TOO SHORT A LIFE

SCAMBIAMUSICA a Pianezza

2011-02-22T13:56:00.002+01:00

La mostra mercato del disco di Pianezza "SCAMBIAMUSICA" è ormai prossima.
La manifestazione avrà luogo in data
DOMENICA 27 FEBBRAIO 2011
presso il SALONE DELLE FESTE -
Via Moncenisio 5 - Pianezza (TO)

Poison Girls - Persons Unknown

2011-02-21T16:39:00.001+01:00

PORK DUKES- PINK PORK LP vinyl-rip 1978

2010-06-03T22:58:00.005+02:00

The band was originally composed of twin brothers and former Gnidrolog members Colin Goldring (vocals / guitar) and Stewart Goldring (guitar / vocals) using the pseudonyms Vilos and Horrendus Styles, respectively – alongside Scabs (bass guitar), Germun LePig (drums) (later replaced by Bonk aka. Rocky Rhythm) and Mack E. Valley (keyboards. He was later replaced by Guardian Angel prior partway through the recording sessions for the second album.

Combining a Buzzcocks-style pop punk sound with bawdy subject matter, gross-out toilet humour and profanity in their songs, the band released their debut single "Bend and Flush" b/w "Throbbing Gristle" in 1977 on Wood Records, a subsidiary of Caroline Records UK created specifically for the band.

Due to the lyrical content of their recordings, the band struggled for airplay, though it was known that BBC Radio 1 DJ John Peel was a fan.

The true identities of the Pork Dukes were originally a closely-guarded secret, the band playing in pig masks during live performances. Various rumours circulated amongst fans and in the music press that the band was actually Led Zeppelin, Steeleye Span, The Rezillos, Fairport Convention or Tenpole Tudor in disguise. It was also suggested that either Keith Moon or Dudley Moore may have been lead singer.

The controversy surrounding the band and backlash from feminist groups led to them being unable to find a management company to represent them or perform at large venues (gigs were frequently played unannounced at small community centres to avoid protesters). Towards the end the band were reduced to playing gigs at mental institutions (Vilos Styles was training to become a psychiatric nurse at this point) to entertain the patients.

Following the release of the studio Pink Pork and three singles on Wood Records, the band broke up in 1979, with the album Pig Out of Hell being released posthumously by Wood in either between 1979-1981. Bonk (aka. Rocky Rhythm) later played for The Revillos, Tenpole Tudor and The Damned frontman Dave Vanian's Phantom Chords.

In 2001 the Pork Dukes reformed. Returning to the band on drums was Bonk (aka. Rocky Rhythm) and new member Vince Santini (ex-The Revillos) on bass guitar / vocals, who replaced Scabs. They continue to record and tour.

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Chelsea - No-One's coming outside 1980 7" vinyl-rip

2010-05-09T15:59:00.004+02:00

Check out this great site for more infos about Chelsea

Ripped at 320 kbps from vinyl 7"

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Minutemen - Paranoid Time EP 1980 vinyl-rip

2010-05-09T15:15:00.002+02:00

Paranoid Time is the first EP, and first ever recording, by American hardcore punk band the Minutemen. It is also the second ever release by the SST record label, founded by Black Flag's Greg Ginn and Chuck Dukowski.
Read more on Wikipedia about the history of the record

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VV.AA - Marty Thau Presents 2x5

2010-04-16T18:04:00.003+02:00

NY punk compilation produced by Blondie's Jimmy Destri and featuring the Fleshtones, Revelons, Bloodless Pharaohs (Brian Setzer's pre-Stray Cats band), Comateens and Student Teachers.
At a time when disco reigned supreme the five innovative young New York bands featured on this unique compilation searched for an alternative. Borrowing liberally from the great bands of rock ‘n’ roll, they created 2x5’s music with an infectious spirit and energy in the tradition of the original nuggets bands like The Standells, Love and Chocolate Watch Band.
A gem!!!

Tracklist
1.“Shadow Line” Fleshtones
2.“Fascination” Fleshtones
3. “Bloodless Pharaoh” Bloodless Pharaohs ft. Brian Setzer
4.“Nowhere Fast” Bloodless Pharaohs ft. Brian Setzer
5.“Overseas” Comateens
6.“Late Night Cry” Comateens
7.“Red Hot Women” Revelons
8.“Cindy” Revelons
9.“Looks” Student Teachers
10.“What I Can’t Feel” Student Teachers

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The Wylde Mammoths - Help That Girl 7" EP

2010-04-16T17:16:00.006+02:00

Wylde Mammoths were founded in Stockholm, Sweden in the mid-80's and were part of the thriving garage rock scene of the day which included Stomachmouths, High Speed V, Crimson Shadows and The Creeps. In 1986 they were signed to the American label Crypt Records, being one of the first new bands Crypt released, before that they mostly made 60's garage compilations like the Back from the grave-series. Being very infuenced by the music of the 60's themselves, The Wylde Mammoths recorded their first album in singer Peter Maniette's basement only using an old 2-track Beocord tape recorder. Tours of the US and Europe and more records followed before the band split up in the early 90's.

TRACKLIST
a1 Help That Girl
a2 Nothing I Can Do
b1 You
b2 In My Lonely Room

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EBAY STORE: 2 MANY LICE Check it out

2010-02-12T02:02:00.002+01:00

I Just put some records on ebay for sale (more and more are coming next weeks).
Check it out here

Pharaohs - Real things (1985) Mini Album LP vinyl-rip

2010-02-08T22:16:00.001+01:00

First 6 songs MiniAlbum from this british psychobilly combo.

Tracklist

A1 Car Crash
A2 Real Things
A3 Brainstorm
B1 Inner Wealth
B2 Don't Stab My Picture
B3 All Around Me

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Jambon Street - Epatie virale (1983) vinyl rip

2010-02-07T01:44:00.001+01:00

De Kift - IJverzucht (1989) LP Vinyl-Rip

2010-01-29T01:30:00.001+01:00

De Kift was formed in Holland in 1988.
This one here is their first album.
Great energy in their music, which reminds me of The Ex.

This was a promo album that contained a promo card(in the picture)

The band has a very cool website, check it out Here

MYSPACE
Tracklist
A1 Code Het Alfabet
A2 Vlijt
A3 Staal Op Staal
A4 Nat & Stinkend Stroo
A5 Blind
A6 Sokke Met Gaten
B1 Dwars
B2 Ademnood
B3 Bokke Ze Neer
B4 Adrenaline Overdosis
B5 (Hartstikke) Gek
B6 De Passie VD Slager
B7 (Hou Je) Oren (Open)

Code Het Alfabet

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CARDIACS

2010-01-24T21:10:00.000+01:00

STUMP

2010-01-24T21:03:00.001+01:00

Sylvain Sylvain - Sylvain Sylvain (1980) LP rip

2010-01-09T14:45:00.005+01:00

It is often forgotten that Syl Sylvain co-wrote many of the New York Dolls' best songs, but he did. While this album will forever be compared to the classic first solo albums by Syl's fellow ex-Dolls, David Johansen and Johnny Thunders, this record is good enough to be judged on its own terms. The material here is strong, and it is more of a lighthearted '50s rock & roll affair than might have been expected. Two of the songs, "Teenage News" and "14th Street Beat," date back to the final days of the NY Dolls. These versions are fantastic and inevitably lead to singalongs. However, the real standout is "What's That Got to Do With Rock 'n' Roll?." It's an undeniable song, so much so that mainstream radio picked up on it at the time. The playing is really loose in a good way. Not sloppy by any means, but played, sung, and produced with an appreciation for what made rock & roll fun in the first place. (allmusic.com)

Teenage News

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

2009-12-27T13:51:00.004+01:00

Kim Fowley official site, HERE
Info on Wikipedia, Here

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

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

2009-12-26T16:20:00.000+01:00

Jonathan Richman,born in 1953, was infatuated with The Velvets, from the first moment he heard them on the radio in 1967. He met the band many times in his native Boston, opened for them in Springfield, and in 1969 even moved to New York, sleeping on their manager's sofa. Roadrunner owes its existence to the Velvet Underground's Sister Ray, though the three-chord riff has been pared back to two, just D and A.Richman apparently wrote the song in around 1970.

