Ana / Mon coeur est dans le fond de mes chaussures / Je conduis des mules / Je suis contre / En dessous tout / Tout, tout de suite / Rien ne bouge / Le tonnerre gronde / Faut-il qu'on peste? / G2LOQ.
Produced by Dominique Nee.
The Million Bolivar Quartet: Radio Riddim Natty Bolivar: drums, backing vocals / 6 Foot Legs Lee Bolivar: bass, guitar / Jeanne La Duchesse Des Bas Fonds Bolivar: backing vocals / Bumper To Bumper Bolivar: guitars, backing vocals / El Guapo Bolivar: harmonica, maraccas, backing vocals / Jefe Bolivar: piano, organ, backing vocals / Sweet Little Chicken Bolivar: keyboards / Tony Truant Bolivar: vocals, guitars .
En 1980, Antoine Masy-Perier enregistre avec les Gloires Locales (dans lesquelles on retrouve aussi Gilles Tandy) ce qui sera son premier disque: un e.p. devenu fort onéreux aujourd'hui sur certains sites ! En 1981, il réalise un rêve en intégrant ceux qu'il considère, à raison, comme le plus grand groupe français: les Dogs ! On va retrouver notre homme sur les deux meilleurs disques des normands: "Too Much Class For The Neighborhood" et "Legendary Lovers" mais aussi sur "Shout!", "More More More" et "A Million Ways Of Killing Time". En 1989, il enregistre son premier album "Your Room Is Ready Sir!" avec l'aide de membres des Dogs et des Wampas (et oui déjà !) et à l'occasion délaisse l'anglais pour chanter en français qu'il aborde avec un humour affirmé teinté d'ironie.
En 1992, il va laisser les Dogs poursuivre en trio comme à la grande époque de "Different" et de "Walking Shadows" pour poursuivre seul.
1994 voit naître Tony Truant et Les Dignes Dindons qui signent sur New Rose « Pupille Mon oeil ». Deux ans passent avant que ne voit le jour un disque rock'n'rollement plus orthodoxe: "Radio Château Rouge".
Pendant quelques temps Tony apprivoise le Ukulélé qui n'est pas, il faut le dire ma tasse de thé (Manuia 2001).
En 2003, il, revient à la charge avec ses Deux Solutions pour un album comme on les aime ici: "Ovomaltine, Benzédrine et Vengeance" ébranle les murs du garage avec comme cerise sur le gâteau une reprise de Ronnie Bird: "Le pivert" que n'ont su empailler aucun des taxidermistes solitaires du rock!
"Tony Truant On The Rocks" , en 2005, est une compilation qui permettra à ceux pour qui chanter du rock en français est une hérésie de reconsidérer leur credo.
Cette même année, Tony intègre définitivement les Wampas comme guitariste.
« Allo Brooklyn, Ici Montmartre » est un 25 cm avec, excusez du peu, les Fleshtones en backin' band de luxe. Le bien bel objet sortira sur le propre label d'Antoine, les Disques Poussinet en 2006 ! Il comporte une reprise du "Maman n'aime pas ma musique" de Dick Rivers à réveiller les morts !
Tantôt avec les Wampas, tantôt avec une nouvelle mouture de Ses 2 Solutions avec qui il va enregistrer "L’Œil Americain" (2009), il écume les routes de France.
C'est en 2011 qu' accompagné de nouvelles Solutions, T. Truant ose s'aventurer dans l'antre du Kaiser (Lucas Trouble des Vietnam Veterans, Gitanes...), pour y enregister son meilleur album à ce jour : "Mélange" !
La magnifique pochette est signée Denis Sire ! Oui le Denis Sire des années Métal !!!
A acheter ICI ! D'urgence !
