THE MUD CITY MANGLERS - Heart Full of Hate

THE MUD CITY MANGLERS  Heart Full of Hate  CD  2000
The Battle March Of Old Latrobe / Shit You Talk / 1234 Motherfucker / All I Need / Waste Of My Time / Fucked Up All The Time / One More Beer / Song #666 / I Wanna Kill My Friends / Over The Highside / Different Shade Of Black.
Produced by T. Tarka
The Mud City Manglers: Ted: lead & rhythm Gibson SGS, Marshall Stack, screams / Brian: drums & cymbals / Timtim: Rickenbacker bass, Ampeg stack.

This is the sound of rock & roll at it’s optimum best. This three-piece are fuelled from a steady diet of alcohol, white pills, sociopath behaviour and a honest disgust for just about every aspect of life. The Mud City Manglers herald from miserable Pittsburgh and they utilise the word MOTHERFUCKER more times than Ol’ Dirty Bastard does ordering McDonalds. The songs are intimidating in all their glories - the sense of a band outrunning each other to see who can finish the songs first, which leads to the listener getting a direct current into their eardrums. The album is interspliced with soundbites from Rocky & Bullwinkle, which came to the band one day during a blizzard while they were smoking hash and watching the old cartoon. OK - the songs,standout tracks - well most of them, to paraphrase Ted Tarka "you don’t like me, I don’t mind,. to think I’m fucked up all the time". I could get really lazy and describe The ‘Manglers by saying they sound like another band, who wants to sound like every other band, ripping of every other punk band, but they don’t. They play from their hearts rather than emulate a style, which is great - they expose the goddam phonies - ya hear that Jay Maker. Two instrumentals are included - they sound like The Ventures being murdered to a three-piece and then hanging out in Death Valley with The Family. Believe or not but this album is total FUN: booze, boredom, hate, cheap motorcycles and shit jobs. It’s also out on Stolen Records from Prahran, Melbourne Australia, which really doesn’t mean anything except maybe they should get a pat on the back. Tell your friends to come over, then play them the song ‘I wanna kill my friends’. As one of the samples says "No bodies happy living in Pittsburgh". - Heart Full Of Hate indeed! - with a touch of humour.
Source: Shane Jesse Xmass (read the interview with Ted Tarka from the Mud City Manglers here)
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GUNSLINGERS - Never A Dull Moment

GUNSLINGERS  Never A Dull Moment  7''  1984
Never A Dull Moment / Shake Some Action.
Produced by The Gunslingers.
THE GUNSLINGERS: James Campbell: vocals / Wilf Woods: lead guitar / John Hall: rythm guitar / Ed Schemer: bass / Bron: drums.
The Gunslingers were an excellent U.K. glam band from the mid-eighties. They recorded this little gem on their own label...

Enjoy !

KEVIN AYERS - Bananamour

KEVIN AYERS  Bananamour  CD 2003 (1973)
Don't Let It Get You Down / Shouting In A Bucket Blues** / When Your Parents Go To Sleep* / Interview ° / International Anthem / Decadence / Oh! Wot A Dream / Hymn + / Beware Of The Dog°° / Connie On A Rubber Band / Decadence (Early Mix) / Take Me To Tahiti / Caribbean Moon.
Produced By Kevin Ayers.
KEVIN AYERS: guitar, vocals / Archie Legget: bass, harmony vocals, lead vocal on */ Eddie Sparrow: drums / Steve Hillage: lead guitar on ** / Mike Ratledge: organ on ° / Robert Wyatt: harmony Vocal on + / David Bedford: orchestral arrangement on °° / Howie Casey: tenor saxophone / Dave Caswell: trumpet / Tristan Fry: cymbal / Lyle Jenkins: baritone saxophone / Ronnie Price: piano / Barry St. John, Liza Strike & Doris Troy: vocals.

"Bananamour" is ripe with Kevin Ayers' most mature and accessible compositions to date. Ayers grounded himself in a newly formed trio for his follow-up to "Whatevershebringswesing". With bassist Archie Leggett and drummer Eddie Sparrow at the hub, Ayers selected guest artists for a handful of the tracks: Whole World colleague Dave Bedford ("Beware of the Dog"), Gong's new guitarist Steve Hillage ("Shouting in a Bucket Blues"), and former Soft Machine mates Robert Wyatt ("Hymn") and Mike Ratledge ("Interview"). "Interview" is easily one of the album's strongest, most original tunes, charged with a rugged, positively electrifying guitar sound courtesy of Ayers and psychedelic organ flourishes by Ratledge. And "Shouting in a Bucket Blues" is Ayers' inspired pop/blues groove. Armed with a few biting lyrics, the song became a concert staple, fronted by a number of well-known guitarists over the years including Mike Oldfield and Andy Summers. Hillage delivers heat in this original studio recording of the song; he  went on to repeat the performance many times while in Europe with Ayers' Bananatour band, Decadence. The song "Decadence" is the album's centerpiece and towering achievement. Here, Ayers, Leggett, and Sparrow create progressive, atmospheric music quite unlike anything else on the record. An original, spine-tingling workout with potent lyrics concerning Nico, "Decadence" is a kind of superior foreshadowing to the following year's "Confessions of Dr. Dream" epic, which features a vocal collaboration with Nico on "Part One." The compositions on "Bananamour" emphasize the vocal aspects of the material; in fact, Ayers secured the industry's premier session vocalists to back him on the recordings: Liza Strike, Doris Troy, and Barry St. John. In various configurations, the trio fleshs out the songs, adding a compelling depth to the album that pleasantly expands Ayers' eclectic repertoire. In particular, they lend a gospel quality to the Beatles-tinged opener, and imbue "When Your Parents Go to Sleep" with rather 

