst, South Greenfield, the "college out there that rises up outta nuthin", Needham, Ashland, Palmerston, Lake Champlain, Route 495, the Sheraton Tower, Route 9, and the Stop & Shop.
Here's Roadrunner Once ripped for you from glorious 7" at 320 kbps
Beserkley Records was founded by Matthew King Kaufman along with members of the Bay Area band Earth Quake. Kaufman was a law graduate who became co-manager of Earth Quake, and helped them sign with A&M Records in 1970. After experiencing frustration at what he saw as A&M's incompetence in handling the band , and winning some compensation for the unauthorised use of Earth Quake's music in the movie The Getaway, he set up Beserkley Records, in 1973. Kaufman produced virtually all of Beserkley's output throughout its existence, often in association with Glenn Kolotkin, less frequntly with Kenny Laguna.
For the first two years of its existence, Beserkley only put out singles. The first release (in late 1973) was Earth Quake's version of the Easybeats' "Friday On My Mind".
Initially none of the Beserkley singles were especially successful, but in 1975 some were assembled, together with newly recorded tracks, into the album Beserkley Chartbusters Vol. 1. As well as tracks by Earth Quake, this included tracks by power pop group The Rubinoos, Jonathan Richman and Greg Kihn. Richman's recordings were his first as a solo performer (after the disbanding of the original Modern Lovers) and included the first released version of "Roadrunner" by Jonathan Richman, backed by Earth Quake.
Kaufman and Richman had previously worked together on the Modern Lovers' sessions for A&M in 1972. In 1976, Kaufman licensed those recordings, together with the ones the band had made around the same time with producer John Cale for Warner Bros., and released them on Beserkley as a highly acclaimed album, The Modern Lovers. Though neither Richman nor the Modern Lovers made the American charts, they were quite successful in the UK, with the singles "Roadrunner (Once)" and "Egyptian Reggae" making the UK top twenty.
Other 1970s Beserkley acts had less commercial success, although The Rubinoos made the US charts, hitting #45 with a cover of "I Think We're Alone Now" in 1977. As well, Earth Quake made the lower rungs of the American LP charts with their second of four albums for Beserkley (1976's 8.5, which peaked at #151).
Beserkley's records were initially distributed by Playboy Records until about 1977 (and during part of 1976, Playboy itself was distributed by CBS Records, and Beserkely was included in that arrangement, taking it from a small independently distributed label to briefly being a part of the huge CBS distribution system), then by Janus/GRT until 1979 and subsequently by Elektra.
Beserkley's major breakthrough came with Greg Kihn, who sang backup on Earth Quake and Richman records before forming his own band. Beginning with his third album (1978's Next of Kihn), Kihn regularly made the American album charts and received steady airplay on FM radio. By the end of 1980, Kihn was the only artist on the Beserkley roster, and in 1981 he had his first top 40 hit with "The Breakup Song (They Don't Write 'Em)". Kihn's early 1980s albums Rockihnroll (1981), Kihntinued (1982) and Kihnspiracy (1983) all reached the top 40 on the LP charts, and his 1983 single "Jeopardy" became Beserkley's biggest-ever hit, peaking at US #2.
The label's demise was relatively swift. After several years of success, Kihn's 1984 single "Reunited" flopped (peaking at #102) and the parent album Kihntagious stalled at #121 on the charts. Beserkely founder Kaufman then essentially dissolved the label and allowed Kihn to sign with major label EMI, where Kaufman would continue to act as Kihn's producer.
The Beserkley catalogue was licensed to Rhino Records in 1986. Kaufman later operated the Son of Beserkley label for a time in the 1990s; his current label is called Fun Fun Fun Recordings.(WIKIPEDIA)
The first thing the world at large heard by Jonathan Richman didn't feature the Modern Lovers at all. These four tracks are credited to just 'Jonathan Richman', though he is backed by Earth Quake on 'RoadRunner' and 'It Will Stand' and by The Rubinoos on 'The New Teller' and 'Government Center'.
Shortly after the LP was released, a single coupling the Chartbusters version of 'RoadRunner' with 'Friday On My Mind' by Earthquake was released in the US
Roadrunner was also released as a 7" in the UK by United Artists in August '75, this time with 'It Will Stand' on the b-side. It become a cult favorite, but nothing more. The arrangement of 'RoadRunner' loses the organ and uses acoustic guitars, taking it is a long way from 'Sister Ray'. It was recorded live (with one overdub), features some great ad-libbing and is a fantastic performance. 'Government Center' (also cut live, this time with no overdubs) is more suited to this new arrangement, while of the new songs, 'The New Teller' is a fab song about Jonathan's crush on a bank teller sung with such verve and feeling it becomes irresistible. Finally, 'It Will Stand' is a cover of a soul/doo wop track by the Showmen which may seem odd until you realise 1) it's about rock 'n' roll, and 2) it's a favorite of Iggy Pop that was introduced to Jonathan by Kim Fowley.
These four tracks are not the only ones on the LP featuring Jonathan - he can be heard clearly singing back up on Kihn's 'All The Right Reasons'.
