2/28/2009

ELECTRIC SHADOWS - Break the rules


SINGLES ELECTRIC SHADOWS Break the rules / She's all you got sp 2006 wav
Electric Shadows : Murat : vocals, guitar / Brady : bass, vocals / Dolan : drums, vocals + Aaron L. : bass on this recording / V. Lovely : tambourine.
Recorded by D. Rahn.
The long overdue debut release from New York's Electric Shadows. This is vintage rock n' roll power pop at its finest. The Shadows borrow sounds from The Soft Boys, Flamin Groovies, and The Only Ones with some of the greatest Chuck Berry influenced guitar work we at DMR have ever witnessed. This two song single is what power pop revival should have been like all along.
The "Break the Rules" single first press limited gold vinyl and second press is long gone ... sit tight for the album !
... The ’Shads are currently putting the finishing touches on brand new studio tracks for their debut album & second single...
Check it here and when le lp will be out, buy it there !

MOTHERFUCKER 666 - Motherfucker 666


MOTHERFUCKER 666 Motherfucker 666 cd 1996 320 kbps
All Our Friends / I Don't Wanna / Celluloid Heroes / Just Another Day / Byron's Calling / Then He Kissed Me / Best Of Times / Blues Theme From Teengenerate vs. Godzilla / Scource / Head On / High For Christmas .
Produced by Motherfucker 666.
Motherfucker 666 : J. Dahl : guitar, vocals / K. Telligman : bass / M. Metoff : guitars , vocals /A. Clark : drums, vocals

’77 style punk sounds from Jeff Dahl and friends. This album features a mix of originals which sparkle with energy and a two well-known cover songs ( "Celluloid Heroes" from the Kinks ,"Then He Kissed Me " a song written by Phil Spector, Ellie Greenwich and Jeff Barrysong released in 1963 by The Crystals ) which receive a makeover MoFo 666 style !

MOTHERFUCKER 666 - She's outta the scene



SINGLES MOTHERFUCKER 666 She's outta the scene /Dead flowers sp 1996 wav
Produced by Motherfucker 666.
Motherfucker 666 : J. Dahl : guitar, vocals / M. Metoff : guitar, vocals / K. Telligman : bass / A. Clark : drums, vocals .
Motherfucker 666 is Jeff Dahl along with pals Mike Metoff from the Pagans , Keith Telligman and Alan Clark from the Lazy Cowgirls. “She’s Outta The Scene” is a Dahl/Mike Metoff original which sounds like you might expect given the cast of characters ; punk rock !
“Dead Flowers” is a punky remake of the Stones’ classic with twangy guitars.



Buy it here !

2/26/2009

CONEHEADS

SINGLES CONEHEADS Barn burnin' / Action / Evil little Elmer ep 1986 Greasy Pop Records wav
Produced by the Coneheads.
The Coneheads : T. Keeley : vocals / R. Wharldall : guitars / A. Bunney : guitars / N. Burton : bass / P. Graves : drums.
THE CONEHEADS served up a fun rock & roll feast of melodic, fast-paced mini anthems from Australia. Paying homage to the rock styles of the Hoodoo Gurus, The Lime Spiders, The Barracudas, Ramones , the Coneheads sound was completely infectious.
It's swamp rock, powerpop and a bit of punk for good measure. Come along for the ride on this rock road trip about surfing, girls, bridal suicide, psychos and lynch mobs!!
Read more here ... and buy the Coneheads compilation here !

2/22/2009

THE THUNDER BOYS - Can't stop drinkin'


SINGLES THE THUNDER BOYS Can't stop drinkin' ('bout you) / Shake , shake sp 2007 wav
The Thunder Boys : Z. James : vocals, guitar / D. Ade : bass / AT : vocals, guitar / Victor : drums .
Based in Ventura, CA, The Thunder Boys, who formed in 2005, are one of the most-talked about new bands on Myspace.com. Fresh out of high school, the quartet pulls from the best rock n' roll influences around, including The New York Dolls, Johnny Thunders' Heartbreakers, The Joneses , Rolling Stones, Hanoi Rocks.... well, you get the picture! Having just inked a deal with Gearhead Records, the band's debut 7" single came out in March 2007 in a limited edition (550) hand-screened sleeve, hand-numbered 7" on pink vinyl (here) .
A lp was expected but the band broke up ... a pity !

WILLIE ALEXANDER & THE BOOM BOOM BAND


WILLIE ALEXANDER & THE BOOM BOOM BAND Willie Alexander & The Boom Boom Band  LP  1978  
You 've lost that lovin' feelin' / Rock 'n' roll '78 / Everybody knows / Look at me / Radio heart / You beat me to it / Hair / Looking like a bimbo / Home is / Kerouac .
Produced by Graig Leon.
W. Alexander & The Boom Boom Band : W. Alexander : vocals, keyboards & percussion / S. Grossman : Fender bass / B. Loosigian : electric & accoustic guitars / D. McLean : drums & percussion .
Although relatively unknown outside Boston, Willie "Loco" Alexander is familiar to rock trivia experts as the answer to the brain-teaser: Who took Lou Reed's place in the Velvet Underground? He was born in Philadelphia in 1943, but emigrated to Boston in the '60s, where he formed the folk duo Baba & Willie Loco. Alexander founded the Lost in 1964, one of Boston's most popular garage bands of the period, and recorded for Capitol during the mid-'60s. By 1967, he was playing in Glass Menagerie with Doug Yule (who joined the Velvets one year later, replacing John Cale); in 1970, Alexander was invited to join one of the most influential bands of the '60s after its leader departed. He played keyboards and sang until Yule and the rest of the skeleton crew called it quits in 1972, after the album "Squeeze".
Willie Alexander recorded three solo singles beginning in 1975, and formed the punk-oriented Boom Boom Band the following year. The group recorded two albums for MCA, but broke up in 1978."Willie Alexander and the Boom Boom Band" is dedicated to Jack Kerouac, and includes Alexander's tributary song about the author. "Kerouac" is a heartfelt standout & was a cult hit when it first appeared on a 1975 independent single. The second album "Meanwhile ... back in the States" also produced by Graig Leon is one of the best lp of the year 1978 !
Then Willie released "Solo Loco" in 1982, and then formed the Confessions, who also recorded two albums, "A Girl Like You" and "Autre Chose". Continuing along his odd Boston-and-Paris path, Alexander recorded a spare album that excludes guitar and rock in favor of keyboards for a bluesy, late-night sound (" Tap Dancing on My Piano") . "The Dragons Are Still Out" finds W. Alexander back to rocking with a full-strength rock trio, horns, co-producer/co-writer Erik Lindgren on keyboards and even a cellist
Willie Alexander continued in his solo status throughout the '80s, but formed the Persistence of Memory Orchestra in 1991. Several best-of compilations are available, detailing his solo and group work.
In 2005 , the 1978 line-up recorded "Dog Bar Yacht Club" with a similar cover picture ... twenty seven years older !
In light of Willie Alexander's discographical complexity, "Willie Loco Boom Boom Ga Ga 1975-1991" is better than one-stop shopping, it's the only opportunity for a newcomer to glean a sensible career summary without spending years searching out now-rare import vinyl. The sloppy, spirited festival of bands, unpretentious sounds and songs (22 in all) is neatly annotated by the star. (Sample: "I wrote this ['Kerouac'] in my bathtub in two minutes after thinking about Jack for 20 years.")
But Willie is also one hell of a spoken-word artist, a talent he's also explored on record. Private WA, a collection of studio recitations and diary entries with ambient keyboard accompaniment recorded between 1984 and 1990, makes the personal compelling and sharp-focuses the universal. A bit heavy on the Burroughsian delivery at times (once a would-be Beat, always a would-be Beat), but consistently revealing and engaging.
You can find , on the excellent Rich Coffee site Rich's R'n'R Rants & Raves , a complete review, song by song , of the first "Willie Alexander & The Boom Boom Band" lp ! Allmusic/Trouser Press
And you can buy Willie Alexander music here.
Cd covers by Max !

