THE THROBS - Proud To Be Loud

THE THROBS  Proud To Be Loud   LP  1986
Here Comes The Night / She's So Pretty / Everybody's Gonna Have a Real Cool Time / I'll Do What I Want / Oh Love / Nuclear Attack / I Was Gonna.
Produced by Roman Zack & The Throbs.
The Throbs: Ron 'Sweetheart' Collie: vocals / Jeff Campbell: guitar, vocals / Peter Lotimer: bass, vocals / Michael Lotimer: drums, vocals.

"Super rare, limited to 500 copies pressed in 1986 on Precision Records. This amazing and elusive glam punk band migrated from Toronto to NYC during the heyday of mid-eighties glam and were instantly adored by punks and headbangers alike for their adrenaline charged, wasted tunes like "Nuclear Attack", "I Do What I Want" and "Here Comes The Night". They signed a deal with Geffen Records and released one quality LP that lacked the vicious bite of this early material before vanishing into the ether." Source

"The Throbs were one of the most promising bands to come out of New York that offered something different to the sound and scene that was happening in Los Angeles in the late eighties. In 1990 after having a handful of offers, the Throbs landed a big name label when they signed to Geffen Records, but just six months after their debut album the Language of Thieves And Vagabonds came out in 1991, the label dropped them. Attempts to carry on without vocalist Ronnie Sweetheart and drummer Ronnie Magri would prove pointless as the soul and essence of the band had been lost - the Throbs were no more. But as Sweetheart reveals in this interview, have we really seen the end of The Throbs? ..." Source
To read the Ronnie 'Sweetheart' interview  it's here!
Thanks to Franck !


ICI & INDEPENDANT (Of Best: 1988-1993) - Jean-Luc Manet

Ici & Indépendant (Of Best: 1988-1993) par Jean-Luc Manet , 244 pages publié au Camion Blanc.
Critique rock et auteur de nouvelles noires, Jean-Luc Manet fut notamment pendant six ans, pour le mensuel Best, le chroniqueur impénitent d’une France underground qui défricha de nouvelles voies soniques, en toute indépendance et hors des sentiers battus. Thugs, Sheriff, Real Cool Killers, Mano Negra, Burning Heads, Straw Dogs, Jet Boys et des centaines d’autres groupes, activistes, fanzines, labels, trouvèrent grâce à lui une tribune privilégiée, pour relayer et appuyer leurs aventures épiques et énergisantes. Tel un carnet de route, voire un guide touristique de l’agitation binaire, ce livre regroupe l’intégralité des articles de Jean-Luc Manet consacrés de 1988 à 1993 aux maquis rock’n’roll et réseaux turbulents d’ici. Source
Buy It HERE !

Jean-Luc Manet est né en 1959 à Paris. Critique musical depuis 1979 (pour Best, Nineteen et Les Inrockuptibles notamment), il a publié une trentaine de nouvelles noires et deux novellas (romans courts) : « Terminus Plage de Boisvinet » dans la collection Noir Urbain des éditions Autrement en 2005 et « Haine 7 » aux éditions Antidata en 2012.
Les éditions du Camion blanc, fondées par Sébastien Raizer et Fabrice Revolon en 1992, est une maison spécialisée dans la musique, et dont le slogan est « L'éditeur qui véhicule le rock ! ». Le premier titre, publié en tirage confidentiel, est consacré à Joy Division : "Vie et mort d’un poulet enragé", écrit par Sébastien Raizer, suivi de "Joy Division, Lumière et Ténèbres", également de Sébastien Raizer, en septembre 1992.Parmi plus de 300 titres publiés depuis vingt ans, on trouve des biographies consacrées à de nombreux artistes et groupes de rock, de tous courants et styles, ainsi que des ouvrages de fond sur le rock progressif, le rock psychédélique ou le heavy metal (musique), dont certains approchent les 1000 pages.
Les éditions du Camion blanc publient aussi bien des auteurs francophones que des traductions anglo-saxonnes. Wikipedia



Cowboys And Indians / I Am Who I Am Not Who You Want Me To Be / The Ballad of a Thin Man / Brother Grahame Says / Can't Find My Way Thru The Door / Nothing Left to Hide / Stop and Think It Over / Take Me Down to Your River / Outcast / Messin With The Kid.
Recorded live by Jim Walter.
Johnny Casino And The Secrets: Johnny Casino: vocals, guitar / James Saunders: guitar / Cris Wilson: drums / Michael Evans: bass.

