THE THROBS The language of thieves and vagabonds

THE THROBS The language of thieves and vagabonds 1991 Geffen 32o kbps

Underground / Come down sister / It's not the end of the world / Dreamin' / Honeychild / Rip it up / Ocean of love / Only way out / Sweet addiction / Ecstasy* / Strange behaviour .

Produced by Bob Ezrin & Dick Wagner .

The Throbs : Sweetheart : vocals / Roger Ericson : guitar & baglama / Danny Nordahl : bass / Ronnie Magri : drums + Little Richard : piano*.

The late 80's/early 90's produced quite a few bands which didn't gain the success they deserved and whose albums are considered to be lost classics. Signed to Geffen, they were considered to be the next Guns N'Roses, but stardom never struck and a band-life full of decadence led to the group's early demise.

Listening to "The Language Of Thieves And Vagabonds" now, you won't be surprised that this band just couldn't last long. These 11 tracks (two of which are previously unreleased demos) are sleazy rock songs which are heavily influenced by drugs, living on the streets and of course the Rolling Stones. Just listen to The Throbs "Honey Child", which sounds like an unofficial follow-up to the Stones "Wild Horses" or the rocking "Ecstasy" and you'll get the idea.

Much like other bands back then such as The Quireboys or The Dogs D'Amour, these guys didn't want to get a piece of the pie of the hair metal pie, their goal was to make a timeless Rock'n'Roll classic. And what can I say now, 17 years later? Well, yep, they managed to achieve that! " The Language Of Thieves And Vagabonds" still sounds fresh, gritty, and most of all, honest. And while in my eyes this album still is over-hyped, it sums up what true Rock'n'Roll is all about. Now what about that second unreleased album?


THE VEINS Hollywoodland

THE VEINS Hollywoodland 2004 Garage-Pop records 320 kbps

Everything inbetween / New con / Black flowers / Walk away / Hollywoodland / ... / Magical / Broken / Bruised and burned / Sleep forever / East avenue scene / Dandelion blind /Real thing .

Produced by the Veins .

THE VEINS : Dr Filardo : drums / Dave : vocals / Jet : guitar / Rob Dos : bass .

The Veins are a straight-ahead, heavy rock 'n' roll quartet without the bitter metal aftertaste or the rising bile of punk. Yes, they are loud and yes, they are intense, but unlike many of their contemporaries, they have a melodic ace up their sleeve. Kind of like Gabriel sweetly serenading you with his heavenly horn just before he brains you with it! The music kerrangs, it rages, it roars... you stagger away singing, your ears ringing!

Onstage, singer Dave careens as if in a perpetual free-fall. Lead guitarist Jet's fleet fingers earn him his own slack-jawed fan club on his side of the stage. Dos, the mysterious one with the intense gaze is "hands down, one of the best players I've ever played with" according to Dave. The ensemble is ultimately corralled by Rob's rat-a-tat, outta-the-garage drumming low-key cool. The four members display a common rock denominator... a desire to perform stellar material. Frank Deblase



THE RAINMAKERS The Rainmakers 1986 Mercury 320 kbps

Rockin' at the T-dance / Downstream / Let my people go-go / Doomsville / Big fat blonde / Long gone long /The one that got away / Government cheese / Drinkin' on the job / Nobody knows / Information / Carpenter's son / Rockabilly standard / Long gone long (acoustic version) / Doomsville (live) .

Produced by Terry Manning .

Bob Walkenhorst : lead vocals, accoustic guitar / Steve Phillips : electric guitar , vocals / Rich Ruth : bass vocals / Pat Tomek : drums .

Prototypical Midwestern roots-rockers, the Rainmakers ironically achieved their greatest commercial success overseas, despite generally good reviews in their homeland. Chief songwriter Bob Walkenhorst's playful wit and topical lyrics set the Rainmakers apart from their Heartland bar band peers, though musically they drew from the expected roots rock influences (Chuck Berry, Creedence Clearwater Revival, Bruce Springsteen, etc.). The band was originally formed in 1983 in Kansas City, MO, as a trio called Steve, Bob, and Rich; naturally, the lineup consisted of guitarist/vocalist Steve Phillips, guitarist/vocalist Bob Walkenhorst, and bassist Rich Ruth. This group recorded an independently released album (titled "Balls") that helped get them signed to Polygram, upon which point they added drummer Pat Tomek and changed their name to the less specific Rainmakers. Their self-titled official debut was released in 1986, producing the British Top 20 hit "Let My People Go-Go" and quite a bit of good press both at home and abroad. The band embarked on a relentless touring schedule and found an unlikely fan in horror writer Stephen King, who quoted the band's lyrics in two of his books. The 1988 follow-up "Tornado" didn't attract as much critical attention in the U.S., but the Rainmakers' European audience continued to grow; by the time of 1989's "The Good News and the Bad News", the band was concentrating mostly on that area, recording the concert album "Oslo-Wichita Live" solely for its Scandinavian fans. In 1990, tired of the road life, the Rainmakers disbanded, ostensibly for good. However, Scandinavian interest in their music held strong, and Polygram's Norwegian division requested a new Rainmakers album in 1994. The band obliged and recorded "Flirting With the Universe" on their own in Steve Phillips' basement. The album was a smash in Norway, achieving that country's equivalent of gold sales within two months, and the band was encouraged enough to stage a full-fledged reunion. They signed with the independent Kansas label V&R, and Walkenhorst wrote a concept album about pornography and its effects on human sexuality. Ruth left the band during the recording sessions, with accounts divided as to whether it was due to the lyrical content or the fact that he had moved from Kansas City to Nashville; regardless, he was replaced by Michael Bliss. The resulting album, "Skin", was released in 1996 to mostly good reviews.


DOGS A different kind

DOGS A different kind 1999 Hacienda 320 kbps

Who's wrong - Who's right ? / The story of the Dogs / Back to Bali / Hurricane Judith / Never stop / It's about time / Rock 'n' roll lesson n° 1 / Walkin' shadows (live) / I'm just losin' that girl (live) / Entre deux feux / Tout ce qu'elle veut / La belle saison / Fier de ne rien faire (live) .