Tony Truant (Antoine Masy-Perier) was still in the Dogs when his first album came out in 1989. Different members of the Dogs & the Wampas will participate under fun pseudonyms. Since he has left the Dogs in 1992 , Tony Truant has recorded a lot of albums under his own name:"Pupille Mon Oeil" (1994), "Radio Château Rouge" (1996), "Ovomaltine, Benzédrine et Vengeance" (2003), "On The Rocks" (2005), « Allo Brooklyn, Ici Montmartre » with the Fleshtones (10'', 2006), "L’Œil Americain" (2009). The last one "Mélange" (2011) is one of the best and you 'd better buy it HERE !
Toujours Fier / 36 Fois / (Tant De Bombes) Sur La Ville* / Tais-toi, Moi Pas.
Produced by L. Hermani & B. Lecoeur
E. Tandy: vocal / B. Lecoeur: guitars, bass, casio / B. Lefaivre: drums / G. Tandy: backing vocals on *.
Ce maxi ep sort en 1983, sur le label New Rose, quelques mois après l'album des Rythmeurs "F.I.N.I." . On retrouvre B. Lecoeur et B. Lefaivre (Tupelo Soul, Dogs, Louise Feron) avec cette fois-ci Eric Tandy au chant, son frère Gilles assurant les choeurs sur l'impeccable "Sur La ville".
Cette année-là, quatre ans après le single des Olivensteins, les frères Tandy étaient "Toujours Fier"!
"C'est l' E.T e.p pour la posteriT..."
comme proclamé avec raison au dos de la pochette !!!
"Les Olivensteins"(lp ou cd) la compilation sortie par le label Born Bad en 2011 est en vente ici !
Desperation Town / Coal Mine / Walking In The Woods / Tell Me What You Want / It's Over For You / Last Drive / My Way / Rotten Sunday / Kiss From You / Cry Cry Cry / Slow Death / Lonely.
Produced by Vic Maile.
The Hangmen: B. Small: vocals & guitar / B. Catterson: guitar & vocal / J. D. Holliday: bass & vocals / L. Montoya: drums, vocals & percussion.
"...It all began in 1984 when Missoula, MN's Bryan Small left Boise State University and moved to L.A. in order to form his own rock band. Inspired by the musical stylings of X, the Stooges, and Gun Club, Small soon had a band together and a major buzz after the outfit began pounding the clubs with their nasty proto-blues/punk. Despite his group's wily rock leanings, Small found himself caught up in the hair metal feeding frenzy of the late '80s, and soon the Hangmen were signed to Capitol Records, a company like many others, desperately attempting to unearth the next Guns n' Roses. The group's self-titled debut hit record store shelves in 1989 and Small was living his dream. Unfortunately, things quickly turned sour, and would stay that way for a long time. The Hangmen, produced by the legendary Vic Maile (the Who Live at Leeds, Motörhead Ace of Spades), lacked the tough, street-fighting rock 'n' raunch of the band's live performances. Although it eventually became a bit of a collector's item, the watered-down recording couldn't sate their label's appetite for radio hits. Sales were flat and the group was quickly bounced from Capitol. Undaunted, guitarist/vocalist Small shook up his supporting cast and kept at it. This refusal to quit would eventually define the Hangmen. The group was again signed by a major in the early '90s, but was unable to release anything before being dropped a second time. A record was submitted to Geffen, but the label of Nirvana, Hole, and White Zombie couldn't appreciate the maniacal Stooges-meets-Stones rock revivalism. Except for some occasional underground tape trading among obsessive music fans, this sophomore effort would never see the light of day.