soulful Ray Charles stylistics. Intended to break Ayers to a wider audience, "Bananamour" was his last release on EMI/Harvest before switching to a new label (Island) and a new manager (the influential John Reid, Elton John's manager at the time). The ideas on "Bananamour", arguably Ayers' finest work, gave way to some very focused, full-fledged prog rock and blues numbers on his ambitious follow-up, "The Confessions of Dr. Dream and Other Stories" (Island Records, 1974). Allmusic

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Kevin Ayers was one of rock's oddest and more likable enigmas, even if he often seemed not to operate at his highest potential. Perhaps that's because he never seemed to have taken his music too seriously -- one of his essential charms and most aggravating limitations. After the late '60s, he released many albums with a distinctly British sensibility, making ordinary lyrical subjects seem extraordinary with his rich low vocals, inventive wordplay, and bemused, relaxed attitude. Apt to flavor his songs with female backup choruses and exotic island rhythms, the singer/songwriter inspired the image of a sort of progressive rock beach bum, writing about life's absurdities with a celebratory, relaxed detachment. Yet he was also one of progressive rock's more important (and more humane) innovators, helping to launch Soft Machine as their original bassist, and working with noted European progressive musicians like Mike Oldfield, Lol Coxhill, and Steve Hillage.

Ayers cultivated a taste for the bohemian lifestyle early, spending much of his childhood in Majorca before he moved with his mother to Canterbury in the early '60s. There he fell in with the town's fermenting underground scene, which included future members of Soft Machine and Caravan. For a while he sang with the Wilde Flowers, a group that also included future Softs Robert Wyatt and Hugh Hopper. He left in 1965, met fellow freak Daevid Allen in Majorca, and returned to the U.K. in 1966 to found the first Soft Machine lineup with Allen, Wyatt, and Mike Ratledge.

Wyatt is often regarded as the prime mover behind Soft Machine, but Ayers' contributions carried equal weight in the early days. Besides playing bass, he wrote and sang much of their material. He can be heard on their 1967 demos and their 1968 debut album, but by the end of 1968 he felt burned out and quit. Selling his bass to Mitch Mitchell of the Jimi Hendrix Experience, he began to write songs on guitar, leading to a contract with Harvest in 1969. His relationship with his ex-Soft Machine mates remained amiable; in fact, Wyatt and Ratledge (as well as Ayers' replacement, Hugh Hopper) guested on Ayers' 1969 debut.

Ayers' solo material reflected a folkier, lazier, and gentler bent than Soft Machine. In some respects he was comparable to Syd Barrett, without the madness -- and without the ferocious heights of Barrett's most innovative work. Ayers was never less than enjoyable and original, though his albums were erratic right from the start, veering from singalong ditties and pleasant, frothy folk ballads to dissonant improvisation. The more ambitious progressive rock elements came to the forefront when he fronted the Whole World in the early '70s. The backing band included a teenage Mike Oldfield on guitar, Lol Coxhill on sax, and David Bedford on piano. But Ayers only released one album with them before they dissolved.

Ayers continued to release albums in a poppier vein throughout the '70s, at a regular pace. As some critics have noted, this dependable output formed an ironic counterpoint to much of his lyrics, which often celebrated a life of leisure, or even laziness.

That lazy charm was often a dominant feature of his records, although Ayers always kept things interesting with offbeat arrangements, occasionally singing in foreign tongues, and flavoring his production with unusual instruments and world music rhythms. He (or Harvest) never gave up on the singles market, and indeed his best early-'70s efforts in that direction were accessible enough to have been hits with a little more push. Or a little less weirdness. Even Ayers at his most accessible and direct wasn't mainstream, a virtue that endeared him to his loyal cult.