Produced by Jean Gamet

DOGS 1999 : Dominique Laboubée : chant , guitare , harmonica / Laurent Ciron : guitare , chant / Christian Rosset : basse / Bruno Lefaivre : batterie .

The last Dogs album before Dominique L. ....



DOGS - 4 of a kind Vol. 1

DOGS Four of a kind Vol. 1 2 cd 1998
Dreadful times / 4 of a kind / Dead girls don't talk / Professional liar / Forget that dog / Back on the horse / I'm bad / (All I want) is some action ! / I must believe in myself / I won't see you anymore / Jenny Jane.
Produced by Jean Gamet.
DOGS 98 : Dominique Laboubée: vocals, guitar, harmonica / Laurent Ciron: guitar , vocals / Christian Rosset: bass / Bruno Lefaivre: drums.
The Dogs were formed in Rouen (Normandie) in 1973 around Dominique Laboubée (vocals, guitars), Paul Peschenaert (guitars), François Camuzeaux (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.
New link!


V/A Again ... this one's for J.O.H.N.N.Y.

10-inch LP V/A AGAIN THIS ONE'S FOR J.O.H.N.N.Y. 2001 Munster records 320 kbps

BACKYARD BABIES : One track mind / RAMONES : I love you / RONNIE SPECTOR : You can't put your arms around a memory / NIKKI SUDDEN : Have faith / SONNY VINCENT & SAFETY PINS : Chatterbox / ATOM RHUMBA : Downtown / LA SECTA : I wanna be loved / THE SABREJETS : Little bit o'whore .

Another tribute to Mr Rock'n'roll , Johnny T. ! Spanish tribute from Munster records (from an Iñigo Munster idea) this is a very limited 10" lp edition .

Three spanish bands : Atom Rhumba & La Secta , the great Sonny Vincent with spanish Safety Pins , two from US : Ronnie & the Ramones , The Sabrejets from Ireland and last but not least UK N. Sudden .

Artwork by Magician Max !

THE REAL KIDS Down to you

SINGLES THE REAL KIDS Down to you 1999 TKO Records 320 kbps

Down to you / Make it go away / I'll say it / Something bad .

Produced by The Real Kids & Jim Siegel

The Real Kids 1999 (original line-up ) : John Felice : guitar , vocals / Allen "Alpo" Paulino : bass / Billy Biorgoli : guitar / Howard Ferguson : drums .

Lead by singer/songwriter John Felice, the Real Kids exploded onto the club scene playing long-forgotten tunes from the '50s by the likes of Eddie Cochran and Buddy Holly. As well as Felice's dazzling, punky originals such as "Solid Gold (Thru and Thru)", "Taxi Boys", "Just Like Darts" and the classic anthem "All Kindsa Girls". All of these tunes were captured on their self-titled debut release for Marty Thau's Red Star Records in 1978. "The Real Kids" remains one of the best debut albums in the history of rock'n'roll.

As for Felice, he's continued to bounce around the Boston rock'n'roll scene for thirty years--ever since he was the 15 year-old guitarist in Jonathan Richman's Modern Lovers. His various bands (including the Taxi Boys, the Primevals and the Devotions) have played to much critical acclaim and cult worship, but little music biz success.

This cd (there's also a 7' version in blue vinyl) is the last Real Kids ep ! Only a live single & the Norton ( Stones covers) sp will follow.


THE HUMPERS Plastique Valentine

THE HUMPERS Plastique Valentine 1997 Epitath 320 kbps

Plastique Valentine / For lovers only / Anemia / Mutate with me / Fable of luv / Make-up / Sick of tomorrow today / Here comes nothing / With a whip / Dummy got a lunch / Chump change / Say goodbye / Mongrel train.

The Humpers 96 : Billy Burks : guitar , vocals , sitar / Trucker Cartwright : bass, vocals / Scott "Deluxe" Drake : vocals / Mark "Anarchy" Lee : guitar , vocals , sitar/ Jim Silveroli : drums , vocals .

The Humpers' second Epitaph album, Plastique Valentine, isn't markedly different from either "Journey to the Center of Your Wallet" of "Postively Sick on 4th Street", but it does deliver a gritty, post-Stooges garage-guitar grind. Though the songwriting is a bit limited — it's hard to find a hook anywhere on the record — its gut-wrenching, visceral rush is harder and more punk than most of the Humpers punk-revivalist contemporaries.

THE FORGOTTEN REBELS This ain't Hollywood... This is rock & roll

THE FORGOTTEN REBELS This ain't hollywood... This is rock& roll 1981 Star records 320 kbps
Hello Hello / Tell Me You Love Me / This Aint Hollywood / Don't Hide Your Face / Memory Lane / Surfin' On Heroin / Rhona Barrett / The Me Generation / England Keep Yer Stars / Eve Of Destruction / Your Own Little World / Save The Last Dance For Me / It Wont Be Long .
Produced by Bob Bryden .
The Forgotten Rebels: Mickey De Sadist: voice, guitar / Robert Allan: drums / John Welton: bass / Mike Mirabella: guitar.
These Ontario glam punks lead off their first LP with a buzz-saw version of Gary Glitter's "Hello Hello" and then blast a perfect merseybeat melody into the Ramonized present. Elsewhere, they cover "Eve of Destruction," go "Surfin' on Heroin" and vent their frustration about the balance of rock trade in "England Keep Yer Stars." Throughout, singer Mickey DeSadist fights off an overactive echo chamber as the other three Rebels pound out efficient wall-of-guitar punk.
The second LP finds the revamped Rebels in a much more aggressive mood, cursing a lot and resembling Sham 69 on shoutalong choruses like "Bomb the Boats and Feed the Fish" and "In Love with the System." In spots, DeSadist affects an outdated Johnny Rotten voice. The subject matter is similarly well-trod: "Rich and Bored," "Elvis Is Dead," "The Punks Are Alright" (rewriting the Who's "Kids Are Alright"). Also, the playing is fancier, with dynamics and arrangements that often resemble early Clash. It's a weird mixture: pop-punk/straight punk. Not very inventive, but a highly enjoyable throwback.
Thanks to Fabien & Manu for music and scans !
Artwork by Max !