2/20/2009

V/A The Wasted Years


V/A The Wasted Years cd 1995 320 kbps
INFLIKTORS : Ali Frama / DEL FUEGOS : Crying in the rain / MISSION OF BURMA : Progress / THE NEIGHBORHOODS : Innocence lost / TOMATO MONKEY : Come down / NERVOUS EATERS : Red on white / TOMATO MONKEY : Slide / NERVOUS EATERS : Have it with your coffee / TOMATO MONKEY : Mostly torso / THE WILD STARES : Night & fog / CHAOTIC PAST : Distraught and out of control / LYRES : Stacy / MARTIN PAUL : Keep your hands off that bottle / LYRES : We sell soul / THE NEIGHBORHOODS : Electricity / THE WILD STARES : My philosopher / STEVE CATALDO : Songs for Mrs Green / CHAOTIC PAST : Bondage between the mountains / MARTIN PAUL : Halfway to heaven / CRAB DADDY : Inad Oolop / CHAOTIC PAST : Side by side / JOHN FELICE : I'll never this song again / MISSION OF BURMA : Max Ernst.
Ace of Hearts Records is a Boston-based independent label founded in 1978 by R. Harte, who also produced all its releases. It recorded and released some of the Boston area's best post-punk and garage rock bands in the early 1980s, including: Mission of Burma, , Neats, Lyres, John Felice, Nervous Eaters, Del Fuegos, The Neighborhoods, Martin Paul, Wild Stares, Infliktors, Classical Ruins...
Ace of hearts site .

2/19/2009

V/A Cöck ' n ' Röll


V/A Cöck 'n' Röll : Sleazegrinder presents the world sleaziest rock bands cd 2003 320 kbps

LANTERNJACK : Pretty hex / BONA ROBA : In the cut / ROCK CITY CRIMEWAVE : Jersey devil / HELLSIDE STRANGLERS : Motherfuckers don't cry / THE EROTICS : Space age mafia / DEVIL'S DAY OFF : Melvin & Maud / PORN ROCK : Porn star / GUNHACK : Fool / SUGABOMB : Speed thrill / SPEEDFREAKS : Rock'n'roll / BIG BLOCK HITCHCOCK : Strip club / QUEEN BEE : Hot Alot / BAD DOG BOOGIE : Highway of your soul / DOG SHIT BOYS : One minute fuck / JOKER FIVE SPEED : Jet set city / GASOLHEADS : Bad situation / MUSCLE CAR : Sandra Sully / QUEER FOR GIRLS : Rock'n'roll babies / THE VIBROLAS : The ballad of Dorgas Figg / RICKSHAW : Temple of your choice / DOUBLE BARRELLED SLINGSHOTS : The truth about boys & girls / TRASHCAN DARLINGS : (You just wanna) sleep with me / SKUM : Slut / THE BEATINGS : Ghetto blaster / SUZY SUNLESS : Castaway / SAGGER : The closest I've ever come to fucking myself.
Executive producer : G. Bredbenner.
... contains nudity, graphic violence, coarse language, drug use, occult themes and rock riffs !!!
WE JUST PUT THE FUCK IN ROCK 'N' FUCKING ROLL !
Putting out a collection of the "sleaziest" bands on the planet is a tall order, indeed. But since the rock scribe extraordinaire known as Sleazegrinder has his own self-named record label--he's attempting to do just that, with this new collection of tunes called "Cock'n'Roll". But does he succeed? The CD packaging looks like it was designed by Larry Flynt (and who the hell doesn't love Larry?) which might lead you to expect unbridled lyrical smuttiness--with the music as a second thought. But what you actually get when ya the slap the CD into the player is just some good, old-fashioned, slammin', no-bullshit rock'n'roll from a myriad of cool bands including Lanternjack, Sugabomb, Rock City Crimewave, Muscle Car, Skum, Porn Rock--and the band with one of the best names ever: the Dog Shit Boys.
At the same time, some of these groups do "work blue" and topics tackled include strip joints, pornstars, sluts, fucking, etc. Personal faves include Sugabomb's "Speed Thrill" Porn Rock's "Porn Star," and the opening track "Pretty Hex" by Lanternjack. Other bands included on the CD are the Trashcan Darlings, Queer For Girls, The Beatings, Queen Bee and more. All in all, with "Cock'n'Roll" you get searing, balls-out rock'n'roll without the corporate sanitizing. Looking forward to the sequel. C. Parcellin

THE STALKERS - At last ...


THE STALKERS At last ...  LP Heatwave records 1983
Central city / Sunny days forever / June again / Non stop romance / Hush-Hush / Money and cars / Spassiba Produced by the Stalkers.
The Stalkers: Christian: drums, claps / Didier: guitars, 12-string guitar, 2nd vocal, claps / Guy: guitars, accoustic guitar, backing vocals, claps / Dominique: bass, 12-string guitar, vocals, tambourine, claps .
+ Pascal Tessiau: piano on "Central city".
The Stalkers were a french band from Rouen like the Dogs ... They only have recorded this mini lp & a song ("Lonely tomorrows ") on the french compilation "Rock à Rouen" (1984) !
I'm sorry but that's all I know from this band . If someone knows more ...
PS: After the Stalkers Didier has played with the Tweed until the band broke up in 1990 . He is playing now with BBC !
Guy has left Rouen to live in London where he has become the lead guitarist & songwriter of The Ghost of lovers . Sadly Guy has passed away in 1998 (R.I.P).
Thanks to Didier & Dominique for the information !
Check The Stalkers at Myspace !
Cd covers by Max !

