An old feature from Creem magazine. How times have changed...

ANDY McCOY - Too Much Ain't Enough

ANDY McCOY  Too Much Ain't Enough  LP/CD  1988/2004
I Will Follow / Tell Me A Story / Talking 'Bout A Feeling / Knee Deep In Sky High / Too Far Gone / Too Much Ain't Enough / Spanish Harlem / My Mistake / Heart Of The Matter / Make Believe.
Produced by Andy McCoy.
Andy McCoy: guitar & vocal / Tane Railo: bass / Keimo Hirvonen: drums / Jone Takamäki: sax / Maarit Hurmerinta: backing vocals.
As the guitarist of Hanoi Rocks, Andy McCoy was responsible for penning the lion's share of the band's material during their classic period of 1981 through 1984. So it would only make sense that McCoy would launch a solo career of his own after the group announced their initial split in 1985, right? Well...yes and no. McCoy would opt to collaborate with others in a variety of projects, and would also find the time to issue sporadic solo releases. With mainstream rock music still in a "grungy" state of mind around this time, it's admirable that McCoy would stick to his stylistic guns and continue on the same Rolling Stones/New York Dolls path that he'd favored from the beginning. Source
Andy recorded his debut solo album, "Too Much Ain't Enough", together with some Finnish studio musicians. One of the guests on the album was female jazz/soul singer Maarit Hurmerinta, who did a duet "My Mistake" with Andy. Later the same year, Andy became lead guitarist on Iggy Pop's Instinct world tour. This tour is well documented in Alvin Gibbs’s (the bass player on the Instinct tour and also a UK Subs member) book "Neighbourhood Threat". Source

Antti Hulkko (born 11 October 1962 in Pelkosenniemi, Finland), better known as Andy McCoy, is a Finnish musician. He is most famous for his role as the lead guitarist and main songwriter of Hanoi Rocks. Artistically McCoy's works cover a wide range of music forms, including rock 'n' roll, punk rock, flamenco, glam punk, glam rock, blues rock and hard rock.
Before Hanoi Rocks, McCoy had become well known in his home country, Finland, due to his work in the punk rock band Pelle Miljoona Oy. During this time McCoy was talking with Matti Fagerholm (better known as Michael Monroe) to start a band of their own, but because McCoy was currently in Pelle Miljoona Oy, he told Monroe to start the band without him in 1979. After McCoy left Pelle Miljoona Oy, he joined Monroe in Hanoi Rocks, with another former-Pelle Miljoona Oy member, Sam Yaffa.
Hanoi Rocks released their first album in 1981 titled "Bangkok Shocks, Saigon Shakes", Hanoi Rocks, with 8 out of 10 tracks written by McCoy. The album was produced by Andy McCoy and Michael Monroe who were known as "The Muddy Twins". In 1982 Hanoi Rocks recorded and released their second studio album "Oriental Beat" in London. The original cover's back side featured Andy McCoy's then girlfriend Anna's naked breasts painted blue and red with "Hanoi Roxx" written across it. After the albums release the band moved to London the same year and fired drummer Gyp Casino and hired drummer and Hanoi Rocks fan Nicholas Dingley better known as Razzle. When Razzle joined the band, that line-up is considered the classic and definitive Hanoi Rocks line-up. Later that year the band released "Self Destruction Blues", which had Razzle on the cover, but he didn't play on the album, because it was actually a compilation of old singles. The tour for the album took the band to Asia for the first time. The next year 1983, the band released "Back to Mystery City" and after that, in 1984, the band and got together with legendary producer Bob Ezrin, and released Two Steps from the Move. Before this, McCoy had written most of the song's by himself, but for this album Bob Ezrin helped McCoy with the writing, along with Monroe. He also got some help with the lyrics from legendary Ian Hunter (of Mott The Hoople). After the Razzle's tragic death, Sam Yaffa left the band due to personal differences with McCoy (amongst other reasons he was now engaged to Anna, McCoy's former girlfiend known from the "Oriental Beat" cover). The band tried-out new members (amongst them The Clash ex-drummer Terry Chimes and bassist René Berg), but things didn't work-out so the band disbanded in 1985.