That should have been the end of it, but Small refused to buckle. What followed was literally a decade of near nonexistence for the Hangmen. Despite some serious hurdles, Small kept the group together and, after cleaning up a debilitating drug habit and stabilizing a strong band roster that included Angelique Congelton on bass, Todd Haney on drums, and guitarist Jimmy James, the Hangmen were once again turning heads in the L.A. underground. In 2000, 11 years after their debut hit the streets, the Hangmen made a hard rock splash with Metallic I.O.U. This time, the band put out a record that did justice to their frenetic live sound and rebellious reputation. Distributed through indie label Acetate Records, Metallic I.O.U. was a critical triumph that featured material from the phantom Geffen record ("Bliss," "Downtown") and plenty of new tunes as well. The seamless collection boasts material written over three decades, which speaks to the timeless quality of the Hangmen's revivalist, heavy blues/rockabilly. More performances followed, including a tour with the Supersuckers (a band that approximates the Hangmen's sound more than any other). In 2001, Small and his cohorts recorded a live disc in Hollywood featuring old favorites, some new material, and a vocal performance by the Supersuckers' Eddie Spaghetti on "Coal Mine." This third release, We've Got Blood on the Toes of Our Boots, also appeared on Acetate the following year. A tour was completed with Social Distortion in 2002 as well. Strangely, the Hangmen waited nearly 15 years to enter their most prolific and accomplished period, but nothing came easy to Small and the legendary underground rock outfit he created. V. Jeffries - Allmusic
" The Hangmen are an enduring passion of mine. Originally, in 1989 Capitol Records released the bands debut CD at a time when the recording industry was looking for the next Guns and Roses replica anyhwere in downtown Los Angeles or on the Sunset Strip. However, the only similiarities between both bands were a love for loud guitars, Johnny Thunders/New York Dolls affections and sharing the same stages on the late night punk circuit.
Stylistically, the two were also very different. For example, for a band that was marketed towards hair metal fans, where does this "type" of band come off choosing a cover of the great song by the Flamin' Groovies ("Slow Death")? You think the peroxide - lipstick/nail polish crowd got it? Instead, the ordeal is yet another example of a label not "getting it". The ultimate shame is that an incredible debut album ("The Hangmen") went by the wayside in 1989 - completely unnoticed by the public. Since then the CD has become somewhat of a collector's/cult item. Over the next few years, lead vocalist - main songwriter Bryan Small experienced some personal issues, numerous band changes, label problems and eventually the band faded into obscurity. (ED: The Hangmen recorded a second album, "Suicide Doors", in '93 with Radio Birdman's Rob Younger producing that remains unreleased thanks to the vagaries of Geffen Records.) ..." Arthur S. - I 94 Bar
You can always find "The Hangmen" on line but you must search a little because some prices are very heavy (take a look here) for the cd. A shame! The lp is easier to find at good prices . If you want to support the band , the better is to buy one their records "In The City" or "Loteria" here or the last one "Lost Rocks" here !
Tony And Karen / Russian Hands / Hurt That Way* / It Wasn't Too Late / Ruin's Cafe / Hedda Humma* / Don't Call Here / Lullabye of Boomland / This Means War* / Nick of Time.
Produced by The Classic Ruins & G. Hookailo.
Classic Ruins: F. Rowe: vocals, guitar / C. Hurley: bass guitar / P. Nardone: drums, vocals / C. Biancucci: bass**
Formed in 1978 by Frank Rowe (x-Baby's Arm) and Billy Borgioli (x-Real Kids), Classic Ruins are still at it today, playing their garage punk as if onstage at the Rat .Longtime bassist Carl Biancucci is still in the fold, as is ex-Commandos/Ballbusters guitarist Jeff Crane on second guitar,and former V drummer Matt Burns. The "boys" are older now,and while not necessarily wiser, they still sound pretty great - Link Wray would be proud - so don't be a stranger.
"Ruin's Cafe"is their second lp recorded in 1989 on Presto and New Rose Records. Don't miss it ! It's Boston rock & they know how to rock...
You can buy it HERE or HERE (only vinyl) !
Le Rasoir / Désabusé / Les Catalogues / La Fille De L' Infirmerie.
Les Gloires Locales: G. Tandy: vocals / A. Massy-Perrier: guitar / C. Rosset: bass / R. Denis: drums.
Recorded by L. Hermani ?