THE CHERRY BOMBZ Coming Down Slow 1987 High Dragon records 320 kbps
Intro / House of ecstacy / 100° degrees in the shade / Pin up boy / Lifes been so hard / Oil & gasoline / Sweet pretending / Coming down slow / Gimme good loving / Hot girls in love / Ain't what you do / Travellin' band .
Recorded live at the Marquee Club , London - Produced by Alan Scott.
The Cherry Bombz : Anita : lead vocals / Nasty : guitar & backing vocals / Andy Mac Coy : guitar & backing vocals / Dave Tregunna : bass & backing vocals / Terry Chimes : drums .

What would you call a band that featured Nasty Suicide and Andy McCoy from Hanoi Rocks, as well as Dave Tregunna from Sham 69/Lords Of The New Church and Terry Chimes from various line-ups of The Clash and Generation X? A damn good idea. Throw in an attractive female vocalist--Anita Chellemah who cut her teeth in Toto Coelo--and you would think Rock and Roll Nirvana was right around the corner. Somehow it didn't work out that way, though. It's a little hard to pin point exactly why, but despite a lot of decent press and relentless gigging, the Bombz never quite ignited. Their sole long player was this live LP that was recorded at the Marquee in 1986. While "Coming Down Slow" doesn't completely answer the question of why this band flopped, it does showcase two failings of the group, and why they are known to this day as an Hanoi Rocks footnote. First and most glaringly are Chellemah's vocals. Her voice just can't carry this material. The bloozy/glam punk sounds that the band serve up cry out for a far stronger set of pipes. Chellemah sounds game enough and gets an A for effort, but this band really needed someone along the lines of Texacala Jones or Ann Wilson in her barracuda days. Chellemah sounds like she was plucked off the nearest bar stool, a generic female rasper.
Secondly, the songs are also a little on the forgettable side as well, with the exception of the title track and "Pin Up Boy". Imagine all the weaknesses of Hanoi Rocks and none of their strengths and you get the picture. Furthermore, four of the eleven proper songs are covers to begin with. What can you say about a band who upstage themselves with a version of Loverboy's "Hot Girls In Love"? (funny enough, but so what?). Someone should also have nixed their demolition of CCR's "Travellin' Band" as well. "Coming Down Slow" isn't horrible, but it is a sharp disappointment. Mostly I've held onto it all these years as proof that members of The Clash and Sham actually did wear bolero style finery and eye liner at one point. The band didn’t last much longer after this salvo and eventually morphed into yet another McCoy side project called The Wylde Ones, if my memory serves me correctly. I'm sure someone in Finland, where anything that has anything to do with Hanoi Rocks is immediately huge, could supply those who absolutely must know with a more detailed account of the band. For me, this is about all the cherry pie I need.

Artwork by MAX !


MINK DEVILLE Le chat bleu 1981/2003 Raven 320 kbps

This must be the night / Savoir faire / That world outside / Slow drain / You just keep holding on / Lipstick traces / Bad boy /Mazurka / Just to walk that litte girl home / Heaven stood still / Turn you every way but loose .

Bonus tracks : Le chat bleu performances (live) : Savoir faire / Slow drain / This must be the night / Bad boy / Lipstick traces / Just to walk that little girl home / Heaven stood still / sAVE the last dance for me . + Willy DeVille & Doc Pomus interview.

Produced by Steve Douglas & Willy DeVille .

Willy DeVille : vocals, guitar / Louis X. Erlanger : lead guitar / Kenny Margolis : keyboards & accordian / Jerry Scheff : bass / Ron Tutt :drums / Steve Douglas : saxophone / String arrangements : J. C. Petit / Background vocals : Jake of the Family Jewels , Eve Moon , K. Margolis .

Although a product of the New York punk scene, at heart Mink DeVille was a soul band with roots in R&B, the blues and even Cajun music. The group was a showcase for frontman Willy DeVille (born William Boray in 1953), a native New Yorker who in 1971 travelled to London to form a band; unable to find compatible musicians, he worked as a solo performer before returning to the U.S. and settling in San Francisco, where he founded the first incarnation of Mink DeVille in 1974 with bassist Ruben Siguenza and drummer Tom "Manfred" Allen .

After playing in Bay Area leather bars and lounges under a variety of names including Billy DeSade & the Marquis and the Lazy Eights, the trio read a music magazine feature spotlighting the Ramones; duly inspired, Mink DeVille relocated to New York, where they recruited guitarist Louie X. Erlanger. After debuting with three tracks on the Live at CBGB' compilation, the band entered the studio with legendary producer Jack Nitzsche and surfaced in 1977 with "Cabretta", an energetic, soulful outing highlighted by "Spanish Stroll," a Top 20 hit in the U.K.

After the critical acclaim of their self-titled debut and "Return to Magenta" in 1977 and 1978, respectively, Willy DeVille and his band took another look at the sassy, street-tough rock & roll they'd dished up and took the first step toward the swinging Spanish soul the band's subsequent albums would strive for and the crooning R&B heartbreaker DeVille himself would become as a solo artist. Le Chat Bleu is angel-headed hipster rock. The Doc Pomus influence on the opening track, "This Must Be the Night," with its cascading harmonies and 1950s girl group melodies, is a doo wop fantasy for the punk age. That influence was more than that as Pomus and Willy DeVille co-wrote three songs together for this stellar effort. Far more reverent than the Ramones and nowhere near Robert Gordon's stilted revivalism, Mink DeVille could sing and play rock & roll sweetly and razor sharp, kind of like a lollipop on the edge of a dagger. The first of the DeVille/Pomus soul ballads is included here. "That World Outside," with producer Steve Douglas' lilting tenor saxophone that twists itself around each line and breezes through the chorus, is pure Doc Pomus, with DeVille carrying a vocal he'd never attempted before. This was the beginning of something for the band, and the end of something else. Piss and vinegar were not enough to fuel the band's muse any longer — it also took polish, sensitivity, and a deep commitment to subtlety and drama, and this ballad contains them in spades. The other two, "You Just Keep Holdin' On" and "Just to Walk That Little Girl Home," burn as brightly. Of the rockers, "Savoir Faire" and "Lipstick Traces" contain the wooly garage stomp of the earlier records and keep their switchblade honesty and punky edge. Contrary to popular belief, this album is not the sound of a band losing its innocence as much as it is the sound of a rock & roll band finding its identity.