In 2001 McCoy and Michael Monroe started working together again and decided to reform Hanoi Rocks with two new members on guitar and bass, with Michael Monroe's solo career drummer, Lacu. They released "Twelve Shots on the Rocks" that same year. In 2005 they released "Another Hostile Takeover" with new members Andy Christell on bass and Conny Bloom on guitar (both formerly of the Electric Boys). In 2007 the band released the album "Street Poetry". In 2008 Andy McCoy and Michael Monroe stated that they had taken the band as far as they could and so they decided to end the band. Hanoi Rocks played 8 sold out farewell gigs in 6 days at Tavastia Club, Helsinki. The original guitarist Nasty Suicide appeared as a special guest on 3 of the last gigs.
After Hanoi Rocks' break-up in 1985, McCoy continued with his next project "The Cherry Bombz" which featured the last Hanoi line-up (except Michael Monroe), which consisted of Nasty Suicide, drummer Terry Chimes, bass player Timo Kaltio and vocalist Anita Chellemah of Toto Coelo fame (previously scoring a hit with "I Eat Cannibals"). The band was perceived as being the next stage of Hanoi Rocks. The music of The Cherry Bombz was actually very similar to that of Hanoi Rocks'. The band carried out a world tour and released numerous singles and an EP, but never a full-length album. In 1986, Timo Kaltio was replaced by bassist Dave Tregunna (Sham 69, Lords of the New Church), but the group broke up the next year.
McCoy also worked with Nasty Suicide under the moniker "The Suicide Twins" and released the album "Silver Missiles And Nightingales" (which was the original working tile for "Two Steps from the Move") in 1986, which also featured a guest appearance by René Berg. "The Suicide Twins" project disbanded in 1987
.McCoy spent the rest of 1987 not doing much, except releasing his memoir titled "Andy McCoy – From Hanoi to Eternity", but nothing else. In 1988 McCoy released his first solo-album titled" Too Much Ain't Enough".

For the rest of 1988 McCoy did some acoustic gigs in Finland, moved to London and then to Los Angeles. Next McCoy struck a record deal with BMG. McCoy also became the first Finnish artist to have a gold record in the US, when Samantha Fox recorded a cover of The Suicide Twins' song "The Best Is Yet to Come". The rest of 1988 and some of 1989 McCoy spent touring as the guitarist for Iggy Pop. He played guitar on Iggy Pop Live At The Channel Boston 1In 1989 McCoy appeared on the U.K. Subs' album Killing Time.
In the beginning of the 90's, McCoy lived in L.A. with his son and new girlfriend, Johnny Thunders' cousin Angela Nicoletti (former girlfriend of Izzy Stradlin). McCoy formed the band Shooting Gallery and married Angela in October 1991. Shooting Gallery toured as an opening act for Kiss during a U.S. tour and also released an album in 1992, before breaking-up that same year. Shooting Gallery shortly came back and toured in Finland with Gyp Casino on drums in 1994, but again disbanded that same year.
In 1995 McCoy's second solo-album "Building On Tradition" was released and, aside from Hanoi Rocks, it became McCoy's biggest success. The album's biggest hit "Strung Out" was originally meant for Shooting Gallery, but it was not recorded until the second solo-album. For the tour for "Building On Tradition", McCoy assembled the band Live Ammo, which featured McCoy (guitar, vocals), Angela McCoy (vocals), Dan Lagerstedt (guitar, vocals), Andy Christell (bass), Gyp Casino (drums) and Christian André (keyboards). Christell had to soon leave the band for family reasons, so Lagerstedt started to play bass. André was also fired from the band, and they soon disbanded.
Also in 1995, McCoy appeared on The 69 Eyes' songs "Vietnamese Baby" and the song "Wild Talk" from the album "Savage Garden". Next McCoy returned to his childhood passion: painting (which he still does).
In '96, McCoy and Pete Malmi reformed their old band Briard after 20 years. The new Briard (which also included Angela McCoy) released a new album simply titled Briard. That same year filmmaker Pekka Lehto started the filming for the movie The Real McCoy, a half-real, half-fictional bio-pic on McCoy. The film was released in 1999.
After Hanoi officially ended in 2009, Andy McCoy formed a band called "The Real McCoy Band", but this band broke-up after just three shows, when guitarist Chris Shiflett returned to the US when his son got ill with swine flu.

