Showing posts with label Alt-Indie. Show all posts
Showing posts with label Alt-Indie. Show all posts

Friday, January 29, 2010

De Kift - IJverzucht (1989) LP Vinyl-Rip

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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Saturday, December 26, 2009

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

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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Tuesday, December 1, 2009

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

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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Friday, November 13, 2009

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

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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Tuesday, November 3, 2009

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

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

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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Sunday, July 12, 2009

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

Bivouac first came into existence in the early '90s in West Yorkshire, Britain. The band was made up of singer/guitarist Paul Yeadon, bassist Granville Marsden, and drummer Keith York. Their earlier efforts sounded a bit like Teenage Fanclub or Superchunk with their strong melodies and loud guitars; in fact, they had such a solid sound to begin with that they ended up signing with Elemental Records almost immediately after playing only a few shows and recording one demo. The band released two albums through the label, 1993's Derby & Joan and 1994's Tuber. The albums were big indie successes, big enough to where Elemental owner Nick Evans personally asked the group to move on to bigger pastures. Upon becoming free agents they were picked up by DGC, who released Full Size Boy to little reaction despite the good reviews it garnered. The band eventually disbanded quietly after their lack of success, with Yeadon going on to do work with Pitchshifter. (allmusic.com)

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

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Dinosaur Jr. - Just like heaven (1989) 12"EP vinyl-rip

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


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Tuesday, July 7, 2009

VV.AA. - The Moonlight Tapes (1980) LP vinyl-rip

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

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Mary Lou Lord - Some Jingle Jangle Morning/Western Union Desperate (1993) 7" vinyl-rip

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

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

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Monday, July 6, 2009

Celibate Rifles - Pretty pictures/Kent's theme (1983) 7" vinyl-rip

Pretty rare 7" from one of the best bands from Australia

Playing stripped-down, loud, and fast Ramones-inspired guitar rock, the Celibate Rifles were one of the earliest punk bands to emerge during the post-Radio Birdman/Saints era. Taking their cues from these Aussie bands, along with the American hard rock of the Stooges, MC5, and Blue Oyster Cult, the Rifles were led by the twin-guitar attack of Kent Steedman and Dave Morris, and the deadpan baritone of vocalist Damien Lovelock. They exploded out of the gates in 1982 with a series of records (released in Australia only) fueled by high-speed guitars, wah-wah-strangulated solos, and cartoon-ish, tongue-in-cheek lyrics.

Playing initially for crowds of hard rock-loving surfers, it didn't take long for the Rifles to develop a following. Outside of the continent, however, they were virtually unknown. That changed in 1985 with the release of Quintessentially Yours, a lengthy EP that was a collection of tracks from earlier albums. Although the Rifles didn't receive the attention of many lesser American and English bands, the releases kept coming, and they were all excellent. What didn't help was a seeming disinterest the band had in touring America. But when you're an Australian band, it's easy to see why: it's expensive, it takes forever to get there, and why bother when the records aren't getting the kind of reception they deserve? As a result, the Rifles last toured America in 1987, which is too bad, because their great live album (Kiss, Kiss, Bang, Bang), recorded at CBGB's on that tour, proves them to be a white-hot live band.(from Allmusic.com)

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Sunday, June 14, 2009

Silver Chapter - Teenage Screamer (1990) 12" EP Vinyl Rip

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

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Sunday, June 7, 2009

67 - Bright Black (1993) 7" Vinyl-Rip

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

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Monday, April 27, 2009

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

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

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

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The Ex - Mudbird Shivers (1996)

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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Sunday, April 19, 2009

The Jon Spencer Blues Explosion – Jukebox Explosion

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

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

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

Tracklist
a1 Open Up
b1 Another Side

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Tuesday, April 7, 2009

Moe Tucker - Dogs Under Stress (1994)

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

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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