NEWS FROM POP THE BALLOON : The Buttshakers single !




le 24/06/2008


DANGERHOUSE shop ( Lyon)
mail to: poptheballoon@club.fr


MOON MARTIN Street Fever

MOON MARTIN Street Fever 1980 Capitol 320 kbps

Five days of fever / S. O. S. (signal for help) / Pushed around / Love gone bad / Stranded / Breakout / Bad news / No dice / Whispers / Cross your fingers / Rollin' in my rolls / Havana moon (bonus track) .

Produced by Moon Martin & Warren Dewey .

Moon Martin : vocals & guitars + The Ravens : Dennis Croy : bass / Rick Croy : drums / Jeff Fargus : keyboards & backin' vocals .

Initial plans to record a solo album in 1974 with noted producer/arranger Jack Nitzsche failed to pan out, but several of Martin's original compositions began to be used by other recording artists, including the Nitzsche-produced Mink DeVille (the track "Cadillac Walk" subsequently became a moderate hit), as well as Michelle Phillips and Lisa Burns. By 1978, Martin (who by this time was known simply as Moon Martin) was finally ready to launch his solo career with his look and music often compared to such new wave hit makers as Elvis Costello and Nick Lowe. A total of five albums in a five-year span followed, including such titles as 1978's "Victim of Romance" EP (whose track, "Bad Case of Lovin' You," would become a hit when covered by Robert Palmer), 1979's "Shots From a Cold Nightmare/Escape From Domination" (which scored Moon his sole hit single, "Rolene"), 1980's "Street Fever", 1982's "Mystery Ticket", 1985 's "Mixed Emotions" (only available on lp & released in France) all of which were issued on the Capitol label. Martin then dropped out of the music scene for the rest of the '80s , before resurfacing in 1992 in France with "Dreams on file" (FNAC Music) followed by a live album "Bad News Live" in 1993 (also on FNAC Music) . "Cement Monkey" and "Lunar Samples" were released in the U.S on the Core Records with same songs . The same year, the British label Edsel reissued Martin's first four full-length releases as two for one CDs ("Shots From a Cold Nightmare" being paired with "Escape From Domination", while "Street Fever" was combined with "Mystery Ticket") .In 1999, "The Very Best of Moon Martin" (...but with no new or unpublished songs !) collects Moon's finest moments. Magic pop sounds as fresh today as it did many moons ago . The same year , Moon Martin recorded his last album "Louisana Jukebox" on Eagle records .

"Moon could turn out three minute pop novels like few others, and did so with excellence on his Capitol albums. Moon's music was extremely accessible, and 7 or 8 tracks from each album could easily have been singles. However, in the realities of the record business, having talent and producing great records does not necessarily equat commercial success..." Liner notes from the cd "The very best of Moon Martin"

Special tray with bonus by Max !


SINGLES MOON MARTIN Bad news / Havana moon 1980 Capitol wav

Produced by Graig Leon .

MOON MARTIN Shots From A Cold Nightmare

MOON MARTIN Shots from a cold nightmare + Escape from domination 1978/1995 Edsel records 320 kbps

SHOTS FROM A COLD NIGHTMARE* : Hot nite in Dallas / Victim of romance / Nite thoughts / Paid killer / Cadillac walk / Bad case of lovin' you / Hands down / All I've got to do / You don't care about me / She's a pretender.
ESCAPE FROM DOMINATION° : I've got the reason / She made a fool of you / Dreamer / Gun shy / Hot house baby / The feeling's right / Rolene / No chance / Dangerous" / Bootleg woman .
Produced by Graig Leon .

*Moon Martin : guitars & vocals / Gary Valentine : bass guitar / Graig Leon : keyboards / Phil Seymour : drums / Susan Hall : percussion / Charie Merriam : background vocals .
Willie Alexander : piano on "Cadillac walk".
°Moon Martin : vocals , guitars / Graig Leon : keyboards / R. Stoner : bass" / H. Wyeth : drums" + The Ravens : Jude Cole : guitars & vocals / Dennis Croy : bass guitars / Rick Croy : drums.
One of the more curious characters of the new wave movement, singer/guitarist/songwriter Moon Martin issued several critically acclaimed yet commercially underappreciated releases from the late '70s through the early '80s, before reappearing in the mid-'90s. Born John Martin in Oklahoma during 1950, Martin played in local bands, including a rockabilly group, the Disciples, while attending the University of Oklahoma. Martin relocated to Los Angeles in the late '60s and paid the rent as a session musician, playing on albums by Del Shannon and Jackie DeShannon. But soon, his former Disciples bandmates followed him to the land of surf and sun, changing their name to Southwind and issuing a total of three underappreciated country-rock albums on the Blue Thumb label between 1969 and 1973: a self-titled debut, Ready to Ride, and What a Place to Land. Upon the group's split, Martin returned to session work, contributing to Jesse Ed Davis' Ululu, Linda Ronstadt's Silk Purse, and a few Gram Parsons songs that have gone unreleased. Martin also began to focus on a solo career at this time, adopting the nickname "Moon" from friends, after it became an inside joke at the songwriter's penchant for mentioning the word in his compositions.
Shots From a Cold Nightmare is a catchy batch of radio-flavored rock &roll, even though Martin's songs can seem to get a little too serious when it comes to the perils of infidelity, which is what most of them are about. While Martin comes through on the somewhat creepy-sounding "Paid Killer," the well-written "Night Thoughts," and on "Victim of Romance," there are still a couple of the album's songs that were bettered by other artists. "Cadillac Walk" sounds more stimulating coming from Mink DeVille on his self-titled release from 1977, and Robert Palmer managed to make a Top 20 hit out of "Bad Case of Loving You" a year after it appeared on Martin's album. Although Palmer and DeVille improved upon these two cuts, Shots From a Cold Nightmare remains one of Martin's most pleasing efforts, equal to 1979's "Escape From Domination" in its accommodating vocal form, but much stronger than both of his releases from the '80s, "Street Fever" and "Mystery Ticket", which fail to relinquish the same amount of Martin's personality or distinctness both lyrically and vocally.