2/16/2009

THE COWBOYS - Jet City Rockers


THE COWBOYS Jet City Rockers cd 1998 320 kbps
Here she comes / Girls like that / Crack of the whip / Wagons Ho / Blink of an eye / Rude boy* / Rock'n'roll cowboy° / Standing in the rain / Jet city rockers° /Doesn't matter to me / It's a riot¨ .
Produced by T. Date & E. Shapiro except ° by P. Speer , ¨by I. Fisher & R. Wilson & * by the Cowboys.
The Cowboys : Ian Fisher : vocals / Jeff Cerar & Ernie Shapiro: guitars , vocals / Jack Hanan : bass, vocals / Paul Brownlow : keyboards , vocals / Marty Waychoff , Mark Borden , Dean Helgeson & Mark Guenther : drums

The Cowboys were one of the influential rock bands out of Seattle (with the Heats : also a must !) during the span of 1979 through 1985 .The Cowboys were perhaps as motley a crew as has ever been assembled for a Northwest band. Singer Ian Fisher (R.I.P) was loud, boisterous, arrogant, and had a fake english accent : In short, he was everything a lead singer needed to be, and he was a commanding presence . The band mixed a little reggae with power-pop, and it was this knack for being populist that gained it such a large following . Their biggest hits were "Rude Boy" and "Girls Like That", both of which sound surprisingly catchy even today. Unfortunately, The Cowboys never got a major-label deal: they were at least as good as many of the bands that clogged the "Rock of the '80's" airwaves, and as a live band they were rivalled by few. Charles Cross

2/15/2009

THE BOYS - To Original Hell With / Odds N Sods

THE BOYS To Original Hell With / Odds N Sods cd 2000 320 kbps
Sabre dance / Rue Morgue / Terminal love / See ya later / You can't hurt a memory / Kamikaze / Lonely cowboy / Waiting for a lady / Bad day / Walk my dog / I love me / Mummy / Garden gang / Sap / We're all crazy / Pick me up / Jimmy Brown / You can give it / Flash / Dressed to kill / Oyoyo / Flies / Little runaround.
The Boys : Matt Dangerfield : guitar, vocals / Duncan 'Kid' Reid : bass , vocals / Casino Steel : organ , piano , vocals / Honest John Plain : guitar , vocals /Jack Black : drums .
The Boys made arguably one of the best LPs of the 70s with their self-titled first album and provided the template for superior Pop Punk before even the Buzzcocks had got out of first gear. Yet for some reason The Boys occupy a neglected position in relation to London's early Punk scene, probably because they weren't clothed by Sex or managed by Malcolm McLaren. Being tagged the "Punk Beatles" couldn't have helped either. Plagued by mishaps, bad timing and plain bad luck they managed to keep smiling and come up with corking, hyper-speed pop classics like "Brickfield Nights" and "Rue Morgue". In short The Boys were a gem of a band and a total inspiration to any Punk band who value tunes over noise. Punk77

Coupled here are two of the rarest albums by the Boys . "To Original Hell With" first saw the light of day on Casino Steel's Revolution Records in 1989 though the recordings actually date back to 1979 . They are totally different mixes to the ones eventually issued on the "To Hell WithThe Boys" album on Safari , much rawer and live sounding. "Odds N Sods" also came out in 1989 on the german Totenkopf label . Compiled by Campino , long time Boys fanatic and vocalist with Die Toten Hosen , the release was made up of previously unreleased studio tracks from between 1977 /1981.

The Boys were perhaps punk's saddest casualty. They could — indeed, should — have been enormous. Certainly they were one of the finest live acts around ... Allmusic

2/12/2009

THE CORPSE GRINDERS - Valley of fear

THE CORPSE GRINDERS Valley of fear lp 1984 New Rose 320 kbps
Forgot to take my baby / Valley of fear / Anything goes / Guessing games / Please go home / She's changed / Stay / Judge of love / Turn away / Miss Amanda Jones / Child of the 4 th reich.
Produced by R. Rivet & A.C. Doback.
The Corpse Grinders : Rick Rivets : Guitars, bass, vocals / Ray Jalbert : vocals, harmonica, percussion / Tongue Blaccard : drums, percussion / Bob Casper : piano, synthesizer, effects.