Andy McCoy's autobiography Sheriff McCoy: Outlaw Legend of Hanoi Rocks was published in English translation on 17 September 2009. (Buy It HERE!)
After 2009, McCoy was recruited as lead guitarist for Grease Helmet, a new Helsinki-based band. The first, self-titled, album of the band was released in September 2012. Source
Besides music, Andy McCoy is an avid painter and he also makes a lot of his own and his wife's clothes, along with designing jewelry, scarfs and other accessories. Andy McCoy held his first Art Exhibition last May 2010 at The Cable Factory in Helsinki, Finland titled `McCoy Hits Canvas´.
Thanks To Franck!


THE SAVIORS - Ruby Gloom

THE SAVIORS  Ruby Gloom   7''    2002          
Ruby Gloom / Recipe For Disaster / Where Is Wendy* / Detox Jukebox* / Nightmare Years*.
*bonus tracks
Produced by The Saviors.
The Saviors: Brent Keneagy: bass / Kevin Keneagy: guitar / Brian Morgan: guitar, vocals / Dimitri Monroe: vocals / Zach Schriner: drums.

"Through his earlier incarnations with The Pale Imitations and The Naked Flames, Dimitri Monroe has maintained his allegiance to gritty, authentic and impassioned rock‘n’roll. So, it’s no surprise that on his latest single-backed by his current band The Saviors-Monroe continues this fierce commitment to the ideals of what rock‘n’roll can and should be. Monroe has a fine, hard-edged vocal style that recalls great garage punks such as D-Generation era Jesse Malin or The Real Kid’s John Felice. But he has undeniable songwriting prowess that is all his own. Both “Ruby Gloom” and “Recipe For Disaster” combine catchy melodic hooks with Monroe’s searing brand of punked-out hard rock. Grab a copy of this one now, kids. It looks like Dimitri Monroe is just about the last of the real rock‘n’rollers, and rock‘n’roll needs a shot in the arm now more than ever." D-Filed Magazine
"Led by glam madman Dimitri Monroe, The Saviors are a rock‘n’roll machine fueled with old records of Deadboys and Hanoi Rocks! A-side “Ruby Gloom” would get the Mic Monroe and Andy Mc Coy approval, and if Steve Bator could listen to the B-side “Receipe for disater” he’d probably love to sing along the chorus. This is the real stuff and the only let down about this piece of plastic is that two songs are not enuff for me!" More RAWK pleeze..." Leatherboyz RocknRoll Ezine
"The Saviors are the glam/trash stuporgroup starring semi-legendary rock writer Dimitri Monroe and his old partner-in-crime Brian Morgan. Not content to merely offer you around-the-clock coverage of the band’s highly-impressive demo, we tireless Now Wavers are proud to reveal the details of the band’s fruitful union with the formidable Rapid Pulse Records juggernaut. RPR---America’s favorite rock n’ roll record label---has pressed two of the Saviors’ very finest rock anthems onto one slab of snazzy 7" wax. And the song selection is exquisite, for it shows off both sides of The Saviors’ high-powered punk/hard rock experience. A-side cut “Ruby Gloom” is a melodic, mid-tempo gem chock full of infectiously bleeding lead guitar action. It’s kinda power poppy in a solo Stiv Bators sort of way, and it reveals the late-night-heartbreak, boozed-up-sensitive-poet side of The Saviors. Nice. Flip the record over, though, and you’ll get blasted with “Recipe for Disaster”, a vicious, scorching, guitars-out-the-ass glam-metal screamer that’s all swagger, strut, and earsplitting volume. This is the BAD-ASS ROCK N’ ROLL side of The Saviors, and it kicks old-fashioned butt a la early D Generation or even Guns N’ Roses. So there’s something here for everybody: the anthemic pop song for candy-chewing fags like me, and the steamrolling rawk teeth-kicker for all you hard-assed tattooed motherfuckers who drive your motorcycles too fast and drink your whiskey straight. All in all, another fantastic single from a label that never misses!" Now Wave Zine