Formed by Gilles Tandy with two future Dogs , after the demise of the Olivensteins, Les Gloires Locales have recorded only one single in 1980,on Mélodies Massacre , a french label from Rouen which also recorded the first single of the Dogs.
"...qu'ils soient loués, ce disque est un vrai miracle ! entendez la multiplication des pains en monophonie; imaginez 4 des pires nullités enfermés dans un petit studio d'enregistrement, ne connaissant pas 4 accords et gravant sur 4 pistes, 4 odieuses compositions qui se tiennent presque, qui se tiennent tellement qu'il est impossible de faire mieux!
4 titres, c'est à vous de dénicher quel est le hit dans ce E.P. vraiment supérieur.
Texte au dos du single
Get Hip / Holly / What She Wants / Sister Caroline / Bobby's Shakin' Again / Sinister Urge / Come up Heroin / Nowhere Land / Devil in My Bed / 5000 Miles.
Produced by Pillbox & J. Aiosa.
Pillbox: C. Barry: vocals / Mr Ratboy: guitars / Screamin' J. Rizzo: drums / J. Baum: bass.
Before there was a Strokes to make it safe as milk, the snarly glam punk spirit of the Stooges, New York Dolls and Dead Boys lived for a time in the skinnyassed tattooed bodies of Pillbox, a New York quartet which offered a skankier, more menacing and less theatrical alternative to the likeminded and better-known D Generation. In capturing the lost-boys sound and tawdry ambience of their idols without overdoing it, the energetic "Jimbo's Clown Room" drives down a power alley of sharp, memorable songs on twin hotrods, guided by guitarist Ratboy's slithery Johnny Thunders/Steve Jones raunch and ex-39 Steps singer Chris Barry's wavering, whiny conviction. The catchy plea to a drug dealer ("Come Up Heroin") is pitiful and obnoxious, but "What She Wants," "Sister Caroline" and the amphetaminized "Nowhereland" wrap the line between inspiration and imitation around history's neck to fine effect.
The Pillbox on the flatly recorded followup EP has a new bassist and a different singer/lyricist. Although he clearly wouldn't have suited the sound of Jimbo's Clown Room, the plain-voiced Mark Phelan is also the wrong man for the band's newly slicked-back guitar rock, a poppier and not specifically retro-minded rethink. As Pillbox's sonic architect, Ratboy (Gilbert Avondet) reveals himself capable of writing and playing more complicated and subtle music — the atmospheric drug epic "Red Bag/Blue Bag" dedicates delicate piano, feedback and acres of space to a strongly melodic chorus — but Pillbox never latches onto any ideas as immediate or exciting as the album. TrouserPress.com
Tilting At Windmills / Wait A Lifetime / Lost In You / Peach Heart / Not As Helpless As I Seem / Handshy*.
Engineered by G. Wales.
The Challenger 7 were:
I. Underwood: guitar, vocals / D. Bell: bass / M. Doo: drums .
This recording features: P. Kostic: drums / R. Corey: bass / G. Hitchcock: lead guitar, vocals / I. Underwood: guitar, vocals / T. Rushan: lead guitar on*.
Upon the demise of the Sydney indie outfit Front End Loader, bassist Richard Corey and drummer Peter Kostic got together with former You Am I guitarist Greg Hitchcock and former Kryptonics front man Ian Underwood in 1994. Assembled as the power-pop outfit Challenger 7, the group released a six song EP immediately recorded even before the group even played their first show. But after only three gigs, Underwood remained as the only original member once the rest of the band departed. With drummer Marty Doo and bassist Dan Bell joining Challenger 7's ranks, the 1995 EP, Morris, was finally released with critical comparisons to Husker Du and The Replacements. Following the 1997 recruitment of former Asteroid B612 guitarist Stewie Cunningham, Challenger 7's follow-up EP, The Great Slump Forward, came out that same year. Allmusic
Buy It Where ?
Thanks to Mr D. ...again !
Produced By F. Taviaux.