In Spring 1977 , Rick Rivets and Arthur Kane decided it was time to join forces once more time. Stu Wylder was getting itchy to hit the stage. The demise of his previous group, Age, was in 1975. What a poor boy to do … He was brought in on vocals and harmonica. Jimmy Criss (ex-Teenage Lust) became the group’s maniacally laughing drummer in October. The band was named after a low budget blood/guts/horror film, “The Corpse Grinders”. The band’s first appearance was on a Manhattan cable TV show in early October 1977 lip-synching two songs “Take What I Can” and “Bulldog”. Both of these tracks had been recorded in September with the aid of Bob Casper on piano, Mark Polott on bass and Stix Nickson on drums. An interview followed during which Arthur was asked what his mother thought of his green hair. His answer: “Like, wow!” The first live Corpse Grinders performance took place at Great Gildersleeves, New York City on Halloween 1977. The band was plagued with sound problems, but the energy was overpowering. They played numerous New York clubs and monthly dates at Connecticut’s only punk haven, The Shandy Gaff in Devon. They soon had a loyal following that included Dead Boy Cheetah Chrome. In fact, The Corpse Grinders were the only band to play two nights at CBGB’s Johnny Blitz Benefit. In January 1978 Stu and Rick along with Bob Casper (bass) and Joe Natale (drums) recorded three rough demos on a stereo reel-to-reel tape deck – the original versions of “Mental Moron” and “Child Of The 4th Reich” plus perhaps the rawest version of “Gloria” ever unleashed. A couple of months later, four songs were recorded at Backstreet Studios in The Bronx: “Rites, 4 Whites”, “Mental Moron”, “Pretty Baby”, and “Diamond Head”. Out of this session, “Rites, 4 Whites” and “Mental Moron” were released as a single on Whiplash Records complete with a bizarre sex/death picture sleeve. Kane left the band in July 1978. He later joined The Idols along with another ex-Doll, Jerry Nolan. Kane’s replacement was Bill Spence another high school friend. Bill’s previous band was Cat’s Ass from Boston who had been produced by Moulty of the 60s garage band, The Barbarians. Jimmy roared his last mental moron laugh in September 1978. The drummer’s position was filled by Rock Glitter (who later changed his name to Tongue Blaccard then Paul Blaccard). The Corpse Grinders were laid to rest in November 1978 … but in the tradition of most Hollywood horror hits – there’s a sequel! The Corpse Grinders were exhumed and resurrected by the interest shown by New Rose Records of France. Rick hadn’t played live since the break up of The Slugs in 1981. Stu’s absence from the scene was even longer – a 1979 one off semi-reunion gig with Rivets and Blaccard performing at a wedding as The Fleet!!! The only one still banging away was Tongue who was drumming for The Fats Deacon Band. The group was completed by Bob Casper whose last band, The Shapes (a Merseybeat/pop outfit), expired in 1981. So the Summer of 1983 saw the French release of The Legend Of The Corpse Grinders LP. The album was made up of the Whiplash singles session (collectors take note that “Rites, 4 Whites” and “Mental Moron” are different mixes), other unreleased stuff, and three new recordings. The new material was some of the band’s crowd pleasers from their live sets – “City Rocker”, “Frozen Alive”, and Del Shannon’s “Runaway”. Unfortunately, Stu Wylder disappeared from the scene after the album’s release. He had not been seen or heard from until recently – 18 years later. We had feared that he met an untimely end but are now relieved to know Stu is still alive and well. New Rose wanted a second LP. It was bad timing. No singer. Bob Cataldi (ex-Shapes) sang on a demo version of “Frozen Alive” with some of his own offbeat lyrics. But things fell apart and he went on to form Da Willows. Casper and Cataldi were later to form the 60ish rocking Zip Gun Angels. Rivets managed to coax Ray Jalbert (ex-Slugs) into coming out of retirement. The two of them did some demos in Rick’s home in December 1983. They sounded promising, so recording time was booked at Backstreet Studios for December 1983 through March 1984. A total of 5 sessions. As I said, bad timing. Most of the recording dates were scheduled at times that Tongue could not make. Rivets had recently bought a drum machine, and he was in love with his new toy. He thought it sounded great. He was wrong. The Valley Of Fear album thus was recorded. Blaccard drumming only on one session. Casper couldn’t make any of the early sessions either, so Rivets played bass. Casper’s only contribution was some keyboards and synthesizer at the last session. Things started to look up in the Spring of 1984. Bob Adams joined on bass and former Slugs Lenny Lazerz was added on rhythm guitar. The band played various dates in New York and Connecticut. They only made one studio recording, “The Price Of Meat”, which was done for New Rose’s La Vie En Rose compilation box set. A track by Bob Casper’s new band, Ludovico’s Technique also appeared on this compilation. The Corpse Grinders died their second death in early 1985. The Grinders rose out of the ashes. This was the name that was taken by the new band – a band without Rivets and Adams. In addition to Jalbert, Blaccard, and Lazerz, Kenny Lewitt (ex-Slugs) was brought in on lead guitar and Mike Chieffo (from the 1979 gig as The Fleet) on bass. This line-up lasted into 1987 and made quite a number of studio recordings. From the time of the 1985 break up, Rick kept busy making home recordings. In the Summer of 1987 Rivets, Blaccard, and Adams tried to get a new Corpse Grinders out of the grave. But it fell apart after a few practices. The rest of the group later became The Sporting Bachelors. Summer 1989. Blaccard had a party that was attended by former Corpse Grinders and Slugs. There was some jamming on old Stones songs. Everybody loved each other, again. The idea for a Corpse Grinders reunion was brought up, and everyone said, “Yes!” Now the new version of The Corpse Grinders had three guitarists – Rivets, Lazerz, and Lewitt. Jalbert was still singing, Blaccard drumming, and Adams on bass. Within a month they were playing a variety of clubs in Manhattan and Long Island. In March 1990, fourteen songs were recorded at an 8-track studio in Queens. The songs were recorded live in a three-hour session. They had a nice raw sound. However, they were later re-recorded and re-mixed into rather lame, tame tunes. The energy was poured on at Northlake Sound, a 24-track studio in White Plains, NY, that was engineered by Eddie Solan. The band hammered out seven songs: five originals and two covers of the Stones and Dolls. All of the originals were written in the days of The Slugs. Indeed, this was virtually a Slugs reunion since Lazerz played bass on these tracks. Several weeks after this session, Bob Adams quit. Lazerz went back to playing bass. The band was in its death throes; finally expiring in early 1991. Don’t cry, kids, cause they’re back!!! There are more sequels to this band than there are Friday The 13th movies! And again this new group was the product of yet another of Tongue’s parties! The new Corpse Grinders consisted of Rivets, Blaccard, Jim Hendren (guitar), Scorpio Columbia (vocals) and Jay Nola (bass). They sprang into existence in June 1991. Columbia and Hendren re-vitalized the band with their arsenal of original songs. The name was soon changed to In Cold Blood. They recorded a four-song demo at Northlake Studios with Eddie Solan once again in the engineer’s chair. In Cold Blood called it quits after a year. They played a number of gigs, recorded some great demos, and even appeared on a Long Island radio show. Blaccard married in the Summer of 1993 and moved to Florida. He still lives there operating his transmission business and puttering about in his home recording studio. Rivets managed to stay busy musically. In addition to his home recordings, he played a few very interesting dates over the years – several shows with Twink (ex-Fairies, Tomorrow, Pretty Things, Pink Fairies, Rings, etc) and a couple of shows with Hilton Valentine (ex-Animals, now with Animals II). The band backing Twink was Rivets, Geo (ex-Steam, Scout House) on drums, and Dana Place (bass) – both in The Center Street Band. The band backing Valentine was again Rivets, Geo, Place, John Young (keyboards, also Center Street Band), and Bob Cataldi (ex-Shapes) on vocals. From this core of musicians, another version of The Corpse Grinders sprang to life in the early 1998. The new band was Rivets, Geo, Cataldi, and former Scout House, George Bush on bass. They recorded five songs in May and June 1998 at Paul Opalach’s studio in Shelton, Connecticut. All of the songs were old Slugs gems. John Young also added keyboards to several tracks. Alas, they never played live. The band did back Hilton Valentine at one last show though. They broke up in the Fall of 1998. Is it over? As of this writing, there is talk of getting a new band together for a recording. Cheetah Chrome’s name has been mentioned as a possible candidate to join Rivets and Blaccard. It is time for a resurrection… Do I hear the sounds of a shovel scrapping the dirt from the top of a buried coffin? Is that creaking the sound of the casket opening? YES! It’s ALIVE!!! Pier of Rave Up Records (Italy) has unearthed a treasure of Corpse Grinders goodies – some you’ve heard, some you haven’t – for release on his label in December 2001. Released and unreleased studio tracks, live and demo material – from 1977 to 1998. A must have. . Stu Wylder was getting itchy to hit the stage. The demise of his previous group, Age, was in 1975. What a poor boy to do … He was brought in on vocals and harmonica. Jimmy Criss (ex-Teenage Lust) became the group’s maniacally laughing drummer in October. The band was named after a low budget blood/guts/horror film, “The Corpse Grinders”. The band’s first appearance was on a Manhattan cable TV show in early October 1977 lip-synching two songs “Take What I Can” and “Bulldog”. Both of these tracks had been recorded in September with the aid of Bob Casper on piano, Mark Polott on bass and Stix Nickson on drums. An interview followed during which Arthur was asked what his mother thought of his green hair. His answer: “Like, wow!” The first live Corpse Grinders performance took place at Great Gildersleeves, New York City on Halloween 1977. The band was plagued with sound problems, but the energy was overpowering. They played numerous New York clubs and monthly dates at Connecticut’s only punk haven, The Shandy Gaff in Devon. They soon had a loyal following that included Dead Boy Cheetah Chrome. In fact, The Corpse Grinders were the only band to play two nights at CBGB’s Johnny Blitz Benefit. In January 1978 Stu and Rick along with Bob Casper (bass) and Joe Natale (drums) recorded three rough demos on a stereo reel-to-reel tape deck – the original versions of “Mental Moron” and “Child Of The 4th Reich” plus perhaps the rawest version of “Gloria” ever unleashed. A couple of months later, four songs were recorded at Backstreet Studios in The Bronx: “Rites, 4 Whites”, “Mental Moron”, “Pretty Baby”, and “Diamond Head”. Out of this session, “Rites, 4 Whites” and “Mental Moron” were released as a single on Whiplash Records complete with a bizarre sex/death picture sleeve. Kane left the band in July 1978. He later joined The Idols along with another ex-Doll, Jerry Nolan. Kane’s replacement was Bill Spence another high school friend. Bill’s previous band was Cat’s Ass from Boston who had been produced by Moulty of the 60s garage band, The Barbarians. Jimmy roared his last mental moron laugh in September 1978. The drummer’s position was filled by Rock Glitter (who later changed his name to Tongue Blaccard then Paul Blaccard). The Corpse Grinders were laid to rest in November 1978 … but in the tradition of most Hollywood horror hits – there’s a sequel! The Corpse Grinders were exhumed and resurrected by the interest shown by New Rose Records of France. Rick hadn’t played live since the break up of The Slugs in 1981. Stu’s absence from the scene was even longer – a 1979 one off semi-reunion gig with Rivets and Blaccard performing at a wedding as The Fleet!!! The only one still banging away was Tongue who was drumming for The Fats Deacon Band. The group was completed by Bob Casper whose last band, The Shapes (a Merseybeat/pop outfit), expired in 1981. So the Summer of 1983 saw the French release of The Legend Of The Corpse Grinders LP. The album was made up of the Whiplash singles session (collectors take note that “Rites, 4 Whites” and “Mental Moron” are different mixes), other unreleased stuff, and three new recordings. The new material was some of the band’s crowd pleasers from their live sets – “City Rocker”, “Frozen Alive”, and Del Shannon’s “Runaway”. Unfortunately, Stu Wylder disappeared from the scene after the album’s release. He had not been seen or heard from until recently – 18 years later. We had feared that he met an untimely end but are now relieved to know Stu is still alive and well. New Rose wanted a second LP. It was bad timing. No singer. Bob Cataldi (ex-Shapes) sang on a demo version of “Frozen Alive” with some of his own offbeat lyrics. But things fell apart and he went on to form Da Willows. Casper and Cataldi were later to form the 60ish rocking Zip Gun Angels. Rivets managed to coax Ray Jalbert (ex-Slugs) into coming out of retirement. The two of them did some demos in Rick’s home in December 1983. They sounded promising, so recording time was booked at Backstreet Studios for December 1983 through March 1984. A total of 5 sessions. As I said, bad timing. Most of the recording dates were scheduled at times that Tongue could not make. Rivets had recently bought a drum machine, and he was in love with his new toy. He thought it sounded great. He was wrong.
The "Valley Of Fear" album thus was recorded. Blaccard drumming only on one session. Casper couldn’t make any of the early sessions either, so Rivets played bass. Casper’s only contribution was some keyboards and synthesizer at the last session. Things started to look up in the Spring of 1984. Bob Adams joined on bass and former Slugs Lenny Lazerz was added on rhythm guitar. The band played various dates in New York and Connecticut. They only made one studio recording, “The Price Of Meat”, which was done for New Rose’s La Vie En Rose compilation box set. A track by Bob Casper’s new band, Ludovico’s Technique also appeared on this compilation. The Corpse Grinders died their second death in early 1985. The Grinders rose out of the ashes. This was the name that was taken by the new band – a band without Rivets and Adams. In addition to Jalbert, Blaccard, and Lazerz, Kenny Lewitt (ex-Slugs) was brought in on lead guitar and Mike Chieffo (from the 1979 gig as The Fleet) on bass. This line-up lasted into 1987 and made quite a number of studio recordings. From the time of the 1985 break up, Rick kept busy making home recordings. In the Summer of 1987 Rivets, Blaccard, and Adams tried to get a new Corpse Grinders out of the grave. But it fell apart after a few practices. The rest of the group later became The Sporting Bachelors. Summer 1989. Blaccard had a party that was attended by former Corpse Grinders and Slugs. There was some jamming on old Stones songs. Everybody loved each other, again. The idea for a Corpse Grinders reunion was brought up, and everyone said, “Yes!” Now the new version of The Corpse Grinders had three guitarists – Rivets, Lazerz, and Lewitt. Jalbert was still singing, Blaccard drumming, and Adams on bass. Within a month they were playing a variety of clubs in Manhattan and Long Island. In March 1990, fourteen songs were recorded at an 8-track studio in Queens. The songs were recorded live in a three-hour session. They had a nice raw sound. However, they were later re-recorded and re-mixed into rather lame, tame tunes. The energy was poured on at Northlake Sound, a 24-track studio in White Plains, NY, that was engineered by Eddie Solan. The band hammered out seven songs: five originals and two covers of the Stones and Dolls. All of the originals were written in the days of The Slugs. Indeed, this was virtually a Slugs reunion since Lazerz played bass on these tracks. Several weeks after this session, Bob Adams quit. Lazerz went back to playing bass. The band was in its death throes; finally expiring in early 1991. Don’t cry, kids, cause they’re back!!! There are more sequels to this band than there are Friday The 13th movies! And again this new group was the product of yet another of Tongue’s parties! The new Corpse Grinders consisted of Rivets, Blaccard, Jim Hendren (guitar), Scorpio Columbia (vocals) and Jay Nola (bass). They sprang into existence in June 1991. Columbia and Hendren re-vitalized the band with their arsenal of original songs. The name was soon changed to In Cold Blood. They recorded a four-song demo at Northlake Studios with Eddie Solan once again in the engineer’s chair. In Cold Blood called it quits after a year. They played a number of gigs, recorded some great demos, and even appeared on a Long Island radio show. Blaccard married in the Summer of 1993 and moved to Florida. He still lives there operating his transmission business and puttering about in his home recording studio. Rivets managed to stay busy musically. In addition to his home recordings, he played a few very interesting dates over the years – several shows with Twink (ex-Fairies, Tomorrow, Pretty Things, Pink Fairies, Rings, etc) and a couple of shows with Hilton Valentine (ex-Animals, now with Animals II). The band backing Twink was Rivets, Geo (ex-Steam, Scout House) on drums, and Dana Place (bass) – both in The Center Street Band. The band backing Valentine was again Rivets, Geo, Place, John Young (keyboards, also Center Street Band), and Bob Cataldi (ex-Shapes) on vocals. From this core of musicians, another version of The Corpse Grinders sprang to life in the early 1998. The new band was Rivets, Geo, Cataldi, and former Scout House, George Bush on bass. They recorded five songs in May and June 1998 at Paul Opalach’s studio in Shelton, Connecticut. All of the songs were old Slugs gems. John Young also added keyboards to several tracks. Alas, they never played live. The band did back Hilton Valentine at one last show though. They broke up in the Fall of 1998. Is it over? As of this writing, there is talk of getting a new band together for a recording. Cheetah Chrome’s name has been mentioned as a possible candidate to join Rivets and Blaccard. It is time for a resurrection… Do I hear the sounds of a shovel scrapping the dirt from the top of a buried coffin? Is that creaking the sound of the casket opening? YES! It’s ALIVE!!! Pier of Rave Up Records (Italy) has unearthed a treasure of Corpse Grinders goodies – some you’ve heard, some you haven’t – for release on his label in December 2001. Released and unreleased studio tracks, live and demo material – from 1977 to 1998. A must have. Myspace
cd covers by Max !