There are plenty of versions of Roadrunner.

The Unofficial Jonathan Richman Chords website lists 10 discernibly different versions: seven given an official release and three bootlegs. The 1972 John Cale version was a demo for Warner Brothers, and only saw the light when the Beserkley label in California collected the Modern Lovers' demos and put them out as the Modern Lovers album in 1976. Two more 1972 demo versions, produced by the notorious LA music svengali Kim Fowley, would be released in 1981 on a patchy album called The Original Modern Lovers, and a live version from 1973 would appear a quarter of a century later on the live record Precise Modern Lovers Order. In late 1974, Richman recorded a stripped-down version of the song for the Beserkley, which apparently took a little over two hours. This would be the Roadrunner (Twice), the most successful version. A further take, extended beyond eight minutes, and recorded live, was titled Roadrunner (Thrice) and released as a single B-side in 1977.

While every version of Roadrunner begins with the bawl of "One-two-three-four-five-six" and ends with the cry of "Bye bye!", each contains lyrical variations and deviations in the car journey Richman undertakes during the song's narrative, though it always begins on Route 128, the Boston ringroad that Richman uses to embody the wonders of existence. In one, he's heading out to western Massachusetts, and in another he's cruising around "where White City used to be" and to Grafton Street, to check out an old sporting store, observing: "Well they made many renovations in that part of town/ My grandpa used to be a dentist there." Over the course of the various recordings he refers to the Turnpike, the Industrial Park, the Howard Johnson, the North Shore, the South Shore, the Mass Pike, Interstate 90, Route 3, the Prudential Tower, Quincy, Deer Island, Boston harbour, Amherst, South Greenfield, the "college out there that rises up outta nuthin", Needham, Ashland, Palmerston, Lake Champlain, Route 495, the Sheraton Tower, Route 9, and the Stop & Shop.

Here's Roadrunner Once ripped for you from glorious 7" at 320 kbps

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

2009-12-26T15:54:00.008+01:00

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

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

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

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

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

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

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

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

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

THE RECORD
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'.

Tracklist

SIDE 1
Earthquake Friday On My Mind
Greg Kihn All The Right Reasons
Rubinoos Gorilla
Jonathan Richman The New Teller
Jonathan Richman RoadRunner
SIDE 2
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

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

2009-12-23T17:02:00.006+01:00

Early Mink DeVille sideman Fast Floyd (vocals/guitar) fronts this red-hot San Francisco R&B quintet, breathlessly belting out sizzling numbers (most of them covers) like "You Talk Too Much," "Wish You Would" and "Got the Water Boiling." Floyd's punkabilly whoop — like Tav Falco on steroids or Lux Interior minus the punk kitsch — adds gusto to the frenzied atmosphere; Franco St. Andrew blows a horny enough tenor sax to steam up some windows of his own. Capping off this dynamite blast of retro-styled party rock, the nudie cover shot of '50s sex queen Candy Barr nuzzling up to a phonograph perfectly captures the album's goodnatured sleaze.

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The Photos - Irene (1980) 7" EP

2009-12-04T14:39:00.005+01:00

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

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

Ripped from 7" ep at 320 kbps

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WELTRAUM + CANE KAMIKAZE live VELVET CLUB TORINO

2009-12-04T14:18:00.002+01:00

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

2009-12-01T13:55:00.001+01:00

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

Gli Atrox nascono un imprecisato giorno dei primi anni '80 come band "scolastica" . Non c'era allora un gruppo vero e proprio, ma un insieme di persone senza la minima cognizione tecnico-musicale (chiunque poteva fare parte degli Atrox), che interveniva ai vari concerti di natale, carnevale o fine anno per protestare contro i gruppi che ad oltranza proponevano covers di Eagles, Deep Purple, cantautori o cori da stadio. Le prime fugaci apparizioni portarono subito alla luce quella che resterà poi la linea base del gruppo, ovvero l'espressione in "musica urgente" delle urgenze creative dei componenti, nonché un primo nucleo fisso composto da Roberto (voce) e Francesco (chitarra). Persi per strada gli elementi di contorno ai due si uniscono Alberto (batteria) e Rubé (basso), con i quali il gruppo mette in piedi i primi veri pezzi ed affronta i primi gigs seri. Nell'84 Alberto lascia la formazione e viene sostituito da Concobeach. Con questa line-up gli Atrox registrano artigianalmente nell'85 un primo nastro, "Senza Tregua" , auto prodotto e distribuito dalla Pacifist Words Attack di Ferrara. All'inizio dell'86 Rubé abbandona il gruppo e i tre superstiti, col passaggio di Roberto al basso, registrano sul finire dello stesso anno, un secondo nastro, "Orme Perdute", auto prodotto e auto distribuito un po' ovunque grazie soprattutto alle ottime recensioni ottenute. Ultimo entrato, verso la metà dell'87, Paolo Shock, voce, la cui presenza apporta tra l'altro un notevole miglioramento dei live acts, cosicché la band intensifica l'attività concertistica. Nell'88 la necessità di avere nuovo materiale inciso e la mancanza di fondi per farlo, porta alla decisione di far uscire un nastro dal vivo, "Aldo Moro Lived Hard core". L'89 è l'anno che vede gli Atrox impegnati nella registrazione del primo lavoro su vinile. "Fiori Neri", L.P. contenente 25 pezzi, costituisce un po' il riepilogo dell'intera attività svolta fino ad allora. Nel dicembre del '92 l'EP 7" Sporco Natale, fresco di stampa, diventa l'hit delle vacanze invernali in tutto il network di Radio Popolare. La gestazione di "Domani Rosso Sangue" occupa l'intero 1993; il lavoro vede alfine la luce del laser (in quanto stampato su CD) nel settembre del '94. "Ventitré gustosi pezzettoni di conciso, efficace, fragoroso hard core italiano", come lo definisce Linus di novembre dello stesso anno, dove gli Atrox raccontano a modo loro gli stravolgimenti del mondo negli ultimi anni.
(per l'ntervista completa clikka qui)

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

2009-12-01T13:36:00.005+01:00

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)

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

2009-12-01T01:33:00.004+01:00

The debut with the new rhythm section. A video was shot for the single featuring a lame can can by Sun page 3 girls behind the band. It was not used. Neither was the top Of The Pops recording where fans jumped the stage at the BBC.

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

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

2009-12-01T01:22:00.003+01:00

This single was released while the band were on tour with unauthorized artwork. It did chart, but more popular were the two unreleased tracks on the B side.

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

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

2009-12-01T01:10:00.004+01:00

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

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

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

2009-12-01T00:57:00.009+01:00

Remix version from "Another Kind Of Blues" backed with two songs left off the album. Charted in the top 30 of the UK National charts. The model on the front is Joanne Slack, Steve & Paul's younger sister who later ran the fan club.