THE BLACK JETTS Right on sound cd 2005
Thrill city / I just wanna be loved / When I was A young boy / Your love ain't so strong / Get ready / All sexed up / One nite stand / Hooked / You can't kill what's already dead / Right on sound .
Produced by The Black Jetts .
The Black Jetts: Cabe Stiff : vocals , guitar , piano , organ / Roy Page: guitar , blues harp / Thomas Choi : bass , vocals / Gary Wright: drums , piano , organ .
Good to know Las Vegas isn't all about family-friendly sin-there's still some of the old-fashioned, hide-it-from-the-spouse, feel-bad-about-it-in-the-morning kind left as well. The Black Jetts' powerhouse punk & roll speaks of long nights, rough sex and the kind of memories that put a smile on your face while jeopardizing your chances of ever getting into Heaven. Sure, the Dead Boys have done this before, but they're not around anymore and the Black Jetts are, so come get your speakers and other sundry body parts blown - Michael Toland
It’s fitting that their home base is Las Vegas, as "Right On Sound" has the good times and bad vibes of Sin City. It’s reminiscent of greasy hair and cheap suits and big ol’ gas guzzling American cars from the ’60s.That said, The Black Jetts are all about the retro rock. There are the usual culprits in their sound – the MC5, the Stooges, early Kiss, the Stones, and so on. On top of that, you get some classic Alice Cooper and Elvis Costello and the Attractions. The overall result is pretty solid rock, similar to a less manic RPG and more inclined to spice up songs with organ and blues harp. While there aren’t any particular songs that stand out, there aren’t any bad originals (...and their cover of Smokey Robinson and the Miracle’s “Get Ready” is fabulous ! ).
Those into "All Night" or "Drunk Horse" could dig The Black Jetts. They’re mining the same territory. I can tell they’ve got the talent and attitude to appeal to fans of that style of rock.


THE BLACK JETTS Bleed me cd 2003
Come on / Bleed me / Another night / Cheap date / Get it out / Summer girls / Howl / Hangin' around / Rehab love / She wants to be my rock'n'roll baby / Leavin' here .
Produced by The Black Jetts .
The Black Jetts: Cabe Stiff: vocals , guitar / Roy Page: lead guitar / Jay: drums / Danny Jett: bass , vocals .

Sinful party rock n' roll out of Las Vegas with fierce, snotty vocals. The ultra-cheap, but effective, production sounds gloriously loud and mean. Squealing guitars chug along in perfect time with the satisfying, rhythmic THWACK of the Jetts drumset. At their best (like on the amazing song "Another Night") they sound like a more-polluted version of the Sonics, and at their second best, they play solid, sneering Saturday-night drinking music with great yell-along choruses. They cool it down for a second on "Hangin' Around," and pick it right back up with a raging, farfisa-filled howler called "Rehab Love." They even do an awesome cover of The Who's "Leavin' Here." This is perfect music for spinning shittys in a gravel parking lot or getting bombed. Whatever your mood, give this son of a bitch a pull for some A+ fantastic super-punk rock action. - Phil Hunt


V/A Welcome to our nightmare - A tribute to Alice Cooper 1993 Triple X records 320 kbps

Disc 1 : DRAMARAMA : Reflected / WALLISON LADMOH : Levity ball / JOHN TRUBEE & THE UGLY JANITORS OF AMERICA : Refrigerator heaven / OF CABBAGES AND KINGS : Lay down and die , goodbye / RUBBER CITY REBELS : Caught in a dream / LYDIA LUNCH & ROWLAND S. HOWARD : Black juju / BUG LAMP : Second coming -Ballad of Dwight Fry / FLAMING LIPS : Sun arise / BULIMIA BANQUET : Under my wheels / HAUNTED GARAGE : Halo of flies / CHRIS CONNELY : Desperado .

Disc 2 : SHADOW PROJECT : Dead babies -Killer / REVERB MOTHERFUCKERS : School's out / CLAW HAMMER : Generation landslide / ROYAL COURT OF CHINA : Working up a sweat / TYLA : Teenage lament / COLD ETHYL : Welcome to my nightmare / CARNIVAL ART : Cold ethyl / THE HANGMEN : Only woman bleed / SLOPPY SECONDS : Serious / THEY EAT THEIR OWN : Clones / DUTCHESS DE SADE : Pain / THE VANDALS : Poison .

The really good thing about this disc is the selection of songs covered. It could have been limited to his "hits", but these bands pulled out a few of the more obscure titles. The performance of the songs are another matter. While some of the covers are actually pretty cool, others seemed like they were not taking them seriously. I did not know any of the bands doing this cd so I wasn't sure what to expect. Most of the music is kind of heavy in a post punk sense. An interesting addition for the Alice Cooper fan . Royal Court Of China, Dramarama , the Hangmen do a great job . My favorite by far is The Rubber City Rebels version of "Caught In A Dream". Not only is this a very underated A.C. track (written by Michael Bruce) but the rebels happen to be a great band too !