2/11/2009

THE COSMIC DROPOUTS - Sonic Circus


THE COSMIC DROPOUTS Sonic Circus cd 1993 Kicksville records 320 kbps
Too cool for you / Come back baby / New generation / I feel alright* / You 've got me / Can't get you outta my mind / It's alright / High on you / Consider me gone / Purdy Patsy / Try me / Dizzy / The beast in me / Rock 'n' roll all nite (bonus track).
Produced by The Cosmic Dropouts.
The Cosmic Dropouts : Morten Karlsen : vocals , maraccas & tambourine / Morten Henriksen : guitars , backing vocals & lead vocals on */ Pal Andreassen : organ & backing vocals /Stig Joraholmen : bass / Rune Johnsen : drums.
"...Back in 1990 when I was writing Noise For Heroes as a print fanzine, I used to get piles of promo records to review ... One day I was going through the pile and out comes a record by a band called the Cosmic Dropouts. They were from Norway. Imagine my surprise when the needle dropped into the groove and this blast of garage punk roared out. I figured it had to be a mistake…this must be the Nomads recording under alias or something. Except the Dropouts played with a turbocharged style that’s faster and more energetic. Fabulous! And so their "Groovy Things" lp entered hot rotation in my house, and when it subsequently was released on CD, I snapped that up, too... In 1996 I went to Norway and found that there were two more Cosmic Dropouts lps that had only been released there: "Hoolabaloo" and "Sonic Circus". I snapped them up, and say, hey! they’re every bit as good as "Groovy Things". Maybe even better, especially "Sonic Circus", which totally smokes... "
"...The final Cosmic Dropouts lp 1993’s "Sonic Circus," is the best sounding of their three releases. It looks like an album that should have gotten the band a much wider audience. Kicksville, the label on which it appeared, had a distribution deal with Sony, and the CD had a great packaging job on the outside, with great songs and sound on the inside. The thing is loaded with raving energy, featuring all the tricks in the book…great stop-start songs, well placed "wow!" screams, a rich, fat mix, and everything you could want. But it vanished without a trace. Morten Henriksen (Yum Yums ) says :" "Sonic Circus", which I consider our best album, sold the amazing amount of 475 copies one year after its release. It was only released in Norway. The band split up not long after the release so there was never made any effort to market it outside of Norway. A damn shame!" Eventually Sony sold most of the original run of 2,000 copies, but it took a few years..." S. Gardner - Noise For Heroes - 1998
Thanks to Gildas for music & scans !

2/10/2009

HANOI ROCKS - Back to Mystery City


HANOI ROCKS Back to Mystery City cd 1983 320 kbps
Strange Boys Play Weird Openings / Malibu Beach Nightmare / Mental Beat / Tooting Bec Wreck / Until I get You / Sailing Down the Tears / Lick summer Love / Beating Gets Faster / Ice Cream Summer / Back to Mystery City / Ice Cream Summer (demo) / Until I Get You (demo) / Back to Mystery City (demo).
Produced by Dale Griffin and Overend Watts.
Hanoi Rocks : Michael Monroe : vocals, sax, harmonica / Andy Mc Coy : lead guitar / Nasty Suicide : rhythm guitar / Sam Yaffa : drums / Razzle : drums.

Finland's major export to the world of heavy metal, Hanoi Rocks, drew much of their sound and inspiration from '70s glam-rock and were thought by some to have fused the two styles more successfully than similar acts such as Mötley Crüe. Hanoi Rocks was founded in 1980 by singer Michael Monroe and guitarist Andy McCoy ; after some lineup changes, the rest of the group consisted of guitarist Nasty Suicide, bassist Sam Yaffa, and drummer Gyp Casino. All members except M. Monroe had previously played with Finnish punk bands. Their debut album, "Bangkok Shocks, Saigon Shakes, Hanoi Rocks", was released in 1981, and the band soon went to London to promote themselves and record "Oriental Beat". The band signed to CBS in 1983 and their remake of Creedence Clearwater Revival's "Up Around the Bend" became their only U.K. chart single the next year, from the album "Two Steps From the Move". The group broke up in May 1985 after the death of Razzle , in a tragic automobile accident while a passenger in Vince Neil's car. In 2002, Monroe and McCoy reformed Hanoi Rocks, releasing three albums :"Twelve Shots on the Rocks"(2003), "Another Hostile Takeover"(2005) & "Street poetry"(2007). Hanoi Rocks will break up after a serie of farewell gigs in April 2009. A "definitive compilation" a 2-CD retrospective " This One's For Rock'n'Roll" was out on November 26th 2008. This package includes 33 songs, encompassing both distinctive parts of their career, the 80's and the new millennium. - From Allmusic
Having so obviously worshipped at the altar of Mott the Hoople for much of their career, it's little surprise that for their fourth album Hanoi Rocks went straight to the source, getting both Dale Buffin Griffin and Pete "Overend" Watts to produce "Back to Mystery City". Whatever else they brought to the sessions, the duo makes Hanoi Rocks sound like a much more powerful band than before; compared to "Self Destruction Blues", the riffs are more explosive, the drumming pounding, and Michael Monroe is in full swing. The aura of '50s rave-up, '70s glam party, and '80s hard rock chaos that the band made their own sounds even better than before, but the production duo also made even more room for intriguing experiments within the songs themselves. Thus, the full-on glam stomp, mock-Burundi drums, and animal noises during the merry romp "Tooting Bec Wreck" (one of many Hanoi Rocks songs paying homage to home-away-from-home London), or the clearly obvious "Mony Mony" steal from the title track, with reverbed vocals working wonders. One thing's for sure: calling the first song "Strange Boys Play Weird Openings," and having it be a mock rustic folk song -- with acoustic guitars, flutes, and chirping birds -- is a great way to have fun. More so, admittedly, when things suddenly kick into the brilliant rocker "Malibu Beach Nightmare." Other songs, like "Beating Gets Faster" and "Ice Cream Summer" (gratuitous misogyny aside), may be more Hanoi Rocks by-the-numbers, but it's a good enough pattern to follow. In their own way, they weren't so much pioneers as followers of a style that not many attempted at the time. They get extra points, as well, for having one of the more entertainingly crude song titles around: "Lick Summer Love." - Allmusic

SECRET 9 BEAT - Secret 9 Beat


SECRET 9 BEAT Secret 9 Beat cd 2007 Ignore Orders Alien Records 128 kbps
Hey Johnny / Pure projection / Seduce this nation / New song / Donna / Sunny side / Down in the dirt / Blue horizons / Dressed in black / Motorcycle boy / Ruby's room .
All songs writen by Komarek / Vanek .
Produced by Phil Shöenfelt .
Secret 9 Beat is : Tom Komarek : vocals, guitars / Lukáš Vanek : guitars, vocals / Marko Ziza : bass / Z. Belohlavek: drums .