To witness Johnny Casino on stage is to witness a man in perfect harmony with the spirit, narrative and essence of rock’n’roll. Head thrown back, sweat pouring from his forehead, his liberally tattooed arms thrashing, plundering riff after glorious riff. Others may pretend, but Casino is the real deal.
In late 2008 Casino and his Melbourne tribe of Secrets – James Saunders, Cris Wilson and Michael Evans – wandered into the studios of Melbourne’s PBS public radio station, ostensibly to play four or five songs on Phil McDougall’s Sunglasses After Dark radio show. Like a rock’n’roll version of mathematical induction, for every brilliant song another was born, until the studio finally called time 45 minutes later.
Live on PBS captures Casino’s set in all its potent glory – from the heavy Chuck Berry riffage of ‘Cowboys and Indians’ and ‘Brother Grahame Says’ to the pounding take on Bob Dylan’s ‘Ballad of a Thin Man’ and the plaintive ‘Can’t Find My Way Thru the Door’. In ‘I Am Who I Am’, Casino pleads the integrity of his case: “I am who I am, not who you want me to be.” Meanwhile, the weight of emotion in ‘Nothing Left to Hide’ demolishes any suggestion of artistic pretence.
After a suitably spirited take on Greg Cartwright’s ‘Stop and Think It Over’ – cut down to four minutes from its customary eight- to 10-minute live mark – it’s down to the water’s edge for a baptism of rock’n’roll fire in ‘Take Me Down to Your River’. The set concludes with a cover of The Saints’ ‘Messin’ With the Kid’. It’s as powerful as the fiery rhetoric of a head-strong youth challenging the institutions of authority – and just a little bit more.
As with any Johnny Casino set, the end is tinged with disappointment: if only the moment could exist in perpetuity then all might be good in the world. But then we’d have nothing left to look forward to. P.Emery

The good people at 3PBS radio in Melbourne Australia asked our favourite rock'n'roller Johnny Casino to come on down and play some songs for radio 3PBS live music week . Johnny took his Melbourne lineup of Cris Wilson (Warped!) on drums , Michael Evans [Tiger by the tail] on bass and James Saunders (Redshift) on guitar and tore thru a hand full of songs when the producers at 3PBS told them to keep playing as they were having so much fun !! the band ended up playing 10 songs and the result is what you have here on "live at 3PBS" as live as you'll get no overdubs no 'lets do that one again' just as they were played , with a slaming version of Bob dylans 'ballad of a thin man' the live fav version of the Complusive Gamblers 'Stop and think it over' a stomping version of the long lost Animals hit 'Outcast' and the soaring version of The Saints 'Messin with the kid' , we reckon it's the sounds of a band having a good time, GET SOME ! Source



JOHN FELICE & THE LOWDOWNS Nothing Pretty  LP/CD  1988 
Don't Be Telling Me / Ain't We Having Fun / I'll Never Sing That Song Again / Not The One / Perfect Love / Nowadaze Kids / Nothing Pretty / Dreams / Don't Make Me Wait / Can't Play It Safe
Produced by Richard W. Harte.
John Felice & The Lowdowns: John Felice: guitar, vocal / Martin Paul Rowland : bass, vocal / Billy Borgioli : guitar, vocal / Pete Taylor : drums.