V/A A tribute to Mr Rock 2005 Bronco records 320 kbps
SIDE A (Four Berrys) : SONNY VINCENT: Carol / THE JERRY SPIDER GANG: Come on / THE PAYBACKS: I wanna be your driver / THE HENTCHMEN: Dear Dad / LOS HIGH SIERRAS: Viva rock 'n' roll / THE MURRAYS: I love you / FOGGY MENTAL BREAKDOWN: Bye bye Johnny / ROCKZILLA: School days / NULLSKATTESNYLTERNE: Sweet little rock 'n' roller .
(One Berry) SIDE B : THE BELLRAYS: Igot to find my baby / THE MAGGOTS: Club Nitty Gritty / SIN CITY SIX: Nadine / LOS CHICOS: Oh baby doll / THE COOL JERKS: Let it rock / SPEEDBALL BABY: Driftin' heart / CALLAHANS: Thirty days / GORE GORE GIRLS: Man and the donkey / LOST ACAPULCO: Little queenie.
This album dedicated to A. Kane is a 12'' picture disc limited to 525 copies ...
In 2005 Bronco Records of Spain released a tribute containing 18 cover versions of Chuck Berry numbers performed by little known bands from the U.S., Spain, Mexico, France, Sweden, and Norway: "A Tribute to Mr. Rock"(Bronco Records BR 069).
The track listing is: "Carol" by Sonny Vincent, "Come On" by the Jerry Spider Gang, "I Want to Be Your Driver" by the Paybacks, "Dear Dad" by the Hentchmen, "Viva Rock & Roll" by Los High Sierras, "I Love You" by the Murrays, "Bye Bye Johnny" by Foggy Mental Breakdown, "School Days" by Rockzilla, ""Sweet Little Rock & Roller" by Nullskattesnylterne, "I Got to Find My Baby" by the Bellrays, "Club Nitty Gritty" by the Maggots, "Nadine" by Sin City Six, "Oh Baby Doll" by Los Chicos, "Let It Rock" by the Cool Jerks, "Driftin' Heart" by Speedballbaby, "Thirty Days" by the Callahans, "Man and the Donkey" by the Gore Gore Girls, and finally "Little Queenie" by Lost Acapulco. While most of the versions are played too loud and too fast, a few are really nice. One example is the last track, which is an instrumental version played in surfsound style. Also very good is the Norwegian Nullskattesnylterne's version of "Sweet Little Rock & Roller" recorded during a soundcheck in Germany. And the best interpretation of these comes from Spain just like the record itself: Foggy Mental Breakdown play "Bye Bye Johnny" as it is to be played, similar to Berry or the Stones, only better.

Cd artwork by Max !

THE HUMPERS Live forever or die trying

THE HUMPERS Live forever or die trying 1996 Epitath 320 kbps

Wake up & lose / Soul surgeon / Sarcasmatron / Fast fucked & furious / Beyond belief / Migraine shack / Don't wanna be your pal / Losers club / Space station love / World of hurt / Protex blue / Drunk tank / 13 forever / Apocalypse girl / You drive me bats / Rockets & the retards / Anarchy juice .

Produced by Sally Browder .

The Humpers : Scott "Deluxe" Drake : vocals / Billy Burks : guitar & vocals / Mitch Cartwright : bass & vocals / Jimi Silveroll : drums & vocals / Mark "Anarchy" Lee : guitar & vocals .

Long Beach, CA's Humpers were formed by Scott "Deluxe" Drake and Jeff Fieldhouse, guitarists for the Suicide Kings. Drake gave up the guitar for the group and concentrated on screaming lead vocals. The Humpers were first revered not in the group's native California but, oddly, in Yugoslavia, where its first and extremely rare LP "My Machine" was released.

Whereas the Suicide Kings' sound borrowed heavily from the 1970s (Heartbreakers, Rolling Stones, New York Dolls, Ramones), the Humpers punked the mix up a bit with a more direct and sonic edge reminiscent of Cleveland groups the Dead Boys and the Pagans.

Bassist Jaybird Blake left the group after recording half of the tracks for 1994's Journey to the Center of Your Wallet, and was more than capably replaced by Mitch Cartwright. Guitarist Jeff Fieldhouse also left the group, leaving sole guitar duties to Billy Burks. After two LPs for indie Sympathy for the Record Industry, the Humpers were signed to Caroline.

The Humpers dispense gritty, unrelenting rock & roll on their 1996 Epitaph release, Live Forever or Die Trying. The opener, "Wake Up and Lose," sets the tone for their third album, layering bleakly sarcastic lyrics over cocky, yet glowering rock, with a coiled flare-up of guitar solo at its center. Scott "Deluxe" Drake's vocals on songs like "Soul Surgeon" have an urban rasp, carrying subways, street fights, and the smoky air that gusts from rock clubs as the crowds push out after last call. The guitar builds tough, simple chords to a wailing, frantic solo over an almost dancy beat that pulses with raw energy. "Fast, Fucked, & Furious" coaxes the listener, along with a lowdown-bopping bassline and a momentum as brisk as the song's title. Like many songs on the album, the lyrics are more bellowed than sung, with multiple bandmembers joining to create the impression of a singalong prompted by drunken camaraderie. One can imagine them with their arms around each other, singing as they stumble down the trash-strewn boulevards as the streetlights reflect off oil-slicked puddles. Images of urban detritus litter the album, from the graffiti-caked men's room in the liner notes (complete with "Wake up and Die" inside the urinal) to the music's menacing late-night drag-race mood. "Space Station Love" — one of seven re-recordings of previously released songs on the album — epitomizes this sound. It's like a car wreck, with the vocals being adrenaline pushing listeners to collision, the howling guitar solos being the crumpling metal, and the sludgy bassline and rhythm guitar acting as the congealing blood. While they always pay tribute to their guitar forebears, from Chuck Berry to Johnny Thunders, the band's sound is fullest when further celebrating rock's roots by adding piano on "Loser's Club" and "Anarchy Juice." The energy is amped up on these songs, which stand out on an album that often relies on the same vocal and guitar mannerisms throughout. It may be true that the Humpers have their sound down and don't vary much in what they deliver, but they sure deliver rock & roll. -All Music-



ANDY Mc COY Building on tradition 1996 Revenge 320 kbps

Strung out / I'm gonna roll you /Born again electric /She's doing it with lazers / Unconditional love / Foxfield junction / Heartattack / Love & hate / Dreaming with Japan / Let it rock / Italian girl /Gotta let it go / Apache / Medieval Madras .

Produced by Andy Mc Coy.

Andy Mc Coy : all guitars , piano , keyboards , lead & backin' vocals / D. Lagerstedt : bass , lead & backin' vocals / Gyp Casino : drums / A. Nicoletti : lead & backin' vocals , synthetisers .

In 1995 the group behind Andy Mc Coy was called Live Ammo, Gyp Casino the first Hanoi Rocks drummer playing the drums. Now Angela , Andy's wife was a part of the band alongside with Dan Lagerstedt. Andy's second solo album "Building on tradition" was released and he toured in Finland exclusively 1995. The album was recorded in Stockholm with a lot of Swedish special guests.



THE NEW CHRISTS Divine rites 1988 Citadel records 320 kbps

Like a curse / Sun god / Born out of time* / No next time / The black hole / Addiction / Dropping like flies / Dead girl / I swear°/ You'll never catch my wave / I saw god / Headin' south .