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

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

2009-12-01T00:31:00.003+01:00

Taking their own quirk of experimental, indie noise, San Francisco's Porch advantage their background angst of growing up while being taunted by the neighborhood bullies and took it out on their instruments. With each member being an alumni of other underground heroes (guitarist/ vocalist Todd Hutch was part of the original Primus, drummer David Ayer beat it for Samiam while bassist Chris Frey moved from Today Is The Day and his Mid-West contacts), Porch's impressive background lead them to some local press and a deal with Jello Biafra's label Alternative Tentacles Records. With a self-titled EP in 1993, Mammoth Records came through and put out their full-length the following year, appropriately titled "Porch." (Allmusic.com)

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

2009-11-13T22:41:00.006+01:00

One of Jonathan Richman's better '80s efforts, and certainly one of the most basic, performed in an acoustic trio format. It's nonetheless quite rocking, with heavy debts to doo wop and Bo Diddley rhythms, and a jolly (though not sappy) summertime campfire feel. Some of his best uptempo tunes are here, including "I Love Hot Nights," "California Desert Party," and "Gail Loves Me." (Allmusic.com)

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

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

2009-11-03T23:46:00.007+01:00

Of the many Pacific Northwest bands signed to Sub Pop following the great grunge gold rush of '91, Pond never earned the critical hosannas and commercial rewards heaped on many of their contemporaries, but their records have withstood the test of time surprisingly well thanks to a knack for smart pop hooks that perfectly complemented their post-punk angularity, and effectively anticipated the emergence of emo years ahead of the fact. Pond's Jon Auer-produced Sub Pop debut single immediately proclaims the group's strengths -- both "Wheel" and "Cinders" boast driving, taut melodies, surprising structural intricacies, and the spirited vocals of Charlie Campbell. And what no doubt seemed out of step with the prevailing musical tastes of 1992 now sounds positively timeless as the years continue zipping past. ~ Jason Ankeny, All Music Guide

More info about the band here

Tracklist
a1 Wheel
b1 Cinders

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

2009-11-03T23:22:00.006+01:00

THE HOLY ROLLERS are a three-piece from Washington D.C. They formed in 1988, with the line-up of Marc Lambiotte on guitar and vocals, Joe Aronstamn on bass and vocals (both Marc and Joe used to be in Grand Mal and Law of Fives), and Maria Jones on drums and vocals. In 1990, they released an album, "As Is" on DISCHORD RECORDS. "Fabuley" (a made-up word expressing extreme joy) followed that album.

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

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

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

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

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

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Vampyre state building - Triple A (1999) 7" Vinyl-Rip

2009-08-24T13:41:00.005+02:00

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

2009-07-12T11:42:00.003+02:00

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

Ripped from 7" at 320 kbps
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Dinosaur Jr. - Just like heaven (1989) 12"EP vinyl-rip

2009-07-12T11:18:00.005+02:00

What at the time must have seemed like a cockeyed gob back at the '80s American indie crowd's favorite whipping boys -- aka anyone from England who used makeup and synths -- now reads much more like an amusing, entertaining salute from one band to another. "Just Like Heaven" itself is the legendary Cure hit that fully broke them in America; in Dinosaur Jr.'s hands, the synth line is replaced by a J Mascis overdub and the chorus gets gang-shout vocals and death metal riffs, but the song itself survives the transplant perfectly. Mascis' usual vocal style is as idiosyncratic and appropriate as Robert Smith's, and the wistful, nutty vibe of the piece gets even more so at the full band's hands, right down to the sudden, cut-off ending. The other tracks, the brief acoustic/electric zone stomp of "Throw Down" and the surf thrash scream of "Chunks," are fine enough, but it's the lead track that has remained deservedly famous. Smith himself obviously loved it -- he got the band to open a Cure show in Los Angeles in 1992, where they played said cover to a somewhat bemused audience.

Ripped at 320kbps from 12" Ep
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John Peel Festive 50 1978

2009-07-11T13:53:00.005+02:00

John Peel's annual rundown of listeners' fifty favourite tracks of the year, 'The John Peel Festive 50' became a Christmas institution more loved than fairy lights and Christmas crackers.

Listeners of John's Radio 1 show picked the chart by voting for their three favourite tracks of the year before the end of November. The Festive 50 were then played on air.

Thanks to the original torrent uploader

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

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

2009-07-10T09:36:00.002+02:00

Oggi è una giornata così.

Fucktotum-Si ammazzano a Torino.

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

2009-07-09T09:42:00.005+02:00

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

Ripped from red Lp at 320kbps
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VV.AA. - The Moonlight Tapes (1980) LP vinyl-rip

2009-07-07T23:01:00.002+02:00

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

Ripped from LP at 320 kbps
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Mary Lou Lord - Some Jingle Jangle Morning/Western Union Desperate (1993) 7" vinyl-rip

2009-07-07T19:13:00.002+02:00

Playing her way from the subways and streets of London and Boston, guitarist/vocalist/songwriter Mary Lou Lord broke into the indie-rock scene in 1994 on the Kill Rock Stars label. After appearing on a KRS compilation, Lord released a self-titled EP in 1995 and a second EP, Martian Saints, in early 1997. Got No Shadow, her major-label debut with Sony Music's WORK Group, was released in 1998.
Lord's interest in music started when she worked as a DJ for a college radio station in the Boston area as a teenager. When the station changed format, she decided to concentrate on making her own music. After a stint at Boston's Berklee School of Music, she moved to London and learned the art of busking in the subway. She moved back to Boston and continued to play mostly acoustic covers on city sidewalks and in subways. In eight years of busking, she refined her talent and determined what music she liked to play. A KRS executive heard her play and eventually signed her to the label.
While most of Lord's live shows have been just her and her acoustic Martin guitar (even those beyond the subway), with the recording of Got No Shadow, she moved in the direction of electric pop-rock. She has recorded songs for two tribute albums -- "Power to the People" for Working Class Hero, a John Lennon tribute, and "Jump" for Everybody Wants Some, a Van Halen tribute released in fall of 1997.
Lord made the leap to the majors in 1997, signing with the Sony subsidiary Work. Her major-label debut and first full-length album Got No Shadow was released in January 1998.

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

Ripped at 320 kbps from 7" vinyl
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Celibate Rifles - Pretty pictures/Kent's theme (1983) 7" vinyl-rip

2009-07-06T21:29:00.003+02:00

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)

Ripped from 7" at 320kbps
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Silver Chapter - Teenage Screamer (1990) 12" EP Vinyl Rip

2009-06-14T16:20:00.003+02:00

Profoundly superficial and lovin' every minute of it, with an overly keen sardonic embrace of 70s kitsch and 50s retro. Silver Chapter took their love of Kiss and Gene Vincent right to the tips of their flat-tops and back again. Appreciated by the Spacemen 3 and the Pixies alike, they were a welcome release from the uptight shoe-gazers of the early nineties. Short, sweet, neat and slapping your face like an old-fashioned washboard. (from firerecords.com)

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

Ripped from 12"EP at 320 kbps
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Jonathan Richman & The Modern Lovers - Jonathan sings (1983) LP Vinyl-Rip

2009-06-14T16:07:00.004+02:00

Richman emerges as an incurable romantic on Jonathan Sings!, an infectiously sunny effort which stands among his finest LPs. Recorded after a long layoff with a new Modern Lovers lineup, Richman sounds thoroughly recharged, even extolling the simple virtues of "This Kind of Music"; among his other enthusiasms are kids ("Not Yet Three") and travel ("Give Paris One More Chance"), but his primary focus here is romance -- "You're the One for Me," "That Summer Feeling" and "Someone to Hold Me" are positively joyous in their lovestruck outlook.