That cult was limited to the rock underground, and Ayers logically concentrated on the album market throughout the 1970s. Almost always pleasant, eccentric, and catchy, these nonetheless started to sound like a cul-de-sac by the mid-'70s. Ayers pressed on without changing his approach, despite the dwindling audience for progressive rock and the oncoming train of punk and new wave. He only recorded sporadically after 1980, though he remained active in the early '90s, mostly on the European continent.

Released in 2007, The Unfairground returned Ayers to the recording studio supported by a host of admiring younger musicians (including Norman Blake from Teenage Fanclub, Bill Wells, Frank Reader from Trash Can Sinatras, and Euros Childs from Gorky's Zygotic Mynci) as well as old friends and collaborators (including Phil Manzanera, Robert Wyatt, Hugh Hopper, and Bridget St. John). The album garnered a positive critical response but did not signal a return to the public eye for Ayers, however, and he returned to a reclusive life in the south of France. Kevin Ayers died in February 2013 at his home in the village of Montolieu; he was 68 years old. Allmusic
A lire "Kevin Ayers, ailleurs" de G. Schneider dans Next ICI.

THE JOHNNYS - Grown Up Wrong

THE JOHNNYS   Grown Up Wrong   CD  1988 

Middle Sized John / Anything Could Happen / Motorbikin' / Grown Up Wrong / Going Down (With Rock And Roll) / The Logan Girls / No Excusin' My Boozin' / Ten Outlaws /Bounty Hunter / Cajun Woman / Shameless Girl / The Taller Man.

Produced by Ross Wilson

THE JOHNNYS: Spencer P. Jones: guitar, lead vocals / Slim P. Doherty: guitar / Graham "Hoody" Hood: bass, vocals / "The Real" Billy Pommer Jr.: drums.

Ross Wilson also produced the band's second album , "Grown up wrong" (august 88) which yielded the band's last two singles , a cover of Chris Spedding's bubblegum punk classic "Motorbikin/Shameless Girl"(July 88) and "Anything Could Happen/Bounty Hunter" (november 88) . "Grown Up Wrong" was a rollicking (if flawed) , good time , country-flavoured rock'n'roll record , but it failed to chart . Michael Armiger replaced Hood on bass at that point . Despite of being one of the most popular bands on the pub-rock circuit , The Johnnys never crossed over into the premier league .
The band broke up in 1989. Spencer P. Jones had already expended a great deal of effort as a member of the (until then) part-time Beasts of Bourbon . When that band lumbered into life as a full-time proposition in 1989 , Spencer threw in his lot with the Beasts .It was the end of The Johnnys !
But...but on friday november 12 , in 2004 , exceptionally reformed the Johnnys played the first of two Sydney shows ... have a look: http://www.i94bar.com/gigreviews/johnnys.html
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DOGS - Short, Fast & Tight (re-upload by request)

DOGS  Short, Fast & Tight  2 X CD  2001
CD 1: Death lane / I Must Believe In Myself / I'm Bad / Professional Liar / Fortune Teller / Little Johnny Jet / The Most Forgotten French Boy / One Way ticket / Sunday In Stockholm / Good Morning Do You Love Me / Home Is Where I Want To Be / Little girl / She's Got Everything / I'm Real / Hey Gyp / She's a Wind Up.
CD 2: If You Don't Want Me No More / Dreadful Times / 4 Of A Kind / (I'd Go) The Whole Wide World / Too Much Class For The Neighbourhood / When I Was Young / 19 Again / A Different Me / Little Doll / Back From Nowhere / Walkin' Shadows / I'm Just Losin' That Girl / Today Sounds Like Yesterday / 96 Tears .
Recorded live in  Rouen, Cherbourg, Grenoble, Guingamp  from 1997 to 2000.
Produced by Jean Gamet.
DOGS (2001): Dominique Laboubée : guitar, vocal, harp / Laurent Ciron: guitar, vocals / Christian Rosset : bass, piano, percussion / Bruno Lefaivre : drums, percussion.

Click to enlarge !

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DOGS - Three Is A Crowd (re-upload by request)

DOGS  Three Is A Crowd  cd  1993
The Price Of My Sins / Superfriend / Three Is A Crowd° / Back From Nowhere / Today Sounds Like Yesterday / Skydogs / Never Been In love / 19 Again / Noise Therapy / The End Of The Gang* / I Wanna Be Your Dog+.
Produced by C. Fairley
DOGS (1993): Dominique Laboubée : guitar, vocal, harp / Christian Rosset : bass, piano, percussion / Bruno Lefaivre : drums, percussion / guests: Philippe Almosnino: guitar on* / Christian Richard: guitar on° / Marc Zermati: piano on +.

