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

Check out this great site for more infos about Chelsea

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Minutemen - Paranoid Time EP 1980 vinyl-rip

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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The Wylde Mammoths - Help That Girl 7" EP

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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Jambon Street - Epatie virale (1983) vinyl rip

The Photos - Irene (1980) 7" EP

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"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)


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