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

Ripped from LP vinyl at 320kbps
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The Joykiller - The Joykiller (1995) LP Vinyl-Rip

2009-06-13T12:09:00.003+02:00

12 years after their last LP together as T.S.O.L., the immortal Beneath the Shadows, here is singer Jack Grisham and incredible guitarist Ron Emory teaming up again and going back to where they left off. Out of sight! Actually, Emory was only sitting in on these sessions and isn't really a member of Grisham's post Tender Fury band, but his guitar is unmistakable, and The Joykiller profits from it, easily the finest release by either talent -- the T.S.O.L. reunion Live '91 LP as Grisham, Roche Emory, & Barnes aside -- since 1983. Only a few tracks reprise Beneath the Shadows' sober, mature, anguished post-punk -- "I Wanna Drink Over You" brings it all back, yes! -- and the rest takes in the more intense, breakneck days of their first self-titled EP back in '81, and to a lesser extent the gothic-punk LP released in between, Dance With Me. Don't miss the frantic slices of classic So-Cal punk "The Other," and "Monday." Grisham sounds as cool at the mic as ever, spitting out his howling, thick notes rapid-fire and on-key -- and we're certain he remains the most captivating front man in all L.A. -- and finally has some music of real edge and import to sing over, and this thing cooks from start to finish. Joykiller make the half-decent Green Day and Offspring sound like Tiny Tim and Herman's Hermits. (Jack Rabid, The Big Takeover)

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

Ripped from vinyl Lp at 320 kbps
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67 - Bright Black (1993) 7" Vinyl-Rip

2009-06-07T19:31:00.003+02:00

67 was a London based band formed by long-term friends, Toby Burton, Michael Wilson and Gavin Richards, whose musical roots extend as far back as their salad days, when they played together in a school band that's unique characteristics were it's cardboard guitars and acappella renditions of obscure punk songs!

The limitations of this medium, however, soon inspired them to turn 'electric' and in 1992 they 'came of age' with the recording of their highly acclaimed demo featuring an early version of 'Gadget;, the song which would become their second single for Southern Records. the first, 'Bright Black' was released in June 1993 and described by it's author as 'the wardrobe anxiety song' it was a stasted of the quirky punk-pop that was to follow and earned them their first live session on Radion One.

'Gadget' was released at the end of 1993 and took the band out of the capital to demonstrate the dynamics of their live show, taking in supports to american groups, Girls Against Boys, the Jesus Lizard and Shellac, along the way.

67's third single, due for release was a double A-side affair featuring two new tunes, 'Better and Worse' and 'The Jeep with a Beat', culled from their studio session with Harvey Birrell. In support of this the band played nationwide.

The band have since split up, some of the founder members having moved on to form Tea.(from http://www.southern.net)

Tracklist

a1 Bright black

b1 Iron

Ripped at 320 kbps from 7"

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

2009-05-13T00:45:00.004+02:00

"Mongoloid" is the first single released by Devo in 1977, on the "Booji Boy" label. It was backed with the song Jocko Homo. Mongoloid also had one of the first music videos made using collage. Mongoloid would later be re-recorded by Devo, and appear on the album Q: Are We Not Men? A: We Are Devo! in 1978. It is also a staple of Devo's live shows.
"Mongoloid," like many of Devo's early songs, was built on a motorik beat. The song opens with a 4/4 electric bass line, which is then joined by drums, and electric guitar. Over this, a swooping synthesizer line is played on Minimoog, using the pitch bend to create a spooky effect. The synth is not used as a lead instrument during the song, but only the opening and closing. The doubled vocals are sung simultaneously by both Gerald V. Casale and "Bob 1" (Bob Mothersbaugh). On the original single, the vocals are deliberately sung in a nasal fashion.

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

Ripped at 320kbps from 7" vinyl
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Joy Division - Transmission/Novelty (1979) 12" Vinyl-Rip

2009-05-09T22:34:00.005+02:00

No waste of words for this one.

Ripped at 320 kbps from 12" vinyl
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Sweel Maps - Peel Session 16/10/1978

2009-05-03T21:59:00.007+02:00

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

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

Line -up was:

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

Thanks to original torrent uploader

Enjoy

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

2009-05-03T20:48:00.008+02:00

BIG BLACK were born in 1982, instigated by Steve Albini, then a Sophomore at Northwestern University, a fanzine writer and a loudmouth. A six-song EP, LUNGS, was recorded on a borrowed 4-track for the price of one case of beer. Five years later, at the peak of their popularity, Big Black split. They never had a manager, a booking agent, a lawyer, or took an advance from their record company. They left a musical legacy dripping with power, cynicism and a sense of humour that was blacker than black. In Seattle, at their final gig, they smashed up all their stuff. In 1992 Touch and Go Records, through Southern Studios re-released the entire Big Black catalog.

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

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

Tracklist
A1 Dead Billy
A2 Ugly American
B1 Newmangenerator
B2 L Dopa

Enjoy

John Peel Festive Fifty 1980

2009-05-01T20:45:00.006+02:00

John Peel's annual rundown of listeners' fifty favourite tracks of the year, 'The John Peel Festive 50' became a Christmas institution more loved than fairy lights and Christmas crackers.

Listeners of John's Radio 1 show picked the chart by voting for their three favourite tracks of the year before the end of November. The Festive 50 were then played on air.

This is split in 2 rar files.

Tracklist

3*1. Sex Pistols - Anarchy in the UK
3*2. Joy Division - Atmosphere
3*3. Joy Division - Love Will Tear Us Apart
3*4. Jam - Down in the Tube Station at Midnight
3*5. Clash - White Man in Hammersmith Palais
3*6. Dead Kennedys - Holiday in Cambodia
3*7. Undertones - Teenage Kicks
3*8. Damned - New Rose
3*9. Stiff Little Fingers - Alternative Ulster
3*10. Joy Division - Transmission
3*11. Public Image Ltd. - Public Image
3*12. Sex Pistols - Holidays in the Sun
3*13. Jam - Going Underground
3*14. Joy Division - Decades
3*15. Clash - Complete Control
3*16. Stiff Little Fingers - Johnny Was
3*17. Undertones - Get Over You
3*18. Cure - A Forest
3*19. Ruts - In a Rut
2*20. Joy Division - New Dawn Fades
2*21. The Fall - Totally Wired
2*22. Joy Division - She's Lost Control
2*23. Sex Pistols - Pretty Vacant
2*24. Stiff Little Fingers - Suspect Device
2*25. Sex Pistols - God Save the Queen
2*26. The Fall - How I Wrote `Elastic Man'
2*27. Stiff Little Fingers - Wasted life
2*28. Only Ones - Another Girl, Another Planet
2*29. Damned - Love song
2*30. Adam and the Ants - Kings of the wild frontier
2*31. Dead Kennedys - California Uber Alles
2*32. Specials - Gangsters
2*33. Public Image Ltd. - Poptones
2*34. Public Image Ltd. - Careering
2*35. Killing Joke - Requiem
1*36. Killing Joke - Psyche
1*37. Siouxsie & the Banshees - Jigsaw Feeling
1*38. The Fall - Fiery Jack
1*39. Clash - Armagideon Time
1*40. Spizz Energi - Where's Captain Kirk
1*41. Joy Division - Twenty-Four Hours
1*42. Damned - Smash it up
1*43. Teardrop Explodes - Treason
1*44. Siouxsie & the Banshees - Switch
1*45. Siouxsie & the Banshees - Icon
1*46. Clash - Bankrobber
1*47. Siouxsie & the Banshees - Hong Kong Garden
1*48. Clash - White Riot
1*49. The Fall - Rowche Rumble
1*50. Gang of Four - Damaged Goods

Thanks to original torrent uploader
Tape ripped at 128 kbps
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Enjoy second

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

2009-04-28T21:00:00.001+02:00

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)

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

2009-04-27T21:00:00.012+02:00

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

2009-04-27T21:00:00.006+02:00

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.