In 1993, Dogs were a trio again. Antoine has left the band at the end of 1992 to entirely dedicate to his own project: Tony Truand & the Million Bolivar Quartet. It's the same for Michel Gross who left in 1989 after the seventh Dogs’ album  'A Million Ways Of Killing Time'. The rhythm section of Tupelo Soul, Bruno Lefaivre on drums and Christian Rosset on bass is supporting Dominique, the soul of Dogs.
The eighth album "Three in a crowd" produced  by Colin Fairley who has worked on "More, More, More", is released by Skydog and recorded at the Studio de la Seine in Paris.
Philippe Almosino (guitar player) who gave a hand at the time of the previous album 'A Million Ways Of Killing Time' takes part in a few titles.
Less 'licked' than the two previous albums 'Three Is A Crowd' is back to a harder rock as symbolized by the cover of 'I Wanna Be Your Dog'. The cover photo of  'Three Is A Crowd' reminds me 'Walking Shadows'.
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SHADOW MORTON is dead

George Francis "Shadow" Morton (1940-2013) was an American record producer and songwriter best known for his influential work in the 1960s. In particular, he was noted for writing and producing "Remember (Walking in the Sand)", "Leader of the Pack", and other hits for girl group The Shangri-Las.

In 1967, his successes continued after the collapse of Red Bird when his production of Janis Ian's, "Society's Child", became a hit record. The same year, he discovered a group called the Pidgeons, who became Vanilla Fudge, and produced their first three albums, which included their hit containing "You Keep Me Hangin' On," followed by a foray into aural collage called The Beat Goes On. The experimentation was largely Morton's idea, resisted by the band, and poorly received by critics, though it reached #17 in the US Billboard Top 200 based on sales. In the 1970s, he worked with Iron Butterfly, and even though the group gave an interview to Mix Magazine crediting Morton with producing the hit track "In-A-Gadda-Da-Vida", that information is not widely known.
He also worked with The New York Dolls, producing their second album "Too Much Too Soon". Dolls guitarist Johnny Thunders would later cover his composition "Great Big Kiss" on his 1979 solo album "So Alone".

Morton then disappeared from the music industry for several years, and was treated for alcoholism in the 1980s before attempting a comeback. He was inducted into the Long Island Music Hall of Fame on October 15, 2006. In 2009, Morton appeared in the documentary, 'Rockin' the Wall', about music's part in bringing down the Iron Curtain.
He died on February 14, 2013 in Laguna, California, after a long battle with cancer. Source

BITERS + BRAND NEW HATE

THE BITERS & BRAND NEW HATE 

LUNDI  08  AVRIL

AU

THUNDERBIRD LOUNGE

8  RUE DENIS ESCOFFIER

42000 SAINT ETIENNE

CHEAP REWARDS RECORDS presents:

 THE ROCKERS:  St  7" (CRR-003)

THE ROCKERS formed in 1977 by longtime songwriting team John “Rock” Perga and Phil Schraub. They wanted to put a live act together to showcase their pop sensibilities, so they added Bryan Allinsmith and Carl Jeppesen to the line-up and began perfecting melodies that incorporated two and three-part harmonies. The Rockers primarily played shows in the bay area and built a significant local following. At the end of 1979, they went in the studio and recorded four of their original songs. Trying to emulate the sound of their favorite British Invasion recordings, they succeeded in producing a highly polished and remarkable sounding 7" EP that was released on their own Alcatraz Records in 1980.

Regarded by many power pop enthusiasts as one of the top records of the genre, Cheap Rewards Records is proud to offer this fully authorized reproduction for a budget price so that fans new and old can enjoy this timeless masterpiece.

Ship Date: January 7, 2013 

Pressing Details: 100 copies Red; 400 copies Black  

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THE FINDERS: Finders Keepers LP (CRR-004)

THE FINDERS continued the power pop path set by their previous incarnation, the Rockers. After solidifying a new line-up consisting of John “Rock” Perga, Phil Schraub, Bryan Allinsmith and John San Filippo, the band began working on a series of demos before entering the studio to record their first single featuring “It’s So Insane” and “Which Way.”

The band created a theatrical stage show which included John puking into a toilet during their song “Bad Food,” the B-Side of their second single. The A-Side was a track called “Calling Dr. Howard,” which paid homage to the Three Stooges. When Moe Howard’s daughter saw the cover of the picture sleeve which illustrated John throwing up beside a poster of the Three Stooges, she had a cease and desist letter sent out which forced the band to change the cover image. Nonetheless, the song became a popular local radio hit and they even made a music video for it that saw rotation on MTV. 

The Finders later added a second guitar player named Mark Newcomb and went in the studio to record a full length album with former Move manager Tony Secunda producing. After completion, they found their label had gone belly up and things spiralled downhill from there with the band ultimately splitting up in the summer of 1983. 

The tapes from their last recording session sat in the Mobius Studios vault for over 20 years before Phil and Dennis rescued them. Now for the first time ever on vinyl, Cheap Rewards Records is honored to deliver the best recordings from those session along with quality studio and demo material in one great package.