John Felice will always be best known as the beer-fueled, hot-wired frontman for Boston proto-punks the Real Kids, but that band's work didn't represent the full range of his musical abilities, and in 1987, with the Kids temporarily on the rocks, Felice offered fans another look at himself with his short-lived solo project, John Felice & the Lowdowns. With the Lowdowns, Felice wrote tough but thoughtful songs about broken hearts, busted lives, and the dark side of life in rock & roll, and he put ten of them on wax with the album Nothing Pretty. But for an album that dealt so strongly with lives gone wrong, it was sadly appropriate that the album died before it ever had a chance -- it was released by Ace of Hearts the same day their distributor went bankrupt, which prevented nearly the entire press run from ever reaching stores. It's a shame that it has taken 16 years for the album to finally get a proper release in the United States (thanks to longtime Real Kids boosters Norton Records), but a listen to the disc proves it was worth the wait -- conjuring up a stripped-down ghost of the Rolling Stones with its lean, guitar-based sound (built around the intertwined guitars of Felice and fellow Real Kid Billy Borgioli), "Nothing Pretty" is a superb piece of street-smart, no-frills rock & roll, and Felice has never shone brighter as a songwriter, especially on the bitter junkie's lament "Ain't We Having Fun," the post-breakup kiss-off "Not the One," and the heartbreaking "I'll Never Sing That Song Again," a sad but unsentimental look at a rocker nearing the end of his creative road. In his liner notes for the reissue, Felice says, "I am still more proud of this work than anything I have ever done," and it's not hard to see why -- on "Nothing Pretty", he dug deep into his heart and soul and came up with a minor masterpiece, and while it may have slipped though the cracks before, there's no reason for anyone who cares about smart but hard-edged rock to pass it by this time. Source

Entre Real Kids, Taxi Boys, Primevals, Devotions puis Real Kids à nouveau, voici venir, en 1987, dans la chaotique "carrière"  de John Felice, les Lowdowns ! En fait un album solo de John Felice épaulé par la guitare de Billy Borgioli. Un lp qui reçut de bien mauvaises critiques!
Etait-ce le son ? La noiceur des textes ? Ou l'époque qui commençait à sérieusement merder ?
Il y avait pourtant toujours "...haut perchée, avec juste ce qu’il faut de fêlure, l’incroyable voix de Felice." , comme le disait si bien Monique Sabatier dans le N° 25 de Nineteen,  biblique fanzine des 80's !
Comble de malchance le distributeur de l'historique label Bostonien Ace Of Hearts fit faillite juste avant la sortie prévue de l'album ! New Rose sauvera les meubles et sortira "Nothing Pretty" en France mais les compatriotes de John Felice durent attendre que Norton s'y colle en 2004!
Il va falloir réévaluer ce disque car il contient de grandes chansons: John Felice n'en a jamais écrit une seule mauvaise !



THE DEL FUEGOS - The Longest Day

THE DEL FUEGOS  The Longest Day  LP/CD  1984/2008
Nervous And Shakey / Backseat Nothing / Should Be The One / Missing You / Anything You Want / When The News Is On / Longest Day / Out For A Ride / Mary Don't Change / Have You Forgotten / Call My Name.
Produced by Mitchell Froom.
The Del Fuegos: Dan Zanes: lead vocals, guitar / Warren Zanes: guitar / Tom Lloyd: bass, vocals / Brent "Woody" Giessmann: drums, vocals + Mitchell Froom: keyboards / Jorge Bermudez: percussion.