Tracklist
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
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Swell Maps - A Trip to Marineville (1979)

2009-04-27T21:00:00.003+02:00

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

Tracklist

HS Art
Another Song
Vertical Slum
Spitfire Parade
Harmony In Your Bathroom
Don't Throw Ashtrays At Me
Midget Submarines
Bridge Head
Full Moon In My Pocket
Blam!!
Full Moon Reprise
Gunboats
Adventuring Into Basketry
My Little Shops
Loin Of The Surf
Doctor At Cake
Steven Does
Bronze And Baby Shoes

Ripped at 320 kbps
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Zoinks! - Stranger anxiety (1996)

2009-04-27T21:00:00.001+02:00

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
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Tracklist
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)

2009-04-27T01:25:00.003+02:00

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)

Tracklist
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
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The Ex - Mudbird Shivers (1996)

2009-04-27T01:12:00.003+02:00

ESSENTIAL ALBUM
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.

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Original Sinners - Original Sinners (2002)

2009-04-27T01:02:00.004+02:00

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
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Messer Chups - Hyena Safari (2006)

2009-04-27T00:07:00.009+02:00

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

Tracklist
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

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File Size: 74504 KB
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Hash Palace - Overday/Rise (1993) 7" Vinyl-Rip

2009-04-26T19:00:00.002+02:00

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

2009-04-25T18:55:00.007+02:00

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)

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

2009-04-25T14:00:00.001+02:00

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.

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)

Tracklist:
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
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RAF PUNK - W la resistenza (1981)

2009-04-25T13:29:00.004+02:00

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.

MA IO PER IL TERREMOTO NON DO NEMMENO UN EURO...

2009-04-23T17:21:00.001+02:00

"MA IO PER IL TERREMOTO NON DO NEMMENO UN EURO..."

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

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

2009-04-22T21:30:00.003+02:00

Tracklist
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
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The Jon Spencer Blues Explosion – Jukebox Explosion

2009-04-19T22:00:00.005+02:00

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

2009-04-19T22:00:00.003+02:00

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.

Tracklist
a1 Open Up
b1 Another Side

Ripped at 320 kbps
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New bomb Turks/Devil dogs - Split 7" (1993) Vinyl-Rip

2009-04-19T00:52:00.006+02:00

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.
ALL YOU HAVE TO DO IS ENJOY IT

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

2009-04-15T16:39:00.007+02:00

ANOTHER ONE FROM OREGON!!!
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)

Tracklist
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

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

2009-04-14T21:30:00.001+02:00

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)

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

2009-04-08T22:00:00.005+02:00

"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.

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

2009-04-08T22:00:00.003+02:00

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)

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Moe Tucker - Dogs Under Stress (1994)

2009-04-07T21:00:00.002+02:00

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

Tracklist
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

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

2009-04-07T21:00:00.000+02:00

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

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

2009-04-06T16:00:00.006+02:00

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.

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

2009-04-06T16:00:00.004+02:00

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.

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

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

2009-04-03T23:30:00.002+02:00

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.

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

2009-04-01T20:45:00.003+02:00

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).

Tracklist
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

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Ride - Ride (1990) EP Vinyl-Rip

2009-04-01T20:45:00.001+02:00

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.
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New Bomb Turks - Scared Straight (1996)

2009-03-31T23:30:00.003+02:00

Four guys holding English degrees from Ohio State University, the New Bomb Turks have been declared as leaders in the punk rock revolution by spiked-haired, hardcore punkers everywhere. They are not pop-punk, but ferociously aggressive and fast, borrowing from the Pagans, Dead Boys, and so on. The band's name comes from Robert Wuhl's character in an early-'80s B movie, The Hollywood Nights, which also marked the film debuts of Tony Danza and Michelle Pfeiffer.
With Scared Straight, the New Bomb Turks don't deviate from their sleazy, fuel-injected interpretation of the Stooges' patented thrash-and-grind, but for most fans, that's a plus, not a minus. The Turks' revivalism would be tiring if it wasn't for their amateurish enthusiasm and their goofy, off-the-wall sense of humor. Scared Straight might not be as incendiary as their previous albums but the fact that it is their first for Epitaph makes it their biggest release to date. And, with the slight extra production gloss, it is also among their most accessible efforts.

Tracklist
1. Hammerless Nail
2. Bachelor's High
3. Professional Againster
4. Cultural Elite Sign-Up Sheet
5. Jukebox Lean
6. Jeers Of A Clown
7. Look Alive Jive
8. Starting Down The Gift Horse
9. Shoot The Offshoot
10. Drop What You're Doin'
11. Telephone Numbrrr
12. Wrest Your Hands

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New Bomb Turks - At Rope's End (1998)

2009-03-31T23:30:00.001+02:00

Having already established themselves as top-notch hepcat punks with widely acclaimed releases like Destroy-Oh-Boy and Information Highway Revisited for the Crypt label, in 1996 Columbus, OH's New Bomb Turks made the jump to Epitaph Records. Fans were nervous about the band's label change, but the resultant releases proved to be the Turks' most adventurous and well-produced efforts. With the trademark Rolling Stones-meets-Iggy Pop-meets-the Pagans, Lazy Cowgirls, and Jerry Lee Lewis Turks sound of Jim Weber's metal-tinged punk riffage, Matt Reber's low-end pounding, and Eric Davidson's manic vocals still intact, on At Rope's End the Turks tightened up their attack and even branched out, successfully adding touches of sax and piano to some of the songs.

Davidson's knack for writing Crypt-style punny titles and sly lyrics with a healthy dose of '50s greaser slang and attitude shows up in fine form on tracks like "Veronica Lake," "(The Cure For) The Common Cold Shoulder," and "Aspirin Aspirations." While the adventurous tone of the record in general calls to mind the early experimentation of the Rolling Stones, Davidson makes the connection a little more blatantly with "Scapegoat Soup." "So Long Silver Lining" takes a few lyrical cues from Nuggets faves the Seeds. While Davidson tends toward sharp-tongued barbs, several songs take a break from the grinning and offer a dark air, as on "Bolan's Crash" and live rave-up "Defiled." Proof positive that young New Bomb Turk punks are allowed to grow up and their music can improve as a result. (from allmusic.com)
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Angst - Mistery Spot (1987) LP Vinyl-Rip

2009-03-30T23:30:00.004+02:00

Angst was one of nearly four dozen Northern California and Nevada bands featured on the Faulty Products distributed Alternative Tentacles LP, NOT SO QUIET ON THE WESTERN FRONT. Angst was formed in 1979 in Denver, Colorado, with the original name The Instants. With the punk scene virtually non-existent in Denver at that time, they briefly moved to the UK before finally relocating in San Francisco and taking the name Angst. Unlike the majority of bands on NOT SO QUIET..., Angst actually managed to land a contract with trend-setting American punk label, SST, the label through which they released a whopping five albums through the '80s.