Ship Date: January 7, 2013 

Pressing Details: 100 copies Blue; 400 copies Black

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DIG IT! N° 57

 

DIG IT! N° 57 

Out soon  (02/20)

 The Hussy, The Bawdies, One Man Bands (part 2), Jim Jones Revue, Fleshtones,

Rebels Of Tijuana, Ty Segall  and  the Download Blogs by our pal Gildas C.!

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JOHNNY THUNDERS - Add Water And Stir

JOHNNY THUNDERS   Add Water And Stir  CD  1994
CD 1: Electric Album:
Medley: In Cold Blood - I'm Not Your Stepping Stone - Hit The Road Jack / Blame It On Mom / Disappointed In You / I Can Tell / Sad Vacation / Little Queenie / You Can Walk My Dog? / Pipeline / Medley: Louie Louie - Hang On Sloopy / Society Makes Me Sad / Too Much Junkie Business / Pills / I Wanna Be Loved / So Alone / Just Another Girl / Personality Crisis / Wipe Out / Gloria / Born To Lose.
CD 2: Acoustic Album:
As Tears Go By / Joey Joey / Society Makes Me Sad / Sad Vacation / Disappointed In You / Eve Of Destruction / I'd Much Rather Be With The Boys / Bring It On Home / Just Another Girl / Ask Me No Questions / Critics Choice / Children Are People Too / It's Not Enough / Some Hearts / Bird Song / You Can't Put Your Arms Around A Memory / It's Not What You Say / I Only Wrote This Song For You / Lonely Planet Boy / So Alone.
Johnny Thunders & The Oddballs: Johnny Thunders: guitar, vocals / Stevie Klasson: guitar, vocals / Jamey Heath: saxophone / Chris Musto: drums / Stuart Kennedy: bass / Alison Gordy: backing vocals.


By the time of "Add Water & Stir", Johnny Thunders had been milking his act -- the sloppy, drug-addled bad boy of punk rock for over a decade, and the fact that this live double-disc does not contain much new material would ostensibly make it forgettable. Unfortunately, the 1991 tour of Japan documented on the album was Thunders' last tour (he would die from an overdose (?) only weeks after the shows captured here), and that adds a significance that would be missing from any other Thunders' release. The first electric disc, which consists of concert recordings made with Thunders' full backing band, is actually the less significant one, since there are few new songs included on this set (mostly some covers that were never before recorded) and the performances are standard issue Thunders slop rock, even with the rather superfluous addition of a sax player.

It's the second acoustic disc that is worth the effort. Though it's saddled with too many pointless covers, it also contains two of the last songs Thunders ever wrote, "Society Makes Me Sad" and "Children Are People Too," among the most poignant and chilling songs he ever wrote, and captured here with superb performances. "Society Makes Me Sad" in particular, could serve as an unintentional epitaph for Thunders, with its mixture of regret and honesty. (The version of the song on the electric disc, by contrast, sounds much too overwhelmed by the backing band to let the lyrics stand on their own). Here Jamey Heath's saxophone, which just cluttered up the sound on the electric disc, adds much needed textures to the spare acoustic tracks. Both discs are superbly recorded, which will please fans who are all too aware of the less than stellar fidelity of earlier concert releases. Though the electric disc will be of little (big ???) value to anyone but completists, the acoustic disc is worth hearing and fans should seek this release out. Allmusic
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THE TROGGS - The Troggs on 45's

THE TROGGS  The Troggs on 45's  12'' EP  1982
Troggs On 45'S (medley) / Save The Last Danse For Me / I Do Do.
Produced by the Troggs.
The Troggs: Reg Presley (RIP): vocal / Chris Britton: guitar / Tony Murry: bass / Ronnie Bond (RIP): drums.

The Troggs formed in 1964 and were signed by Larry Page, manager of the Kinks, in 1965. They recorded on Page's Page One Records, and Page also leased them to CBS for debut single "Lost Girl". Their most famous hit was the single "Wild Thing" (written by Chip Taylor) (the song on the b-side of the single depended on the country where it was sold), which with the help of television exposure on Thank Your Lucky Stars reached number 2 in the UK and number 1 in the United States in July 1966. Its combination of a simple heavy guitar riff and flirtatious lyrics helped it to quickly become a garage rock standard. It was recorded in one complete take (take two) at Olympic Studios in London, with Keith Grant engineering. Because of a dispute over US distribution rights, "Wild Thing" was released (along with the first album of the same name) on two labels: Fontana and Atco. The band's success in the US was also limited by not touring there until 1968.