The New Christs : Rob Younger : lead vocals / Chris Masuak , Charlie Owen , Richard Jakimyszyn : guitar / Tony Robertson , Jim Dickson : bass / Mark Kingsmill , Louis Burdett , Nick Fisher : drums .

+ Kent Steedman : guitar*/ Louis Tillet : organ°/ G. Reed , K. Wemyss , D. Spence : horns .

This Album is a compilation of the 5 first Citadel 7" singles of the New Christs .

The New Christs were formed by ex Radio Birdman singer Rob Younger. He had been offered the support spot on Iggy Pop’s Australian tour of 1984 and needed a band fast. He found interest from members of groups such as Celibate Rifles, Radio Birdman, Lime Spiders and Hoodoo Gurus. The tour proved a wild success and the band stayed together, and recorded two singles for Citadel Records: the psychotic "Like A Curse" and the angrier-than-thou "Born Out Of Time". These releases gained universal acclaim for their tough and uncompromising nature. Shows were well attended, oft-times record-breaking. Despite escalating prospects - an album deal and European tour were proposed - the other members chose to return to their former bands. Bandless, Younger pursued a career producing records for some of the finest Australian bands (Died Pretty, Eastern Dark, Stems, more). He was ‘on hold’, treading water. In 1986 Barracudas bass player Jim Dickson returned to Australia from the UK to form a new band with Rob. Featured were Charlie Owen (Divinyls, Beasts of Bourbon), a gifted but as yet unknown guitarist, and drummer Louis Burdett who soon left to be replaced by Nick Fisher (Ed Kuepper, Wet Taxis). This line-up released a series of hard-hitting singles "Black Hole", "Headin’ South", "Another Sin" and the "Dropping Like Flies" EP. These tracks were compiled as "Divine Rites", and its European release allowed the group to tour the UK and Europe for 3 months. The release of their debut album – 1989’s "Distemper "- through Citadel / Blue Mosque, saw the band receive ecstatic reviews and high-rotation airplay. Public demand in Europe necessitated the album be released in all EC territories, and the band again toured there. After returning home, and for no apparent reason it would seem, the band broke up. They reformed briefly in 1990 to play a series of shows around Australia supporting the Ramones. Then nothing. Three years later Younger, bassist Christian Houllemare (Happy Hate Me Nots) and Bill Gibson (Lemonheads, Eastern Dark) dragged in another shit-hot guitar player whose name Rob no longer remembers and created a new line-up, recording the "Pedestal" EP and "Woe Betide" mini-album. (At this time, Canadian label Lance Rock found it necessary to release the apocalyptic "Born Out Of Time" compilation, featuring an upbeat selection encapsulating their 10-year existence.) In 1997, the band released the "Lower Yourself "album. It included current live standouts "Jenny", "We have Landed", and the gloriously demented "Fuzz Expo". The boys played a well-received 7-week tour of the UK and Europe, but on return, quarrelled about something no-one can remember anymore and almost broke up. In 2001, The New Christs recorded "We Got This" for Laughing Outlaw Records. In reality, the label rescued the band from imminent oblivion. An unpaid studio account saw the band’s equipment locked out of reach and recriminations were flying thick and fast. Nevertheless, tracks such as "Spit it Out", "On Top of Me", "Groovy Times", and the brooding, "Burroughsian Khartoum", are considered by many as some of their finest songs and the album received astonishing reviews the world over. Unfortunately, there was no band to promote it: having suffered at the hands of a corrupt and uncaring music business for – as the boys themselves put it - ‘too fucking long’, and blighted with interpersonal problems, called it quits. Rob continued to produce records for Australia and European bands for the next few years, and then, in 2006, put together a new version of the Christs. With drummer / psych nurse Stu Wilson, former New Christ bass player Jim Dickson, Dave Kettley – known affectionately as ‘Tea Bags’ - of The Dead Set on guitars, and ex Zambian Goat herder Brent ‘ Rain Man’ Williams taking ..s and guitar duties, Rob was once again leading the band into a new era. They headed off to Europe, playing to adoring fans across Spain, France, Germany and Belgium. Some recent sporadic activity saw The New Christs rock Melbourne and in Sydney they supported Sweden’s wonderful Soundtrack of Our Lives. Now, for reasons best known to them, The New Christs are cooking up a brand new album, as yet unnamed. It won’t be released until they find a label willing to endanger their reputation as upstanding members of the music industry. However, the lads are still heading off to tour Europe in May 2008 and will be releasing a limited edition 7" single to be sold only at shows.


THE NEW CHRISTS The black hole / Addiction 1987 Citadel records wav

Produced by Younger/Thorne

The New Christs 87 : Rob Younger : lead vocals / Jim Dickson : bass / Charlie Owen : guitar / Louis Burdett : drums .


SINGLES THE NEW CHRISTS Born out of time/No next time* 1985 Citadel/Sonics records wav

Produced by Alan Thorne & Rob Younger

same band + Kent Steedman : guitar on *


SINGLES THE NEW CHRISTS Like a curse/Sun girl 1984 Citadel/Sonics records wav
Produced by Rob Younger , Chris Mazuak & Alan Thorne .
The New Christs : Rob Younger : lead vocals / Richard Jakimyszyn : guitar / Mark Kingsmill : drums / Chris Mazuak : guitar & vocals / Tony Robertson : bass & vocals .
Founded by ex-Radio Birdman vocalist Rob Younger, Australia's New Christs have managed to persevere through many personnel changes, as well as Younger's many commitments producing other bands. Initially started as a one-off to record a single ("Face a New God," 1981, now worth big money Down Under), the band did not perform until 1983 when Younger assembled an all-star lineup featuring members of the Celibate Rifles, Birdman and a future Hoodoo Guru to tour with Iggy Pop, then making his first venture Down Under. Younger, perhaps Australia's most charismatic frontman, apparently left Pop (who, it must be noted, had a relatively inferior band) in the dust. Several singles (compiled in the "Divine rites" album ) and lineups followed and the real debut album, "Distemper", was not released until 1989. That version of the band included Charlie Owen (Divinyls, Louis Tillett, Tex Perkins) on guitar; then unknown, he is now renowned as one of Australia's finest musicians. A greatest hits CD (or as Younger puts it, "the songs I can still stand") called "Born Out of Time", named after perhaps the band's finest single, was released in Canada in 1996. The two-inch tape transfer gave the songs a sonic quality not heard on the original versions. Younger had the band up and running again with the "Pedestal EP" in 1995, "Woe Betide" in 1996, "Lower Yourself" in 1997 and "We got this!" in 2002 .