Angst consisted of founders/brothers Joe Pope (bass & vocals) and Jon E. Risk (guitar & vocals). Michael Hursey rounded out the trio on drums. (Hursey was replaced by Andy Kaps shortly before the band's final album, Cry For Happy). (from http://www.irscorner.com)

Tracklist
A1 Outside My Window
A2 Back In January
A3 It's Mine
A4 What's The Difference?
A5 Looking For A Reason
A6 Colors
B1 Mind Average
B2 One Life (Out Of 9)
B3 Wazee Street
B4 I Remember
B5 Ah, The Morning
B6 Red Wing

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The Pastels - Baby You're Just You (1989) 12" Vinyl-Rip

2009-03-30T23:30:00.002+02:00

The Pastels are legendary. Their story goes back to the early '80s, when Stephen McRobbie (known as Stephen Pastel) and David Keegan co-owned a record label called 53rd & 3rd, home to beloved and influential bands such as The Vaselines and The Soup Dragons. They also played in a group named The Shop Assistants together with a girl, Aggi Wright. Stephen and Aggi soon broke off into their own group, which they named The Pastels. They released a number of singles in the mid '80s until 1987 when they released their first LP, entitled Up For A Bit With The Pastels. Early on, the lineup of the Pastels included members of Teenage Fanclub and The Vaselines, and David from the Shop Assistants even joined up for a time. These different groups and their contemporaries pioneered an entirely new genre of music that developed from labels such as their 53rd & 3rd, Subway, Pink, Creation, Glass, and others. The genre was known as a number of different things, early on called "shambling" or "anorak" pop, and now known commonly as Twee or as c86 - after the benchmark cassette compilation named c86 that music mag NME released in 1986, which The Pastels and other groups of this music style appeared on. The style is most unique for the jangling guitar lines, vocals that are usually pleasantly out of tune, and a certain hypersensitive personality backing everything. Certainly, much of the Pastels music would fit this description.

Finally in the late '80s some rearranging was needed and the group became a permanent trio consisting of Stephen, Aggi, and Katrina Mitchell, who was a fan of the group and would come to their shows. It was a bit of reworking of the lineup and the Pastels as a whole, with Katrina and Aggi learning drums and bass from scratch. This became the definitive lineup of the group and they released some of their greatest material throughout the early and mid-90s. They collaborated with Jad Fair in 1992, and released the LP Mobile Safari in 1995. With this release they found permanent homes with Domino records in the UK and here at Up Records in the US. Following these next few albums they began collaborating with many of their friends and contemporaries, both on their own releases and guesting on a wide range of friends' albums. Most recently Stephen has formed a record label once again, named Geographic, and The Pastels wrote music for a good film - The Last Great Wilderness. They play the occasional show and are still writing music in between running the label.(from http://www.uprecords.com)

Tracklist
A1 Baby You're Just You
B1 Holy Moly
B2 Ugly Town

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Lolitas - Touche-Moi (1987) 7" Vinyl-Rip

2009-03-28T20:00:00.005+01:00

Silvye Vartan singing with anVelvetundergroundish kinda band...
that'swhat these two songs sound to me....what else can you ask for a spring night listening experience?!?!(ah ah ah).
Let's get serious now...
who's singing here is not the diva Vartan but Françoise Cactus, who's actually one of the two ladies in Stereo Total.
good one

Tracklist
a1 Touche-moi
a2 Elle se balance

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The Mothers - Drives me wild/Get out of my life (1987) 7" Vinyl-Rip

2009-03-28T20:00:00.003+01:00

Here's another one of those australian 7" i bought a while ago.
This one surprised me for two different reasons:
musically speaking, it contains one straght punk song on side a and a god Link Wray's cover on the other side....a good 7"....
the second surprize was trying to get info on the band googleing around i find a website and i discover what the Fiona that's pictured on the cover of the record does now for a living(after beeing the singer for Def FX)....i'm not surprised about almost anything but this made me laugh(check the site)...well well well....
This 7" has been ripped at 320 kbps for the joy of everybody's ears-all you have to do is click, wait and
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The Residents - Stars & Hank Forever: The American Composers Series, Vol. II (1986)

2009-03-25T21:00:00.004+01:00

The Residents reportedly intended their American Composers Series to last 16 years and cover heaven knows how many volumes. Stars & Hank Forever, which finds the Residents interpreting music by Hank Williams and John Philip Sousa, was the second volume, and it's probably just as well that it turned out to be the last. The charming goofiness that buoyed the first volume (George & James) is replaced by a slightly discomforting sense of borderline disrespect (on the Hank Williams material) and overkill (on the Sousa compositions). Their rendition of "Six More Miles (to the Graveyard)" is genuinely haunting and almost even pretty, but Williams' memory and enormous talent deserve better than the facile deconstructions of "Hey Good-Lookin'" and "Jambalaya" in which the band indulges here. As for the Sousa material, it seems a bit more deserving of parodic treatment than the Hank Williams songs, and the Residents do have lots of fun with "Nobles of the Mystic Shrine," "The Washington Post," and of course, "The Stars & Stripes Forever." But six such arrangements was maybe a few too many in this case.

Tracklist
1. "Hey Good Lookin'"
2. "Six More Miles (To the Graveyard)"
3. "Kaw-Liga"
4. "Ramblin' Man"
5. "Jambalaya"
6. "Sousaside"
1. "Nobles of the Mystic Shrine"
2. "Stars and Stripes Forever"
3. "El Capitan"
4. "The Liberty Bell"
5. "Semper Fidelis"
6. "The Washington Post"

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The Residents - George and James (1984)

2009-03-25T21:00:00.001+01:00

Volume one in the Residents' dryly named American Composers Series (get those tongues out of your cheeks and start singing, boys) is a collection of compositions by two of America's most famous musical geniuses, George Gershwyn and James Brown. After starting off with a trio of Gershwin numbers ("Rhapsody in Blue," "I Got Rhythm," and "Summertime") all delivered in the Residents' trademark creepy/funny/bewildering style. The program continues with eight tunes taken from James Brown's Live at the Apollo album, one of which is the famous minute-long intro. Weird? You betcha. Effective? Sort of, if you know what you're getting into. The artificially lowered voice, cheesy organ, and fastidiously accurate backing vocals are a hoot on "I'll Go Crazy" and "Try Me," whereas "Think" collapses into chaos, while "Night Train" barely hangs on by virtue of its insanely simple keyboard part. It's difficult to see what the band was trying to say with this project, but wondering what they're trying to say has never been a good way to approach the Residents.(allmusic.com)

Tracklist
1. "Rhapsody in Blue"
2. "I Got Rhythm"
3. "Summertime"

Live at the Apollo
1. "I'll Go Crazy"
2. "Try Me"
3. ""5" Royales song"
4. "I Don't Mind"
5. "Lost Someone"
6. "Please, Please, Please"
7. "Night Train"

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No Mans Land - Anything at all (1986) 7" Vinyl-Rip

2009-03-24T21:00:00.009+01:00

I bought this record with a bunch of others from Australia and New Zealand few weeks ago at a used records store for very little €s.
This one here i had to wash it and rinse it and wash it again because it was in a pretty bad shape. I've been able to recover it and with some declick during the editing part here you have two great songs from an unknown band (to me at least).
If someone can help me finding more news and music about this band, i would be grateful!!!!
This is worth the download !!!

Tracklist
a1 Anything at all
b1 Heartbreak Hotel

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Black Velvet Flag - Come Recline (1994)

2009-03-24T21:00:00.005+01:00

Punk gone lounge.