Beserkely's set up was incestuous, with either Earthquake or the Rubinoos playing on every track, giving the LP a unified sound. It was a simple power-pop sound that harked back to the bubblegum era and heralded punk and new waves return to simplicity. It was both out of date and ahead of it's time. Jonathan would sometimes sing live with the Rubinoos around this time, coming on for a few songs, often including 'The New Teller'.
Earthquake Friday On My Mind
Greg Kihn All The Right Reasons
Jonathan Richman The New Teller
Jonathan Richman RoadRunner
Earthquake Tall Order For A Short Guy
Jonathan Richman Government Center
Jonathan Richman It Will Stand
Greg Kihn Mood Mood Number
Earth Quake (Sitting In The Middle Of) Madness
Ripped from LP at 320 kbps
Wednesday, December 23, 2009
Ripped from vinyl at 320 kbps
Friday, December 4, 2009
Great and catchy power pop here.
The first two tracks appeared on their self-titled debut album. The last two tracks did not.
Ripped from 7" ep at 320 kbps
Tuesday, December 1, 2009
A christmas song from Italy.
Gli Atrox nascono un imprecisato giorno dei primi anni '80 come band "scolastica" . Non c'era allora un gruppo vero e proprio, ma un insieme di persone senza la minima cognizione tecnico-musicale (chiunque poteva fare parte degli Atrox), che interveniva ai vari concerti di natale, carnevale o fine anno per protestare contro i gruppi che ad oltranza proponevano covers di Eagles, Deep Purple, cantautori o cori da stadio. Le prime fugaci apparizioni portarono subito alla luce quella che resterà poi la linea base del gruppo, ovvero l'espressione in "musica urgente" delle urgenze creative dei componenti, nonché un primo nucleo fisso composto da Roberto (voce) e Francesco (chitarra). Persi per strada gli elementi di contorno ai due si uniscono Alberto (batteria) e Rubé (basso), con i quali il gruppo mette in piedi i primi veri pezzi ed affronta i primi gigs seri. Nell'84 Alberto lascia la formazione e viene sostituito da Concobeach. Con questa line-up gli Atrox registrano artigianalmente nell'85 un primo nastro, "Senza Tregua" , auto prodotto e distribuito dalla Pacifist Words Attack di Ferrara. All'inizio dell'86 Rubé abbandona il gruppo e i tre superstiti, col passaggio di Roberto al basso, registrano sul finire dello stesso anno, un secondo nastro, "Orme Perdute", auto prodotto e auto distribuito un po' ovunque grazie soprattutto alle ottime recensioni ottenute. Ultimo entrato, verso la metà dell'87, Paolo Shock, voce, la cui presenza apporta tra l'altro un notevole miglioramento dei live acts, cosicché la band intensifica l'attività concertistica. Nell'88 la necessità di avere nuovo materiale inciso e la mancanza di fondi per farlo, porta alla decisione di far uscire un nastro dal vivo, "Aldo Moro Lived Hard core". L'89 è l'anno che vede gli Atrox impegnati nella registrazione del primo lavoro su vinile. "Fiori Neri", L.P. contenente 25 pezzi, costituisce un po' il riepilogo dell'intera attività svolta fino ad allora. Nel dicembre del '92 l'EP 7" Sporco Natale, fresco di stampa, diventa l'hit delle vacanze invernali in tutto il network di Radio Popolare. La gestazione di "Domani Rosso Sangue" occupa l'intero 1993; il lavoro vede alfine la luce del laser (in quanto stampato su CD) nel settembre del '94. "Ventitré gustosi pezzettoni di conciso, efficace, fragoroso hard core italiano", come lo definisce Linus di novembre dello stesso anno, dove gli Atrox raccontano a modo loro gli stravolgimenti del mondo negli ultimi anni.
(per l'ntervista completa clikka qui)
Ripped at 320 from 7" vinyl
The last single for GEM was their all out attempt to get a top ten single. This included slick production and bribing the band to ware new romantic clothes. It did chart and the Subs played their last Top Of The Pops. They rushed out a limited version with two extra tracks to try and puss the single higher into the charts, but instead it fell. GEM tried to re negotiate the contract but could not make an agreement and the Subs moved on to NEMS records.
1) Keep On Running (Till You Burn) (Harper/Gibbs)
2) Perfect Girl (Harper/Garratt)
Ripped from 7" at 320 kbps
1) Party In Paris (Harper)
2) Fall Of The Empire (Harper/Garratt/Nixon)
Ripped from orange 7" at 320 kbps
1) Teenage (Harper)
2) Left For Dead (Harper/Garratt)
3) New York State Police (Harper/Garratt/Slack)
Ripped from 7" at 320 kbps
1) Warhead (Harper/Slack)
2) The Harper (Garratt)
3) I'm Waiting For The Man (Reed)
Ripped from 7" at 320 kbps
1) Tomorrows Girls (Harper)
2) Scum Of The Earth (Harper/Garratt)
3) Telephone Numbers (Harper/Garratt)
Ripped from Blue Vinyl at 320 kbps
Ripped at 320 kbps from 7"