Kicking up a ruckus on the more garage-oriented side of the 1980s' roots rock boom, the Del Fuegos were a four-piece band from Boston who (at least for a time) won critical favor and a loyal cult following at home and on the road for their passionate, no-frills style. Formed in 1980, the Del Fuegos consisted of guitarist and singer Dan Zanes, his brother Warren Zanes on guitar, bassist Tom Lloyd, and drummer Steve Morrell. Steady gigging on the Boston club circuit won the band a potent local reputation, which began to spread along the East Coast with the band's first few low-budget tours. While the Del Fuegos began recording an album for legendary local label Ace of Hearts Records, in 1984 the famed Los Angeles indie Slash Records stepped in and signed them, releasing their first album, "The Longest Day", in the fall of that year. By this time, Steve Morrell had parted ways with the band, and former Embarrassment percussionist Woody Giessmann had taken over the drum kit. One of the first albums produced by former Ronnie Montrose keyboard man Mitchell Froom, The Longest Day's mixture of attitude, guitar firepower, and heart-on-the-sleeve emotion clicked with both critics and fans, and the Del Fuegos seemed poised for a commercial breakthrough with their second album, 1985's "Boston, Mass".

While "Don't Run Wild" and "I Still Want You" earned some radio and MTV airplay and the album received rave reviews, it wasn't the hit some were hoping for, and the more self-consciously hip members of the music world began to turn their backs on the band after it appeared in a widely seen beer commercial. The band began reaching for a more ambitious sound and wider musical range on its third album, but 1987's "Stand Up" received harsh reviews and little support from fans, despite the Del Fuegos' appearance on an extended tour with noted fan Tom Petty (who also guested on "Stand Up"), in which the group shared the opening slot with the Replacements. After Stand Up's disappointing reception, Woody Giessmann and Warren Zanes both quit the Del Fuegos, and the band was dropped by Slash. In 1989, Dan Zanes and Tom Lloyd decided to give the band another chance, bringing aboard guitarist Adam Roth and drummer Joe Donnelly and cutting a new album, "Smoking in the Fields", but while critics were kinder to the new set than "Stand Up", the album was a commercial bust, and within a year the Del Fuegos were history. Dan Zanes went on to a solo career and in time found success with a series of acclaimed children's albums, while Warren Zanes returned to music in 2002 after many years in academia with a fine solo album, "Memory Girls". Allmusic.com

The Del Fuegos were proud sons of Boston, Massachusetts, but you might not have guessed that by listening to their debut album, The Longest Day, which mixed the swaggering thunder of heartland garage rock with the rootsy twang of Dixie-fried rockabilly and roots-conscious rock 'n' roll. While the band would later claim that producer Mitchell Froom slicked back their sound considerably from that of their raucous club shows, which earned them their hometown reputation, the results actually capture the band's swing and stomp without an excess of sonic affectation (something that would later become Froom's hallmark), reveling in the crack of Brent "Woody" Giessmann's drums, and the bark of Dan and Warren Zanes' guitars. And if Dan and Warren's songs didn't exactly stretch the boundaries of early rock archetypes, they honored the traditions in the best ways -- by playing roots rock with sweat, fire, good humor, and a lot of heart and soul. And you just can't argue the genius of this line from "When The News Is On": "And sometimes love is a lot like a shoe/ You run around too much and it'll fall apart." The Longest Day isn't the sort of album likely to change the way you look at rock and roll, but it will probably remind you why you love the stuff, and that's more than enough reason to slap it into your stereo and turn it up. Allmusic.com


HEALERS - Secret Show

HEALERS  Secret Show  CD/LP  1990
01 Wildfire / 02 Ghosts / 03 Secret Show / 04 Blood / 05 What I Said / 06 Margaret / 07 Goodbye Joe / 08 That's The Way Charlie Goes / 09 Gutterward Angel / 10 It Ain't Me Babe / 11 Dark Country (cd bonus track).
Produced by Healers & Norbert Roth.
Healers: Graig Hallsworth: guitar, vocals / Jim Butterworth: bass, vocals / Miles Hitchcock: drums / Tony Vespoli: guitar, acoustic guitar, vocals / Lorne Clements (tracks 6 to 8): keyboards.
After the the Bamboos' split , Graig Hallsworth went on to form The Healers with Tony Vespoli (lead guitar), Jim Butterworth (bass, vocals) and Miles Hitchcock (drums).The Healers played driving rock'n'roll with Johnny Thunders-inspired lead guitar laid over the top. The band issued two 12-inch EPs, `Wildfire' and `Dark Country' (both 1990), plus the album 'Secret Show' on the Rattlesnake label.