Tracklist
1. Interview - Jeff
2. Wasted
3. Amoeba
4. Group Sex
5. Interview - Felice
6. I Shot JFK
7. Institutionalized
8. Interview - Fred
9. No Values
10. Media Blitz
11. I Don't Care About You
12. Interviews - Fred, Jeff, Fred, Jason
13. Code Blue
14. Stepping Stone

They also put out a documentary. Check it out here
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Ned's Atomic Dustbin - Kill your Television (1990) 12" EP Vinyl-Rip

2009-03-24T20:36:00.008+01:00

Ned's Atomic Dustbin's stylish fusion of punk and funk earned them a fair number of fans in the early '90s, just as England's Stone Roses-inspired "Madchester" scene was drawing to a close. Comprised of Jonn Penney (vocals), Rat (guitar), Matt Cheslin (bass), Alex Griffin (bass), and Dan Warton (drums), the group began as a neo-goth rock outfit in the late '80s. By the beginning of the '90s, the band had developed a dense, assaultive sound that was distinguished by their thundering two-bass attack. Ned's released their first single, "Kill Your Television," in 1990; on the back of a slick, sloganeering marketing attack (epitomized by the 86 T-shirts the band had designed in their first three years), the single reached the U.K. Top 50 and led to a record contract with Sony Music. (allmusic.com)

Tracklist
a1 Kill your television
a2 That's nice
b1 Sentence
b2 Kill your television (Remix)

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Jayne County - Goddess of Wet Dreams (1993)

2009-03-23T21:00:00.011+01:00

Making his initial name as a prominent scenester during the heady days of the early-'70s New York punk club scene, Wayne County later gained additional renown as perhaps rock's most prominent transsexual performer, billing herself as Jayne County following her return to the U.S. from Berlin in 1980. Born Wayne Rogers in Dallas, GA (near Atlanta) in approximately 1947, Wayne County assumed his stage name for a production of the Jackie Curtis play Femme Fatale. County acted in several Andy Warhol-associated theater pieces and from there became the regular DJ at the legendary club Max's Kansas City. Starting in 1972, County performed (in drag) at the club as well, eventually writing and recording a celebratory theme song titled "Max's Kansas City" in 1976 with a backing group called the Back Street Boys. However, County found it difficult to find American labels interested in his trashy, campy, New York Dolls-influenced brand of rock & roll, so he relocated to London just as that city's punk movement was beginning to gather momentum. He found a home on the Safari label with a new band, the Electric Chairs, and issued his debut album -- also called The Electric Chairs -- in 1978. Further albums included Storm the Gates of Heaven and Things Your Mother Never Told You, both from 1979; afterwards, County retired to Berlin and emerged as Jayne County, returning to North America in 1980. A 1981 live album, Rock 'n' Roll Resurrection, was the first billed to Jayne County, and found her fronting a mostly new version of the Electric Chairs.
County was quiet for a while as a recording artist, returning only in 1986 with a self-produced album called Private Oyster (a similar, unauthorized version was later issued under the title Amerikan Cleopatra). Periodic releases followed in the 1990s, some featuring new songs, some featuring reworked versions of past material. In 1996, County published her autobiography, Man Enough to Be a Woman; in 1999, she issued a newly recorded version of her song "Fuck Off," retitled "Fuck Off 2000." (from Allmusic.com)

Tracklist
1. Night Time
2. Cream in My Jeans
3. Paranoia Paradise
4. Looking for a Kiss
5. If You Don't Want to Fuck -- Fuck Off
6. Johnny Gone to Heaven
7. Private World
8. Brainwashed
9. Take a Detour
10. Party Till Armageddon

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Jim Carroll Band - Dry Dreams (1982) LP Vinyl-Rip

2009-03-23T21:00:00.008+01:00

To rock audiences, Jim Carroll's crowning achievement was the near-hit "People Who Died," a brutally emotional punk record saluting the victims of the New York drug culture. In truth, however, Carroll's artistic legacy was considerably more complex and far-ranging -- an acclaimed diarist, poet, actor and spoken-word performer, his formative years even served as the subject of the film The Basketball Diaries.
The product of a working-class background, Carroll was born and raised in New York City. A highly-touted basketball prospect, Jack Kerouac's On the Road inspired him to begin keeping a journal at the age of 12; later published in 1978 as The Basketball Diaries, his early writings vividly chronicled his teenage addiction to heroin, which led him into a life of crime and hustling. By the time he was 16, Carrol was a published poet; 1973's Living at the Movies further established his reputation as a prodigy and funded a move to Northern California, where he was finally able to shed his drug habit.
Inspired by the success of his friend Patti Smith, who also married a background in poetry with a career in rock music, Carroll began writing songs; in 1978, backed by the San Francisco band Amsterdam (comprised of guitarists Terrell Winn and Brian Linsley, bassist Steve Linsley and drummer Wayne Woods), he cut a handful of demos, and was signed to Rolling Stones Records. Produced by label head Earl McGrath, the Jim Carroll Band's debut album Catholic Boy appeared in 1980; the subject of significant critical acclaim, it featured "People Who Died," the group's definitive moment.
After a move back to New York and the replacement of Terrell Winn and Brian Linsley by Paul Sanchez and John Tiven, the Carroll Band returned in 1982 with Dry Dreams, followed by 1984's I Write Your Name, which received lackluster reviews. With his three record contract fulfilled, Carroll dismissed the group members and resumed his prose and poetry work. After an appearance in the 1985 film Tuff Turf, he published The Book of Nods in 1986 and Forced Entries: The Downtown Diaries 1971-1973 a year later.
During the remainder of the eighties, Carroll balanced his poetry and prose material while writing tracks for other artists such as Blue Oyster Cult Club Ninja and Boz Scaggs Other Roads.(from Allmusic.com)

Jim Carroll's Dry Dreams is in a style similar to that of his debut release. Despite the expanded instrumentation suggested by the personnel list on the album cover, the music here is still generally new wave-oriented, stripped down, and often propelled by an itchy beat. As one might expect from the author of The Basketball Diaries, Carroll's lyrics are wonderfully evocative and literate, to be favorably counted among rock music's best. Parallels to Lou Reed, Iggy Pop, and Patti Smith (this last pointed up by including guest guitarist/co-songwriter Lenny Kaye on the final track) are especially noticeable. Songs here are generally fine, if perhaps not quite as punchily memorable as those on his prior album. A few interesting alleyways are explored here, including the more traditionally tuneful and more fully scored "Rooms" and the multisectional "Barricades," which alternates slower Bob Dylan-derived music with faster, rocking material. This sturdy disc is well worth hearing. ~ David Cleary, All Music Guide

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Mitch Cooper - Mitch Cooper (1986) 7" Vinyl-Rip

2009-03-23T21:00:00.005+01:00

Mitch Cooper led the North Carolina's retro-60's psychedelic revitalization with the release of this e.p. in 1986.
Right after this record he formed The Inn that put out thre albums from 1987 to 1992

Tracklist
a1 Mind connection
b1 Always on the horizon
b2 The tower of life

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Bush Tetras - Boom in the Night (1995)

2009-03-23T21:00:00.001+01:00

New York's Bush Tetras had a no wave link, via guitarist Pat Place's association with James Chance, but the band's sound was neither frantic nor disjointed enough to be properly categorized with those bands. They played scrappy post-punk, with fellow Americans Pylon and Konk and Brits Delta 5 and Au Pairs as close contemporaries.

Subtitled "Original Studio Recordings 1980-1983," Boom in the Night was a CD reissue of the 1989 cassette compilation Better Late Than Never, though it omitted one track, the demo "Makin' a Mistake," and resequenced the remaining 14 tracks. The Bush Tetras made a couple of independent label EPs and a single in New York in the early '80s, and then disappeared. The music was simple and relentless, as were the chanted messages of songs such as the seminal "Too Many Creeps." This was punk minimalism down to the point of amateurishness, but no less compelling because of it. The album apparently was released to herald the April 1995 reformation of the Bush Tetras.