D GENERATION D Generation 1994 Chrysalis records 320 kbps

No way out / Sins of America / Guitar mafia / Feel like suicide / Waiting for the next big parade / Falling / Wasted years / Stealing time / Ghosts / Frankie / Working on the avenue / Vampire nation / Degenerated .

Produced by David Bianco .

D Generation : Jesse Malin :vocals / Danny Sage : guitar , vocals / Richard Bacchus : guitar , vocals / Howie Pyro : bass / Michael Wildwood : drums .

DGeneration was a band that exploded out of New York City in1991, quickly gaining a reputation for their blistering live shows. The band played their first show at the Greendoor space in NYC on December 7, 1991 and returned home for a final curtain call at Coney Island High in on April 24, 1999. During their 8 year run, they released 3 major-label albums on EMI/Chrysalis (“DGeneration”) and Sony/C2 Records (“No Lunch”, “Through the Darkness”) as well as several EPs and contributed to a number of compilation and soundtrack albums. All of the former members are still active in various projects.

This was D Gen's first album which, although it generated a huge buzz in the industry, was given an incredibly low amount of publicity by Chrysalis's parent company, EMI, when that organization came under new management in 1995. The production also leaves something to be desired (even the band was not happy with it). When D Gen left Chrysalis and signed with Columbia in 1995, the band bought back the rights to this album and it is now out of print (according to the band, the master tapes were tossed into the East River). You can still find copies around, although they are becoming harder to find. The album contains re-recorded versions of the four songs from their 1993 indie releases and the version of "Degenerated" found on the "No God / Degenerated" promo 10-inch single. It should be noted that this record was only released on CD and cassette and that the vinyl copies which are floating around out there are bootlegs.



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THE DIMESTORE HALOES Revolt into style 1998/99 Pelado records 320 kbps

Come bomb with me / Strung out on you / Born to late / Everybody's loves you when you're dead / Plastic doll / Dead end days / Heaven or Hollywood / Wrecked & divine / Heart of thorns /Hopelessly in hate .

The Dimestores Haloes : Chaz Matthews : vocals , lead & accoustic guitars / Marcus Arvan : bass , backing vocals / Jimmy Reject : drums (R.I.P.) /Barry Bang : rhythm guitar , backin' vocals .

Here we have a band of complete social miscreants who barely were able to play a single live show without immense emotional and personal consequences. They were however, brilliant at fusing the best elements of Glam rock (T.Rex, Hanoi Rocks, NY Dolls) with it's bastard son, Punk (Buzzcocks, Heartbreakers) and coming up with something oddly original. They were reviled by the 'punk" elite of their day but loved by the geeks and pseudo-hipsters destined to become the "emo" crowd. Influences like The Replacements and obscure rockabilly only further confused the hipsters and further endeared them to the geeks. I've seen them live, and yes, I miss them. Rock 'n' roll just ain't the same.

Pelado Records signed them. They had about ten different line ups, but they always seemed to have kinda weird people in the band who were interesting. they never chose the standard hipster types to be in their band.

They had records out and for a year or two ('98-'99) it seemed every magazine about punk rock that you'd pick up had an interview with them.I've seen them play in front of ten people and i've seem them play in front of like three hundred. They were never any different. You know how people say "they played every show like it was sold out?" Well the Haloes played like there was three people there, every gig, whether there were 20 people or 300. they just did not give a crap. Never looked at the audience, never asked them if they were having a good time. They seemed to want people to be uncomfortable and somewhat threatened. They liked to play really loud and out of tune and annoy you and see what you would do. Their final line up was the best in the "rocknroll" sense. They finally learned how to play and how to play TO the crowd. That last line up could have really gone places and done some big business. But it didn't matter. They cut their last album and broke up.That last album has come out, finally on Fullbreach Kicks/Pelado Records(2005).In August of 2006, Haloes drummer Jimmy Reject took his own life. Rest In Peace Jimmy Reject. Jimmy has two books available, try eBay or amazon.com.

Lorne Behrman is playing with various NYC soul/rock bands.Marcus Arvan is in the Arizona band Year Of Acceleration. Chaz Matthews has released a great solo album called "Amazing Graceless" on Full Breach Kicks . He is currently working on more of the same.



DETROIT Detroit 1971 MCA records 320 kbps

Long neck goose / Is it you (or is it me) / Box of old roses / It ain't easy / Rock'n'roll / Let it rock / Drink / Gimme shelter / I found a love .

Produced by Bob Erzin.

Detroit : Mitch Ryder : lead vocals / John Badanjak : drums & vocals / Dirty Ed : congas & vocals / Steve Hunter : lead guitar / W. R. Cooke : bass & vocals / Brett Tuggle : guitar / Harry Phillips : keyboards.

Detroit was a latter-day incarnation of Mitch Ryder's Detroit Wheels; formed in 1970 after the singer returned to the Motor City following a stint in Memphis recording with Booker T. and the MGs, the new group reunited Ryder with his former Wheels drummer John Badanjek, and also featured guitarists Steve Hunter and Brett Tuggle, bassist W.R. Cooke and organist Harry Phillips. An energetic, R&B-influenced outfit firmly in the tradition of Ryder's past projects, Detroit issued their lone self-titled LP on Paramount in 1971, scoring a major radio hit with a gritty rendition of Lou Reed's "Rock and Roll" which so pleased its writer that he later recruited guitarist Hunter to join his own backing band. As throat problems began plaguing Ryder more and more, he was forced to quit singing in 1972, and his relocation to the Denver area a year later dashed any hopes of a second Detroit album; local singer Rusty Day then assumed control of the group, guiding the unit until its 1974 break-up.

Artwork by Max !