They also had a number of other hits, including "With a Girl Like You" (a UK number 1 in July 1966, US number 29), "I Can't Control Myself" (a UK number 2 in September 1966; their first UK single release on the Page One label (POF 001) ; this was also their second and final dual-label release in the US, with Fontana retaining the rights to all subsequent releases),  "Anyway That You Want Me" (UK number 10 in December 1966), all at Olympic Studios, "Night of the Long Grass" (UK number 17 in May 1967), and "Love Is All Around" (UK number 5 in November 1967 and US number 7 in May 1968). With chart success eluding the band, they split up in March 1969. Ronnie Bond was the first to release a solo record, with the "Anything For You" single in March 1969, followed in April by Reg Presley with "Lucinda Lee". Chris Britton released a solo album, "As I Am", the same year. The band reformed later that year, with former Plastic Penny bassist Tony Murray replacing Staples, and in 1974, after a spell on Pye Records, in an attempt to re-create their 1960s successes, the Troggs re-united with Larry Page, now running Penny Farthing Records. The resulting cover version of the Beach Boys hit "Good Vibrations" did not capture the public's imagination. A reggae version of "Wild Thing" also failed to chart. The band found a sympathetic ear at French label New Rose in the 1980s, the label releasing 1982's "The Troggs On 45's " 12 EP, the "Black Bottom" LP and 1990's "AU".

In 1991, they recorded "Athens Andover", an eleven-song collaboration between themselves and three members of R.E.M.  It was recorded in the American band's hometown of Athens, Georgia, and was released in March 1992.
The band attempted to capitalize on this new exposure with a couple of bizarre collaborations on new versions of "Wild Thing". In 1992 they teamed up with actor Oliver Reed and snooker player Alex Higgins, with another version the following year featuring Wolf from the TV show Gladiators, which actually reached number 69 in the UK Singles Chart. In 1994 Wet Wet Wet's cover of "Love Is All Around" was #1 in the UK for 15 weeks, netting Presley a handsome royalty.
The band's original drummer, Ronnie Bond, died on 13 November 1992. Dave Wright, another founding member, died on 10 October 2008.
In January 2012, after over 40 years of touring, Reg Presley retired due to lung cancer, apparently ending the Troggs. However, the remaining members, Chris Britton (guitar), Pete Lucas (bass) and Dave Maggs (drums), plan to continue the Troggs and are going back on the road. They are joined by special guest Chris Allen on lead vocals, who has been in the Denny Laine Band, the Commitments and part time with the Animals. Reg Presley died on 4 February 2013 at age 71!    Source
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WILLIE ALEXANDER & THE BOOM BOOM BAND - Pass The Tabasko

WILLIE ALEXANDER & THE BOOM BOOM BAND  Pass The Tabasko  CD  1996
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 / Mass. Av. / Modern Lovers / You Looked So Pretty When / Pass The Tabasco / Melinda / Hitchhicking / R. A. Baby / Sky Queen / Bring Your Friend / For Old Times Sake.
Produced By Craig Leon.
Willie Alexander And The Boom Boom Band: Willie Alexander: vocals, keyboards / Billy Loosigian: guitar / Severin Grossman: bass / David McLean: drums + Dick Ellis: saxophone*.

"By 1975, Willie Alexander was leading a new band. But where another 1960s guy might have given us some ballads with overblown accompaniments or warmed-over rhythm and blues, W.A. put out a fresh little single containing what may very well be his two most popular songs. "Kerouac," the featured side, is about the man whose writing taught Alexander his strong sense of place. "Mass. Ave." was more like the Declaration of Independence of Boston's glorious punk revolution. Butterfly on his right shoulder, how could Willie be bolder, on Mass. Ave. Willie Alexander's cuts on "Live at the Rat" (2 LPs, Rat, 1976) were easily among the best performances on that album. And by the late 1970s, he was recording for a major label once again. His group, the Boom Boom Band, had an ace guitarist in the person of Billy Loosigian. Rolling Stone called Loosigian a real find. The two albums that came out of this period were quite controversial. Fred Schruers, in the February 23, 1978, issue of Rolling Stone, gave a flattering review to "Willie Alexander and the Boom Boom Band" (LP, MCA, 1978). But Dave Marsh, in the Rolling Stone Record Guide, gave it only one star out of a possible five. Two critics, same company. Go figure. M. Howell, in the December 1, 1981, issue of the Boston Phoenix, found some middle ground by merely commenting that the MCA albums didn't catch Alexander's eccentric energy. The first of these records didn't particularly sound like the Willie Alexander his fans knew from his live shows; but it had its moments--especially the decidedly-alternate arrangement of "Everybody Knows," from the Bagatelle days, and "Looking Like a Bimbo." Village Voice critic Robert Christgau confessed, in his guidebook to rock albums of the 1970s, that he had been no fan of Alexander but that he grew fond of this record anyway. Those who didn't like "Willie Alexander and the Boom Boom Band" seem to have had a hard time listening very perceptively to the second album, "Meanwhile ... Back in the States" (LP, MCA, 1978). Dave Marsh also assigned that record a single-star rating. But it is quite a different story from its predecessor. Tom Carson, in the December 14, 1978, issue of Rolling Stone, gave "Meanwhile" a mixed review. He called Alexander's arrangements dense and intriguing and declared that this album is better than the first. But Carson criticized the lyrics as long on quirkiness and short on substance. Well, sometimes we do call this singer Willie "Loco" Alexander; so, peculiar lyrics might be expected. And many of his songs really are quite simple, both lyrically and melodically. This type of songwriting, though, is something Alexander does very well. Call him a rock minimalist. "Meanwhile ... Back in the States" has a few things going for it. One of them is the band. Any album featuring Billy Loosigian has one thing to like, right from the start. The record includes two of Willie Alexander's best-known numbers--"You Looked So Pretty When" and a reinterpretation of "Mass. Ave." For my own part, I also like the song, "Modern Lovers." Extract from the "Dog Bar Yatch Club" album notes.