The Olympic Sideburns: P. "Jex" Byron: vocals / D."Georges" Spencer: guitar / M. Frawley: guitar / P. Newman Bryant: bass / C. McAlpine: drums + A. Iden: additional vocals.
"Underworld"(February 1988). The album boasted a more authentic Rolling Stones/Creedence Clearwater Revival sound as opposed to the previous punk/psychedelic/ shockabilly hybrid. Alan Brooker (ex-Paul Kelly and the Dots, Little Murders, Zimmermen) replaced long-standing bass player Bryant. Olympic Sideburns continued to play to a cult following on the Melbourne scene, but split up at the end of 1988. M. Frawley later formed Maurice Frawley and the Working Class Ringos (1993 to 2000) and then M. Frawley and the Yard Hands (2006). In January 2009, he died at Rochester Hospital (R.I.P.)"
I. McFarlane in "Encyclopedia Of Australian Rock And Pop"
Buy it HERE !
Thanks also to Manon & Théo for coffee !
Billy° / Fast Eddy / Drunkyard / Have Love Will Travel° / Lies / Red Hot Woman / Speedway / Rock Out / Help Me° / Black Truck / I've Been Away* / 13th Floor* / 7 And 7 Is* / Fire It Up*.
Produced by the Olympic Sideburns & P. Archer.
The Olympic Sideburns: P. "Jex" Byron: vocals / D."Georges" Spencer: guitar / M. Frawley: guitar / P. Newman Bryant: bass / P. Brophy: drums + J. Williams: organ°
"The Melbourne, inner-city independent scene of the early 1980s was besotted by the earthy sounds of the seminal Birthday Party, The Cramps, The Stooges, Captain Beefheart and the solo Alex Chilton. The combination of Americanised garage-punk, swamp blues, 1950s rockabilly, 1960s psychedelia and voodoo imagery produced a mutant strain of music that came to be known as shockabilly or psychobilly.
Melbourne's foremost exponents in the shockabilly stakes included the likes of Olympic Sideburns, Corpse Grinders, Tombstone Hands and Sacred Cowboys. Olympic Sideburns, who came together in late 1982, added a rock'n'roll edge to proceedings. The original line-up did not last long: by the start of 1983 Jones had relocated to Sydney with The Johnnys; he was replaced initially by Jimmy Williams and later in the year by Maurice Frawley (ex-Paul Kelly and the Dots). Likewise, Allen and McEwan were replaced by Paul Bryant (ex-Corporate Body) and Chuck Meo (ex-Dorian Gray) respectively. The new line-up recorded the Drunkyard mini-album at the end of 1983 (issued May 1984), after which Meo was replaced by Maurice Molletta.
The new line-up recorded the single `13th Floor'/`Fire It Up', `She's Comin' Home' and (after Hill left) the debut, full-length album Olympic Sideburns. Olympic Sideburns also shared a gig giveaway single with Corpse Grinders `7 and 7 is'/ `I Eat Babies'
By the time the album came out in May 1985, Philip Brophy (ex-ÄìÄ) had replaced Molletta on drums (Brophy was given drumming credit on the album instead of Molletta). According to the band, Olympic Sideburns went on to sell 25000 copies worldwide. Towards the end of 1985, Calum McAlpine (ex-Chosen Few, Rah Rah the Flag) replaced Brophy, which resulted in the most stable line-up of the band's history..."
I. McFarlane in "Encyclopedia of Australian Rock and Pop"
Buy it HERE !
Thanks to Mr D.the greatest...!
Drunken Angels / The Sun Shines / On Your Own (All Alone) / Bad Juju Blues / It's A Shame (Such A Shame).
Produced by The Dark Rags.
The drunk & burned Rags are: DD: vocals, guitars / Tolis: guitars / Sidny Sinz: bass, backing vocals / L.A: drums, percussion.
The Dark Rags Started out in may of 2010 when singer/guitarist DD asked drummer L.A and bassist Sidny Sinz to join and help him out for an "acoustic" set he was doing as a support act for a fellow band... after the three got together, the word acoustic was never mentioned again.