"...There are other drawbacks in Perth as well. Perth is like haunted by the ghost of the Triffids immensely. I would say that true good rock and roll bands, there's only two good true rock and roll bands in the whole of Perth. One of them is the Kryptonics and the other is this band called the Healers, that you'll probably hear about because I think they're going to have a mini album out. The thing about the Healers is that it's Craig Hallsworth from the Bamboos, it's his new band, and they're absolutely great. He's written some fantastic songs, heaps better songs than he wrote in the Bamboos, that's for sure. But nearly all the bands that form here are like acoustic-y sort of arty pop bands or they're like jangly American-style power pop bands, which is really popular in Perth, mainly because of the Stems and the Someloves and bands like that. But the Triffids have had an influence on Perth music which is a real pain in the ass because not a lot of people really dig rock and roll. It's strange, Perth's not a rock and roll town at all. We'll do a gig at one of the best venues in town, and we'll promote it really well, and we get a reasonable crowd, but a lot of them sit on the floor because they're so used to going to see these sort of arty, acoustic sort of acts that they can't rock out to and cut loose, so they come and sit on the floor. But we do a gig and we're up on stage rocking out really loud and there's piles of people sitting on the floor. It's just absolutely stupid...."
Ian Underwood (Kryptonics, etc) interview by Steve Gardner in Noise For Heroes
Thanks to Mr D. !


DOGMATICS - 1981-86

DOGMATICS 1981-86  CD 1996
01 Sister Serena / 02 You Say / 03 MTV O.D. / 04 King Size Cigarette / 05 Gimme The shakes / 06 Pussy Whipped / 07 Good Looking Girls / 08 Hardcore Rules / 09 Shithouse / 10 Everything Went Bad / 11 Cry Myself To Sleep / 12 Teenage Lament / 13 Saturday Night Again* / 14 Drinking By The Pool / 15 My Little Sister's Got a Motorbike / 16 Thayer St.* / 17 Tell Me / 18 Public Service / 19 Rockabilly Ramble / 20 Sex Bomb.
Produced by Johnny Angel except * produced by Jonathan Paley.
Dogmatics:  Jerry Lehane: guitar, vocals / Peter O'Halloran: guitar, vocals / Paul O'Halloran: bass, vocals / Tommy Long: drums + Johnny Goetchius & Brother Cleeve: piano (12 & 13) / Skin Tones Horn Section: Mike Evans: sax / Carlo Tacky: trumpet / Bill Murphy: trombone (01) / Johnny Angel: lead guitar (04 & 06) / Steve LeGrega: sax (05).

The Dogmatics were no different than any other talentless, self deprecating, beer swilling, girl chasing lunk-heads with guitars. They were young, selfless, and affable. Playing was the only thing that mattered. Money, of course, was unexpectedly welcomed but catching a girl’s eye, a free round of drinks, or simply completing a song in unison were their rewards.

The sound and sight of the Dogmatics was consummate, raucous rock and roll – three minute spurts of high energy garage slop-pop played by possessed rubber faced hooligans with manic fervor. Think Eddie Cochran meeting Johnny Thunders at a keg party hootenanny and shamelessly, though effectively, steamrolling through everything from Jimmy Reed to Thin Lizzy. It was intoxicating and uplifting. They took and then passed on to their audience punk rock’s most important message; “Hey I can do that”. It was an attitude they adopted and encouraged. Music didn’t have to be pretentious and idolatrous as it had become in the late 60’s and 70’s. It wasn’t meant to be professional, excessive and pretty, but rather like the Dogs themselves, reckless, volatile and ugly.
After paying their dues on the local club scene, the Dogs started gaining notoriety and a loyal following. People who saw them once tended to come back with their friends. They were quick witted, always teasing, but never malicious. They made as much fun of themselves as they did anyone else. Jerry was the instigator, always looking for an angle. He was the king of the pop hooks and girl songs. Pete snarled rockabilly grit while wailing on his telecaster. Paul brought in a touch of New York Dolls, social satire, and big fat bass lines. Tommy Long was the Dogs steady, fluid engine. With his sideways smirk and ever present smoke, he was the last line of defense in the occasional concordant collapse. Towards the end they were joined by JG “The Big Baby” playing mad, boogie woogie licks on the piano.