Boston scene patriarch and would-be Beat Generation holdout Alexander is an intriguing and unique historical figure, the eternal ghost of the Rat who has raved and played through more musical eras than most musicians have even survived. The irrepressible singer/pianist's redoubtable résumé goes back to the '60s and includes such groups as the Lost, Bagatelle, Bluesberry Jam, Grass Menagerie — even a stint in the post-Lou Reed Velvet Underground. If he was never really a punk (despite such conceptually righteous songs as 1976's "Hit Her wid de Axe"), Alexander's intelligence and commitment to rock'n'roll purity (minus the eternal adolescence) made him a part of the punks' underworld; maturity and boundless enthusiasm for writing and performing music has always sustained him.

Willie Alexander and the Boom Boom Band is dedicated to Jack Kerouac, and includes Alexander's tributary song about the author, which was a cult hit when it first appeared on a 1975 independent single. The song's a heartfelt standout; the rest of the record is routine bar-band rubbish, wanting for both songs and style. Meanwhile follows the same path, but is notably better, thanks to Alexander's looser singing. For him, sloppiness is definitely an asset. Trouser Press
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DOGS - More More More

DOGS  More More More  CD  1992
Waiting For A miracle / Back On My Mind / I Just Can't Fall In Love / Jungle Of Lies / More More More / I Love Music / Somewhere In Heaven / Our Last Goodbye / Is It The Wind / Poison In My Heart.
Produced by Bob Andrews & Colin Fairley.
Dogs: Dominique Laboubée: guitar & vocals / Antoine Massy-Perrier: guitar & vocals / Michel Gross: drums / Hugues Urvoy de Portzamparc: bass & vocals.

The Dogs were formed in Rouen (Normandie) in 1973 around Dominique Laboubée (vocals, guitars), Paul Peschenaert then Antoine Massy-Perrier (guitars), François Camuzeaux then Hugues Urvoy de Portzamparc: (bass) and Michel Gross (drums). At first, the band could have been filed under pub rock for its set lists comprised of many covers, from the Velvet Underground to the Flamin' Groovies. But they quickly came up with some English-sung original material, mainly inspired by their British and American peers, from the Flamin' Groovies to Dr. Feelgood. Like locals Little Bob Story, they were something way more than just a regional phenomenon, and despite an unsuccessful commercial career, The Dogs left a considerable legacy with the release of their two most famous LPs: 1979's "Different" and 1982's "Too Much Class for the Neighbourhood".
The constant support of France's veteran music magazine Rock & Folk wasn't enough to make The Dogs explode to a larger scale, but they remain a treasured cult band for many, especially since their definitive end
with singer Dominique Laboubée's death in 2002, at the early age of 45. Allmusic
Recorded in London by Bob Andrews (Graham Parker & The Rumour) and Colin Fairley (Sound engineer for Elvis Costello) More More More is the sixth album by the Dogs. It contains ten originals by D. Laboubée. The songs are more sophisticated than usual, but it's still a great album! One single "Back To My Mind / Is It The Wind" will be taken from "More More More" but without unpublished B side.
The cd version is very hard to find today (and very expensive !!!) so...