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Buzzcocks - Peel Session (17/04/78)

2009-03-22T21:00:00.002+01:00

Recorded on the 17th of april 1978.

Tracklist
01 Noise Annoys
02 Walking Distance
03 Late For the Train

Thanks to the original uploader.
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Moe Tucker - I Spent A Week There The Other Night (1991)

2009-03-22T21:00:00.001+01:00

With more help from her indie-rock bigshot pals (Don Fleming, Brian Ritchie), this album also featured the first (sort of) Velvet Underground reunion, with Cale, Reed and Sterling Morrison guesting on separate tracks. Covering "And Then He Kissed Me" was inspired, as is the inclusion of the accusatory (and appropriately titled) "Fired Up." From start to finish, it rocks like crazy.(allmusic.com)

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Alberto y Lost Trios Paranoias - Snuff Rock (1977) 7" EP Vinyl-Rip

2009-03-21T18:00:00.001+01:00

Alberto y Lost Trios Paranoias (often erroneously spelled Alberto y Los Trios Paranoias) were a comedy rock band, formed in Manchester, England in 1973. Their story is told in the book 'When We Were Thin' (published 2007 by Hotun Press). The name of the band is a corruption of a Latin American band called Alberto y Los Trios Paraguayos.
Created in 1973 by former member of Greasy Bear -- Chris "C.P." Lee and Jimmy Hibbert (vocals, bass) and Bob Harding (vocals, guitar, bass), the comedy sketch outfit became a musical group in 1974 and was joined by former Greasy Bear drummer Bruce Mitchell (drums), with Les Prior (vocals), Simon White (steel guitar, guitar), Tony Bowers (bass, guitar) and Ray "Mighty Mongo" Hughes (second drummer). They became a popular support act, supporting Hawkwind on their 1974 tour. The group mercilessly parodied the major rock names of the 70s - "Anadin" was a reworking of Lou Reed's "Heroin" / "Sweet Jane". By 1975 they were topping the bill in their own right and were supported by such acts as The Police, The Stranglers and Blondie. As with many comedy ensembles, the Albertos belied their comic aspirations by their exemplary musicianship and they released three albums and a variety of spoof discs, culminating in the musical play "Snuff Rock".
"Snuff Rock" was the record-breaking musical play presented at London's Royal Court Theatre and Round House, and was famous for the role of the comic disc jockey played by Les Prior. The accompanying EP, "Snuff Rock", released on Stiff Records, poked fun at the punk rock phenomenon, targeting the Sex Pistols ("Gobbing On Life"), The Damned ("Kill") and The Clash ("Snuffin' Like That") as well as a myriad of reggae bands in "Snuffin' In A Babylon". For once, the Albertos' act was successfully transferred to vinyl. They hit the UK Top 50 with the Status Quo spoof, "Heads Down No Nonsense Mindless Boogie" in 1978. Les Prior died in January 1980 from leukemia, which left a large gap in the group.
After their nationally-networked TV show Teach Yourself Gibberish and a crack at America with Sleak, the Albertos called it a day in 1982.(from Wikipedia)

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John Zorn - The Big Gundown (1986) LP Vinyl-Rip

2009-03-19T20:00:00.006+01:00

The Big Gundown is an album by American composer and saxophonist/multi-instrumentalist John Zorn. It comprises radically reworked covers of tracks by the Italian film composer Ennio Morricone. It was originally to be called "Once Upon a Time in the Lower East Side".

The album is named after a 1966 very good spaghetti western (La Resa dei Conti), directed by Sergio Sollima, starring Lee Van Cleef, and scored by Morricone. It was first released in 1986 on the Nonesuch/Icon label. In 2000 a remastered 15th Anniversary Edition with additional tracks was released on CD on Zorn's Tzadik Records label.

Tracklist
a1. The Big Gundown
a2. Peur Sur La Ville
a3. Poverty (once Upon A Time In America)
a4. Milano Odia
a5. Erotico (the Burglars)
b1. Battle Of Algiers 3:50
b2. Giu La Testa (duck You Sucker!)
b3. Metamorfosi (la Glasse Operaia Va In Paradiso)
b4. Tre Kel 5000
b5. Once Upon A Time In The West

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Half Japanese - Everybody Knows (1991) Cd single

2009-03-19T20:00:00.005+01:00

Few of punk rock's founding fathers could have anticipated the extreme to which Half Japanese took the music's do-it-yourself ethos. Founded by brothers Jad and David Fair, Half Japanese was quite probably the most amateurish rock band to make a record since the Shaggs, all but ignoring musical basics like chords, rhythms, and melody. However, the brothers made that approach into a guiding aesthetic, steadfastly refusing to progress in their primitive musicianship over a career that lasted decades. David Fair's article "How to Play Guitar" outlined the Half Japanese philosophy: if you rejected conventional ideas about fingering, tuning, and even stringing a guitar, there were no limits on how you could express yourself on what was, after all, your instrument. The band's proponents (who included Kurt Cobain) saw them as the epitome of a pure, unbridled enthusiasm for rock & roll, the ultimate expression of punk's dictum that rock should be accessible to anyone who wanted to pick up an instrument and play.
Produced by Moe Tucker.

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Effigies - Remains nonviewable (1995)

2009-03-17T22:30:00.003+01:00

I used to love The Effigies(and still do), so i found this in my Pandora's box and i thought to share it.
Easy as it is.

For those of you that don't know, the Effigies are the greatest punk rock/hardcore band to ever come out of Chicago in the 80's. This career retrospective compiles all of their classic songs onto one disc.
Not only does this band write great songs, but they know how to play them as well. The Effigies are very gifted and creative musicians, as there are a variety of different musical influences present on this album, yet it all seems to fit nicely together.
"Security" is easily one of the catchiest anthems in punk rock history; the song blends both funk and hard rock through a punk blender. "Body Bag" and "Quota" are dark, hardcore punk at it's finest, while "Haunted Town" and "We're Da Machine" are a bit catchier and no less intense. "Hand Signals," on the other hand, is a heavy and dark rock.(from www.punknews.org)

Tracklist
Body Bag
Security
Below the Drop
Strong Box
Haunted Town
Mob Clash
We'll Be Here Tomorrow
We're da Machine
Quota
Techno's Gone
No Progress
Smile
Silent Burn
Hand Signals
Coarse in Vain
**bonus track**

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Stiff Little Fingers - The Peel Sessions (1986) EP

2009-03-17T22:30:00.002+01:00

Recorded: 12 Sep 1978
First transmission: 18 Sep 1978

Tracklist
1 Johnny Was
2 Law And Order
3 Barbed Wire Love
4 Suspect Device

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Faucet - Redwoods (1993) 7" Vinyl-Rip

2009-03-16T23:30:00.001+01:00

April 1991 saw the birth of Faucet, a powerful Austin based four-piece consisting of Chris Goyer (guitar, vocals), Ray Foreman (guitar) David Dennis (bass), and Snoopy (Drums). That same spring they recorded a 6 song demo partially produced by Rey Washam (Big Boys, Scratch Acid, Tad, Rapeman, and Daddy Longhead).
Since then, Faucet has toured throughout the Midwest and South. After returning from touring in the Spring of 1992, Hugh Jorgen replaced Snoopy on drums. With their new line-up, FAUCET has recorded a 5 song demo which showcases the enigmatic sound of the band - colossal with dark-shadowed lyrics spread over a chaotically twisted but mellifluous groove.
In February 1993, FAUCET jumped in their van and went to Chicago to record their debut single and full length album with Steve Albini. (from www.southern.net)

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