The Dogmatics helped create a strong sense of community and camaraderie within the Boston scene. Their Thayer St. loft in Boston’s South End played host to many a wild after hours party. If your band was in town, chances are you’d end up on Thayer St. Everyone from Blood in The Saddle, to The Del Fuegos, to The Replacements put in long hours of debauchery at the loft. It was a unique time. There was an abundance of talent, interest and support for musicians, fans and promoters. Bands such as Last Stand, Gang Green, The Mighty Mighty Bosstones, Scruffy The Cat, Turbines, Barrence Whitfield and the Savages, Lyres, The Flies, Cheapskates, Outlets, Neats, Future Dads, Classic Ruins, Mission of Burma, Negative FX, SSD and Stranglehold were but a few that made Boston “the place to be” in the mid-80’s. You didn’t dare stay home because you had no dough. There was always someone waiting with a cold beer and a plan to scam you in the door. The Dogs in particular had an uncanny ability to get twenty people through the door on a 4 person guest list and always conned the club out of enough “band beer” to lube everyone up.

1985-86 saw the band step things up. They scrounged the together enough gig money to put out their first single on their own Cat Records label which then led to two LPs on Homestead Records, “Thayer St.”, & “Everybody Does It”. The gigs got better too. Sharing bills with The Replacements, Los Lobos, The Bangles and Long Ryders, gave them inspiration to jam seven guys in to a van and hit the road, where they of course, made friends everywhere they went.

In October ’86, a few days after returning from tour, Paul was riding on the back of their roadie Eddie’s motorcycle when a tire blew out. Paul was killed instantly Eddie was OK. Most of the Boston rock community came together for the funeral. While some aunts might have been a bit freaked out by shaved heads and pierced noses, Paul’s mother was totally moved by everyone’s coming. Paul was buried with his bass and there was a bonfire jam on the beach near his folk’s house. The rock community (led by Lilli Dennison) also put together a benefit for Paul’s family at The Rat. Twenty plus bands played including Scruffy, Treat Her Right, Classic Ruins, The Turbines, Unnatural Axe, The Titanics, The Reducers, The Neats and The Oysters. A photo show of Paul was upstairs. Paul touched a lot of lives and his spirit still lingers. As T.K. said, “If you didn’t love him, you didn’t know him.”

Without Paul, no one had much heart for keeping the Dogmatics together. Jerry continued on in various bands (The Matweeds, Hotbox, The Hornets). Tommy occasionally joins him. Pete mostly plays acoustic, drunken Irish music – torturing his family with his concertina playing… Kate Roper, Jeebs, and Jerry
Liner Notes from The Dogmatics 1981-86 Compilation


THE BEASTS OF BOURBON - Hordern Pavilion, Sydney 2 April 2013

Beasts of Bourbon performing at Hordern Pavilion in Sydney on 2 April 2013
Beasts of Bourbon are an Australian alternative rock, blues band formed in August 1983.
The line up currently consists of Tex Perkins on vocals, Spencer P Jones on guitar, Brian Hooper on bass guitar, Charlie Owen on guitar and Tony Pola on drums.

Watch Beasts of Bourbon and other great gigs on Moshcam.