"Janvier - Février 86 : More More More. A Townhouse c'est I'hiver."More More More" vient après la performance de "Shout", I'album live enregistré en cinq jours au Pays de Galles, à Rockfield (Monmouth) Studio, où Dave Edmunds a produit, entre autres, les Stray Cats et les légendaires Flamin' Groovies.
Il nous fallait un véritable album studio, plus élaboré que "Shout", avec un son mondial. Je décidais avec les Dogs que nous nous adresserions à un de mes amis, Jake Riviera, manager d'Elvis Costello, pour ne citer que lui. Jake R. nous proposa d'enreqistrer avec Bob Andrews et Colin Fairley (l'ingénieur du son du même Elvis Costello). Le choix du studio d'un commun accord s'est arrêté sur Townhouse lll, le studio des Kinks.
Je connaissais déjà cet endroit pour y avoir assisté aux enregistrements de Sean Tyla et de Joan Jett: un studio assez spacieux, qui ressemble à une chapelle, au premier étage un salon équipé vidéo, une salle à manger, une cuisine, un repas préparé chaque soir pour toute l'équipe. L'intérêt de Townhouse est aussi le son écho naturel de cette mini church. Les conditions étaient optimales pour la concentration nécessaire à la création !
Après une semaine de repét, de mise en place et de conception des arrangements, les Dogs étaient prêts à mordre (au moins autant que le froid qui régnait alors à Londres... (sic)). Il était vital pour eux de prouver qu'un groupe français (sic) pouvait sonner dur, mélodique et international.
Comme d'habitude, les premiers jours sont consacrés à la batterie. Réglage son et prises rythmiques. Puis c'est à Dominique et ses parties de guitares. Les journées sont longues, 12 à 14 heures de boulot par jour abattu à un rythme infernal.
Le leader des Dogs, tendu à I'extrême, n'a besoin de personne pour mettre à plat ses solo et soli. Antoine et moi en profitons pour nous la couler douce au premier. On y reçoit la visite de Nick Kent qui nous montre les plans de guitare de Keith Richards. Ann Harbour est aussi avec nous, elle prend quelques photos. Sa présence fraîche et ''pussy" fait du bien aux boys, elle nous parle de sa passion pour Iggy Pop. La journée s'allonge. Je me balade avec Ann dans Londres, on rend visite à mes amis. A nôtre retour au Studio dans la nuit, Bob s'est mis au piano. Très imprégné de musique New Orleans (Dr. John, Dave Bartholomew...), il nous fait passer des moments magiques. Petit à petit les morceaux prennent forme.
En deux jours on va enregistrer les cuivres avec le groupe des Rumours. Pour découvrir I'atmosphère musicale de l'album la section au grand complet n'hésite pas à passer avec nous ses journées. Avec une précision de swing et des riffs de cuivre infernaux, ils donnent une sacrée impulsion aux morceaux.
Une nuit en rentrant au flat, on constate qu'on a été cambriolé. Plus une tune. ll s'agit alors pour moi d'aller taxer la maison de disque, histoire de pouvoir encore assumer les frais, la bouffe. J'assure ma fonction d'intendant et de manager. Le comble est qu'on habite à Baker Street, que Sherlock Holmes n'est pas disponible. Peut-être un coup du professeur Moriarti !
Pour déstresser Dominique, Antoine et moi décidons de le sortir du studio. Il consent à ce qu'on passe ensemble une soirée chez Mick Jones. C'est cool, détendu. On en avait tous besoin.
Au studio, le lendemain, Elvis Costello passe nous voir. ll écoute le travail du groupe et félicite les boys. Les Dogs n'en reviennent pas.
Vient le jour des choeurs. Encore un moment mémorable. Les trois blacks s'échauffent, se mettent en place.
Ambiance gospel, plus un mot, pendant un moment on écoute religieusement leurs incroyables Doo Woop, puis on décide de bouger. On fait un tour en ville, du shopping, etc... Quand on revient, ils sont toujours là, on assiste aux dernières prises de voix, tout le monde est explosé. Jamais satisfaits d'eux-mêmes et pour le même tarif, ils auront passé plus de 12 heures au studio alors qu'on en avait prévu 3 !
Et voilà une semaine de répet, trois semaines d'enregistrement, il ne reste plus qu à passer au mix. Plus rien à faire ou à dire; on fait entière confiance à Bob et Colin. Seul Dominique assiste au mix. Cette semaine là, on passe au studio en fin de journée pour écouter les mixes définitifs sur lesquels Bob Andrews et Dominique travaillent comme des malades. Leur complicité est géniale.
Hugues tel Ringo Starr dans "Hard Day's Night", se balade tout seul pour photographier Londres. Antoine, Mimi et moi bougeons de nôtre côté: On va voir Michael Krage pour la conceptionb de la pochette, que je voulais très jazzy
(genre Blue Note), et Jake R. à qui on taxe quelques disques. Tous les  soirs vers minuit, on récupère Dominique au studio et on en profite pour disculter de la progression du mix définitif. Le prodige va être accompli sous nos yeux et oreilles, "More More More" est fini : un album miracle qui peut placer les Dogs à leur niveau international.
Malgré une existence limitée sur le marché (de fin juillet à fin septembre), 8000 exemplaires de I'album seront vendus. Six ans après, réédité en compact, il nous fait réaliser I'importance du groupe dans I'histoire de la rock music internationale. Aujourd'hui, on attend encore More More More et more des Dogs."
Décembre 91- Marc Zermati (notes de pochette de l'édition cd)