Secret 9 Beat are a Prague (Czech Rep.) based garage-punk-rock´n´roll gang formed in the late nineties by long time friends Tom Komárek and Lukáš Vaněk being obsessed by Velvet Underground, Stooges, Nuggets-era garage bands. After several line-ups, numerous famously raw, energetic gigs they finally have settled with ol´ pal Marco Žiža on bass who got back from Japanese exile and darling Ondřej Bauer on drums. Their first CD was produced by English singer/songwriter/writer Phil Shöenfelt (Khmer Rouge, Fatal Shore, collaborater of the late Nikki Sudden…).
Their influences are : Johnny Thunders, Suicide, NY Dolls, Jesus And Mary Chains, The Fall, Girl Groups, The Seeds, Richard Hell, Jonathan Richman, Birthday Party, The Clash, Early Stones, Fleshtones, Robert Anton Wilson, Uptown RNB, Burroughs, Alex Chilton, Ramones, The Cramps and many more...
"... In their lyrics they use dadaistic pirouettes, cut-ups and B-movie lines. Some hipster Antonin Artaud meets the Avengers in Akham asylum in some Gotham city zone in East European bunker bar after midnight. Like in that ol´tune by Jim Lowe: "... All I wanna do is join the happy crowd behind the green door ...". – Press Clip
Secret 9 Beat are alive as ever, constatly performing and actually working on a new album ...
Thanks to Tom Komarek for music & scans !
Support real rock'n'roll & buy it here !

2/07/2009

DIG IT ! N° 45


ABONNEZ-VOUS !

THE CRAMPS - Big beat from Badsville


THE CRAMPS Music from Badsville cd 1997 320 kbps
Cramp Stomp / God Monster / It Thing Hard-on / Like a Bad Girl Should / Sheena is in a Goth Gang / Queen of Pain / Monkey With Your Tail / Devil Behind That Bush / Super Goo / Hypno Sex Ray / Burn She-devil , Burn / Wet nightmare / Badass Bug / Haulass Hyena.
Engineered by Earle Mankey - Produced by Poison Ivy & Lux Interior.
The Cramps : Poison Ivy : guitar , theremin / Lux Interior : singer / Harry Drumdini : drums / Slim Chance : bass guitar .

The Cramps' major-label period proved to be brief, with Cal-punk indie label Epitaph inking a deal with the group to release 1997's "Big Beat from Badsville", which featured the same lineup as "Flamejob". In 2001, Lux Interior and Poison Ivy Rorschach celebrated the 25th anniversary of the Cramps by taking the matters of record-making into their own hands; they revived the long-dormant Vengeance label and reissued their entire post-I.R.S. album catalog (except for "Flamejob") on expanded and remastered cd's and colored vinyl lp's. A new Cramps album followed in 2003, "Fiends of Dope Island", which (of course) featured yet another personal change, with Chopper Franklin becoming the band's latest bassist. And with the Cramps continuing their unholy mission well into the 21st century, they offered their fans a look back with 2004's "How to Make a Monster", a collection of rare live material and demos. Allmusic
As the Cramps approached their 20th anniversary, they showed no signs of changing their signature kitschy psychobilly style. In so many ways, "Big Beat From Badsville" is no different from its immediate predecessor, "Flamejob", or any of the group's other records -- it's a collection of campy songs about sex, horror, violence, leather and perversion. Sonically, it's slightly rawer than "Flamejob", and the group's performances are as inspired here as they are on any of their other '90s albums. And the songs are uniformly good, even if there aren't any standouts. So, "Big Beat From Badsville" is the kind of record that fans will be pleased with, but newcomers will just wonder what the big deal is. Allmusic

THE CRAMPS - Ultra twist !


SINGLES THE CRAMPS Ultra twist ! cd EP 1994 320 kbps
Ultra Twist / Confessions of a Psycho Cat / No Club Lone Wolf.
Produced by Poison Ivy & Lux Interior.
The Cramps : Lux Interior : vocals / Poison Ivy : guitar / Slim Chance : bass / Harry Drumdini : drums.

In 1981, the Cramps filed suit against I.R.S. Records over unpaid royalties; the court case prevented the band from recording new material for two years, and when they returned to America's record racks, it was with a live album, 1983's "Smell of Female", recording during a pair of dates at New York City's Peppermint Lounge. Kid Congo amicably parted ways with the band shortly afterward, and the search for the right record company kept the Cramps out of the studio until the U.K.-based Big Beat label released the ultra-lascivious "A Date With Elvis" in 1986; while several guitarists had come and gone since Kid Congo, for these sessions Poison Ivy ended up overdubbing herself on bass. In 1987, the group finally found a simpatico bassist in the form of tough gal Candy Del Mar, whom Lux and Ivy met in the parking lot of a liquor store. Del Mar made her recorded debut on the live album "Rockin n Reelin in Aukland New Zealand", and she was still on board when the Cramps finally signed a U.S. record deal with Enigma Records and recorded the fine and full-bodied "Stay Sick!" in 1990. Only a year later, the Cramps were back with a new studio album, "Look Mom No Head!", but in a surprising move Nick Knox had left the band, and was replaced by Jim Sclavunos; after Jim's short tenure with the group, Nickey Beat (aka Nicky Alexander, former timekeeper with the Weirdos) took over the drum throne before one Harry Drumdini signed on. Less startlingly, Candy Del Mar was also out of the lineup, replaced by Slim Chance, a one-time member of the Mad Daddys. Harry and Slim joined Lux and Ivy in 1994 for the Cramps' first major-label album, "Flamejob", released by the Warner Bros.-distributed Medicine imprint. As usual, much touring followed, and the band even made an appearance on the popular youth-centric soap opera Beverly Hills 90210 in 1995 ...