THE BEASTS OF BOURBON  The Axeman's Jazz  LP 1984 CD 1990/2009
Evil Ruby / Love & Death / Graveyard Train / Psycho / Drop Out / Save Me a Place / Lonesome Bones / The Day Marty Robbins Died / Ten Wheels for Jesus / Good Times (bonus)*/ Sometimes Goodguys...(bonus)*.
Recorded live at Paradise Studios by Tony Cohen & *Recorded live At The Old CivicTheatre (Perth).
The Beasts Of Bourbon: Boris Sujdovic: bass / Kim Salmon: guitar, slide / Tex Perkins: vocals / James Baker: drums / Spencer P. Jones: guitar + Tony Thewlis: guitar / Brett Rixon: drums.

The Beasts of Bourbon are an Australian alternative rock, blues rock band formed in August 1983, with James Baker on drums (ex-Hoodoo Gurus), Spencer P. Jones on guitar (The Johnnys), Tex Perkins on vocals (Dum Dums), Kim Salmon on guitar and Boris Sujdovic on bass guitar (both ex-The Scientists). Except for mainstays, Jones and Perkins, the line-up has changed as the group splintered and reformed several times. Their debut album, The Axeman's Jazz (July 1984), was the best selling Australian alternative rock album for 1984. Their debut single, "Psycho", is a cover version of the Leon Payne original, and was the best selling Australian alternative rock single for that year. However the group disbanded by mid-1985 and each member pursued other musical projects. They reformed in 1987 and issued a second album, Sour Mash, in December 1988 on Red Eye Records. According to rock music historian, Ian McFarlane, it "virtually redefined the parameters of guitar-based rock'n'roll. The Cramps-influenced swamp-rock of old had been discarded for a more adventurous slab of gutbucket blues and avant-garde weirdness. Perkins' voice had matured into an authentic blues growl". Their fifth studio album, Gone (January 1997), reached the Top 50 ARIA Albums Chart. Their seventh studio album, ''Little Animals (21 April 2007) on Albert Productions, which also peaked into the Top 50. Source

The first sonic blast from this Austral indie supergroup was recorded in one afternoon by members of the Scientists (Kim Salmon, Boris Sujdovic, and James Baker), Salamander Jim (Tex Perkins and Salmon), the Hoodoo Gurus (Baker), and the Johnnys (Spencer Jones). Although several hailed from remote Perth, the band was actually formed in Sydney, where all were based by the early-'80s (Perkins had migrated from Brisbane). Like the Scientists, they were influenced by Hank Williams, the Rolling Stones (see "Beast of Burden" on 1978's Some Girls), and the Cramps. The group wasn't necessarily meant to lead to a career, but for several of the musicians -- most notably Perkins (also of the Cruel Sea) -- it has. Considering how little time was actually spent on recording it, The Axeman's Jazz is a surprisingly accomplished debut. If not quite as successful as 1988's follow-up, Sour Mash, it remains an energetic collection of grungy swamp rock with a side of countrified blues. Things get off to such an auspicious start with lead track, Leon Payne's "Psycho," however, the rest of the album pales a little in comparison.

If Perkins sounds like a guilty man on the other songs, he sounds appropriately innocent on "Psycho," the twisted tale of a murderer lost in the depths of denial (as if in anticipation of Nick Cave's Murder Ballads, on which Jones would guest, the self-deluded narrator kills pretty much everyone he meets). "Psycho" was also released as a single backed with the Easybeats' "Good Times" and the Standells' "Sometimes Good Guys Don't Wear White." "Good Times," which is featured on the full-length, was recorded live at the Old Civic Theatre in Perth with Tony Thewlis and Brett Rixon, from a later incarnation of the Scientists, on drums and guitar. If the U.S. were said to have an equivalent to the Beasts, it would have to be the Monkeywrench, which counts members of Mudhoney, the Big Boys, the U-Men, and Aussie band, Lubricated Goat, among its ranks (the Goat's Stu Spasm has even done some time in the Beasts' constantly-evolving lineup). Allmusic