Three rehearsals later, The Dark Rags (who at the time hadn't really thought of a name yet) were on stage performing their first show. Following that drunken fine evening, the three decided to keep it going, thought of their name which was taken from a Jacobites song, titled "All The Dark Rags" , and regrouped in September to continue frolicking, and about seven rehearsals later, they were in the studio recording their first E.P. - the 5 tracks "Drunken Angel EP" which was released the following month.
Soon after that, the Dark Rags were joined by guitarist Tolis and the sound was set. Not being strangers to the scene, all the members of the group being former members of other well known Athens underground bands, the Dark Rags quickly started playing shows in numerous events with audience responses being far more enthusiastic than expected. Also "Drunken Angels EP" has gathered constant airplay on major FM and internet radio station, with the band doing numerous radio interviews as well.
With influences spanning from the Sunnyboys to Social Distortion, via Johnny Thunders and the Reigning Sound, the Dark Rags are best described as a garage band with a diverse set spanning from catchy pop tunes to heartbroken junky ballads and in-your-face straight up rock'n'roll.
The Dark Rags plan to record a full L.P around March of 2011.
Watts "make a superb retro rock ‘n’ roll racket," says Rob Forbes (Leicester Bangs). A dynamic four-piece aptly named for the gentleman drummer of the Rolling Stones, Watts' sound combines all the best elements of '70s glam, old school punk, new wave, British Invasion and straight up rock-n-roll to create a timeless amalgam that is at once familiar and fresh. The band was recently named one of 2008's "Bands You Must Hear" by the UK's Classic Rock magazine, and their latest record, "One Below The All Time Low," has been receiving raves from critics worldwide since its release in September 2007.
Buy it here!
''One Below The All Time Low" is never less than loud, proud and intelligent. It's a hugely satisfying treat for anyone still in love with classic US pop-rock and enough to quicken even the most jaded fan's pulse. -Whisperin' and Hollerin'
Watts is a very cool four-piece from Boston who manage to let their classic rock and roll influences like The Stones and the Cars mutate with the sounds of the Strokes and the Clash for a wonderfully rough but harmonic blast of rock and roll. -The Rock And Roll Report
A riot of early ’70s Stones-style garagey riffs, all rip-roaring and ready to raise hell. -The Metro
Buu it here!
This is how rock albums should sound. No posturing, no excess, just proper songs played with ballsy abandon...these guys make a superb retro rock ‘n’ roll racket. -Leicester Bangs
They may have nicked their moniker from the surname of reclusive Rolling Stones drummer Charlie Watts, but this Boston foursome is a lot less gentlemanly, and a lot more loud. The band members do have one thing in common with their namesake, though: They too play in a band built on a bedrock of riff-powered songs that have as much to do with swagger as they do melody. Watts also stoke the twin-engine guitar charge of Keith Richards and Ron Wood, although gruff-voiced singer-guitarist Dan Kopko sings better than both, and lead axe John Blout’s tough, blistering solos are closer in spirit to the knotty workouts of AC/DC’s Angus Young (songs like “Afterburn’’ are ripped right from the “Highway to Hell’’ playbook). Add to the stew a sweetening sprinkle of Cheap Trick’s rock candy, a helping of KISS’s cartoon glam, and a sturdy rhythm section to stir the pot (Neighborhoods/Dirty Truckers drummer Johnny Lynch and bassist Craig LaPointe), and you’ve got a failsafe recipe for an album that sounds like a night on the town. Sure, old-fashioned workouts like “Dancehall Days & Nights’’ tap an ancient vein that began with Chuck Berry and Bo Diddley and has mainlined through a billion garage-rock bands ever since; but that’s the addictive, enduring genius of the stuff. Yes, we’ve heard it before. And yes, we want to hear it again. Just ask Charlie Watts. - Jonathan Perry