THE CRAMPS - Off the bone

THE CRAMPS Off the bone cd 1987 320 kbps
Human fly* / The way I walk* / Domino* / Surfin' bird* / Lonesome town* / Garbage man* / Fever* / Drug train* / Love me* / I can't hardly stand it* / Goo goo muck° / She said° / The crusher° / Save it° / New kind of kick°/ Uranium rock° / Good taste (live)°.
*Produced by Alex Chilton - °Produced by The Cramps.
The Cramps : Lux Interior : vocals / Poison Ivy : guitar / Bryan Gregory : guitar / Kid Congo Powers : guitar / Nick Knox : drums.
Conjuring a fiendish witches' brew of primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex, and the detritus and effluvia of 50 years of American pop culture, the Cramps are a truly American creation much in the manner of the Cadillac, the White Castle hamburger, the Fender Stratocaster, and Jayne Mansfield. Often imitated, but never with the same psychic resonance as the original, the Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, not unlike an enchanted gingerbread house on the Las Vegas strip. The entire psychobilly scene would be unthinkable without them, and their prescient celebration of the echoey menace of first-generation rock & roll had a primal (if little acknowledged) influence on the rockabilly revival and the later roots rock movement.
The saga of the Cramps begins in 1972 in Sacramento, CA, when LSD enthusiast and Alice Cooper fan Erick Purkhiser picked up a hitchhiker, a woman with a highly evolved rock & roll fashion sense named Kristy Wallace. The two quickly took note of one another, but major sparks didn't began to fly until a few weeks later, when they discovered they were both enrolled in a course on "Art and Shamanism" at Sacramento City College. These two lovebirds were soon sharing both an apartment and their collective enthusiasm for the stranger and more obscure sounds of rock's first era, as well as the more flamboyant music of the day. Their passion for music led them to the conclusion that they should form a band, and Kristy picked up a guitar and adopted the stage name Poison Ivy Rorschach, while future vocalist Erick became Lux Interior, after short spells as Raven Beauty and Vip Vop. Ivy and Lux hit the road for Ohio, and after living frugally in Akron for a year and a half, they made their way to New York City in 1975 in search of stardom. While working at a record store, Interior made the acquaintance of fellow employee Greg Beckerleg, who had recently arrived from Detroit and also wanted to form a band. Beckerleg transformed himself into primal noise guitarist Bryan Gregory, and even persuaded his sister to join the nascent combo as a drummer. However, Pam Beckerleg didn't work out on traps, and so Miriam Linna (the Zantees & co-found frantic cultural journal Kicks Magazine and exemplary reissue label Norton Records ), an Ohio transplant who had gotten to know Lux and Ivy during their sojourn in the Buckeye State, finalized the first proper lineup of the band they called the Cramps. Between Ivy's twangy single-note leads, Bryan's shower-of-sparks reports of noise, Lux's demented banshee howling, and Miriam's primitive stomp, the Cramps didn't sound like anyone else on the budding New York punk scene, and the foursome soon began attracting both crowds and buzz with their shows at CBGB's and Max's Kansas City. After about a year of gigging in and around New York, Linna left the group, and another former Ohioan, Nick Stephanoff (known to his fans as Nick Knox and previously a member of infamous Cleveland noise terrorists the Electric Eels) took over behind the drums, and this version of the Cramps released the group's first recordings, a pair of 7" singles recorded in Memphis with Alex Chilton as producer and issued by the band's own Vengeance Records label. In 1979, Miles Copeland signed the band to his fledgling new wave label I.R.S. Records, and their first 12" release was an EP featuring the material from their self-released singles, entitled "Gravest Hits". That same year, the band traveled to Europe for the first time, playing as opening act for the Police and stealing the show from the peroxide-addled pop stars many nights. The Cramps returned to Memphis with Chilton to record their first full-length album, 1980's masterful "Songs the Lord Taught Us", but what should have been a triumphant U.S. tour following its release was scuttled when Gregory unceremoniously quit the band by leaving unannounced with a van full of their equipment; at the time, a story circulated that Gregory left the Cramps to pursue an interest in Satanism, though in later interviews Lux and Ivy said there was no truth to these rumors and his actions were more likely the result of his addiction to heroin. Lux, Ivy, and Nick opted to move the band to Hollywood, CA, and recruited Gun Club guitarist Kid Congo Powers to take over as second guitarist in time to record their second long-player, "Psychedelic Jungle". val and the later roots rock movement... Allmusic
A Cramps compilation : "Gravest Hits" which is two singles and a bonus track, material from both the Bryan Gregory and Kid Congo Powers lineups. Kid plays on “Goo Goo Muck” and “The Crusher” from "Psychedelic Jungle", “Save It” and “New Kind of Kick” from "The Crusher" 12 EP, the unreleased versions of “She Said,” “Uranium Rock,” and a pre-Smell of Female live version of “You Got Good Taste.”

The 3D cover version ... did you always have your glasses ?

2/05/2009

THE WAY I WALK ...


The way I walk is just the way I walk
The way I talk is just the way i talk
The way I smile is just the way I smile
Touch me baby, and I'll go home wild!

The wat I love is just the way I love
Come on and be my little turtle dog
Touch me baby, it feels so goodI feel it though
I wanna be, I don't know if I should

Dee-oo-bee-oo-bee
Doo-bee-doo-bee-doo-waoh!
AAH! AAH! AAH!

The way you love me got to sour my stile
Oh! Little baby, I would say good-bye
Love me baby, love me right
Love me morning, noon and night

LUX INTERIOR - R.I.P.


ADIEU L'AMI ...

2/01/2009

THE INMATES - True live stories + Five


THE INMATES True live stories + Five cd 320 kbps
Sweet lovin* / Unchain my heart* / Love me two time* / Let's move* / Hearbeat* / The walk* / Shaking* / Sister Sara* / Dirty water* / Denver* / Let's move / I'm think I'm getting over you / Just like Romeo & Juliet* / Rumours* / Lonely hearts / Back on the streets / Baby say yeah / Take a heart* / Sister Jekyll and Hyde / Love's for losers / Heartache / Sweet lovin' / Back on the streets (Alternate take).
Produced by Vic Maile.
The Inmates : Ben Donnely : bass guitar / Barrie Masters : vocals / Eddie : drums / Tony Oliver : guitar, vocals / Peter Gunn : guitar , vocals / Paul Turner : *drums.

The Inmates were formed in North London in 1977 and soon established themselves as one of the capital’s most popular live groups. Their influences included The Animals, The Pretty Things and The Rolling Stones. They arrived at the tail end of the pub-rock movement, but still managed to find success with their mix of originals and covers of classic R&B and Rock & Roll tunes. Of the latter, a version of the Standells' "Dirty Water," included on the band's 1979 debut First Offence, became a hit on both sides of the Atlantic. Capitalising on chart success throughout Europe & North America, the early Eighties saw the band confirm their international status. Bill Hurley left The Inmates in 1983 through illness and was replaced by long-time friend Barrie Masters from Eddie And The Hot Rods.
The Inmates have recorded two excellent lps with him : a live album (one of the best live ...) "True live stories" & "Five" , both produced by THE producer : Vic Maile !