In celebration of their 30th anniversary, Beasts of Bourbon are releasing a three-disc live album as well as performing six special shows in Sydney and Melbourne this August.
The band will play three dates in each city with a nightly rotating lineup. The formation will vary from the current incarnation, which includes Tex Perkins, Spencer P. Jones, Charlie Owen, Tony Pola and Brian Hooper, to the original lineup where Perkins and Jones will be joined by Kim Salmon, James Baker and Boris Sujdovic as the players who recorded their seminal 1991 record, "The Low Road".
The scheduled live album, titled "30 Years of Borrowed Time", features performances from three different sets that took place this year. It marks the band’s tumultuous 30-year career, which has seen them release six albums and tour Australia and Europe countless times and play at the inaugural Big Day Out Sydney in 1992.Source


LITTLE BOB STORY - Livin' In The Fast Lane

LITTLE BOB STORY  Livin' In The Fast Lane  CD 1991/96  LP 1977
Little Big Boss° / All Or Nothing° / I' m Gonna Dress In Black° / 'Round The Corner° / Riot In Toulouse° / When The Night Comes° / Baby° / You Make Me Crazy° / Mister Tap° / Nothin' Else (Can Give It To Me)° / Hot N' Sweaty °* / Music Of Our Life* / Suzy* / Night Could Be Easy* / You Don't Need To Know* / She's A Heartbreaker* (* bonus tracks).
°Produced by Sean Tyla
Little Bob Story: Little Bob: vocals / Guy Georges Gremy: guitar / Dominique Guillon: guitar / Barbe Noire: bass / Mino Quertier: drums + Sean Tyla: swamp guitar in "Riot In Toulouse" / Bob Andrews: piano & John Earl: sax in "All Or Nothing".

Without mistake, one can only say what a legend Little Bob is regarding Rock'n'Roll History. Neither success, glory, hits, airplay nor homage could ever testify enough of his contribution to music.
It all goes back to France’s main northern port. A tough mother of a rain-battered grey hole called Le Havre. Le Havre is the closest France ever gets to the look and feel of Liverpool or New Jersey : oil terminals, super tankers, refineries, chemical plants, warehouses, longshoremen, etc. Little Bob comes from here, and for those to whom such things matter, Little Bob’s Story features all the rights Rock & Roll ingredients. bob can out mean-street anyone.

Bob's been at it for a while, playing every armpit France has to offer with his legendary band called Little Bob Story, Bob even ventured to England (300 gigs) attracting the ³gunslingers² of British rock critics, opening ³the road as he traveled it, playing all around Europe, singing on every single stage on this road from Irish pubs to Hells Angels bars, from universities to big festivals. Literally setting venues on fire ! Touring as if the fate of the free world depended on it.
Today, Little Bob leads a new band (since 7 years), released 4 solo¹s albums, and his rock has changed. His music is drawing deeper into the roots of blues. A mixed up of tribal rock with burning emotion and powerful feeling.

The greatest have always considered Bob as one of their own. Recording with Steve Hunter (Mytch Ryder, Lou Reed, Alice Cooper...), Charlie sexton (the Texas Boy Wonder), Kenny Margolis (of Mink Deville and Cracker), Dave Alvin (The Blasters) and on stage with Maria McKee & Benment Tench in Hollywood, Dr Feelgood, Beverly Joe Scott & Southside Johnny in Paris, Willy DeVille & Johnny Thunder in England.
Little Bob cherishes the way of singing of classic rock and blues singers from Little Richard or Howling Wolf to Eric Burdon. Bob’s Got the secret magic ingredient which makes all the difference in the heart of his fans : the innocence, the fervor & the ingenuity. Bob pulls it off, never blinks, never winks, he discards the "Camp", easy way-out, gambles on the power of bare emotion, and comes out a winner. his look and tremondous voice make him unique to the audience.
Each time little Bob’s release a new album it is a good news, if anything because, as wise men say, "whenever a dreamer fulfills his dream, other dreamers ought to celebrate". Source
& check his last album "Break Down The Walls" HERE!