"Kinda hard to be objective, since the Saviors are led by none other than long time Sleazegrinder ally and perpetual rock and roll motherfucker Dimitri J Monroe, but even if I hated the cat, I’d still give this one high marks, because it’s a classic. The Saviors sound more like Hanoi Rocks than even Andy and Mike do these days, and the two songs here are constructed with the same ear for classic rock n’ roll hooks as American Heartbreak. Do you dig what I’m saying? This thing just rocks like crazy- especially the glammy “Ruby Gloom”, and if you think Dimitri can’t sing, well, neither could Mike Monroe. The execution is still flawless, and the band is white-hot, and I know it’s probably 15 years too late, but “Saviors” is exactly the right name for this band. I only wish it were true." Sleazegrinder
"Yawn. Lame, lame, rocka rolla garbage. We’re talking black nail polish, track marks, empty fifths of Rebel Yell, cigarette burns, chlamydia... the whole deal. I bet that seeing ‘em live might be even more boring than listening to this record. I hate both of these fucking songs. If they ever show up in your town, sneak into the show, and throw stuff at ‘em. That’s my advice."Horizontal Action #11 (Frankie Dynamite).
Thanks to Brent & Franck !                                                                                                                        

BRAND NEW HATE - Sinners & Preachers

Une superbe chanson qui  vous met l'eau à la bouche en attendant le nouvel album !!!


CODE BLUE - Code Blue

CODE BLUE   Code Blue  CD/LP  1980/2003
Whisper / Touch / Modern Times / Hurt / Face To Face / Burning Bridges / Somebody Knows / Other End Of Town / Where I Am / Settle For Less / The Need / Paint By Numbers / Whisper / Touch (2003 Remix) / Hurt (2003 Remix) / Burning Down The House Of Love / Where I Am (Demo) / Settle For Less Live (Live) / Other End Of Town (Live) / Book Of Job / Burning Bridges (Demo) / She Said Yeah (Live) / Letter From Leavenworth / Paint By Numbers (Live) / Spellbound / We Were Wasted.
Produced by Code Blue & Nigel Gray.
Code Blue: Dean Chamberlain: vocals, lead guitar / Randall Marsh: drums, vocals / Gary Tibbs: bass, vocals.

Los Angeles' Code Blue may be best remembered for the fact that its first album was released encased in a blue plastic bag; the group, which actually had talent, fell victim to the post-Knack backlash against Angelino power pop. The brainchild of original Motels guitarist Dean Chamberlain, Code Blue came together after the first version of the Motels disbanded in 1977, with drummer Randall Marsh and bassist Gary Tibbs (Vibrators, Roxy Music) completing the lineup. Despite three good musicians, some decent material and lofty artistic aspirations, the combination of the Knack-lash and the lack of any really killer tracks doomed the LP to prompt oblivion. Trouser Press
Dean Chamberlain grew up in San Mateo, just south of San Francisco, and started playing electric guitar when he was 14. He began attending Bill Graham-produced concerts and caught a variety of artists, such as Howlin’ Wolf, The Charles Lloyd Quartet, and Big Brother And The Holding Company.  He saw Jimi Hendrix play on several occasions and once became so caught up in the excitement, he climbed up on the stage, only to be launched back into the crowd by Graham himself.

As a teenager, Dean spent a year in Brazil while his dad worked as a doctor for the Peace Corps. While there he expanded his musical pallet by befriending and playing with future Brazilian guitar hero Robertinho de Recife and a young Arto Lindsay. After returning to the States, Dean studied at U.C. Santa Cruz  before transferring to Berkeley. It was there that he co-formed the group that would eventually become The Motels. The group's music was a funky reaction to the peace and love of the Bay area but by the early 70's the local music scene was dying and the band moved south.  Dean says "I came down to L.A. to see Iggy Pop at the Whisky a Go-Go and stayed.”
At first  Dean spent his evenings at The Rainbow Bar & Grill trying to get his bearings and then secured a job at Paramount Recording Studios. He simply asked and they found work for him removing linoleum from the studio bathroom floor. He also assisted in the engineering of actual recording sessions, and worked with legendary artists and producers, such as Sly Stone, Bob Crewe, and Bobby Womack. He also recorded his own version of “Harlem Shuffle” (unathorized - which probably led to his dismissal).  Dean’s then secured a job at Warner Bros. Records, listening to unsolicited tapes sent to the A&R department. This was a handy gig, as it allowed him to pursue his own musical endeavors while getting paid to listen to those of other musicians.

The rest of the band soon relocated to L.A. where they put on their own show called Radio Free Hollywood at Trooper's Hall. But Punk and New Wave music was on the move and dextrous guitar riffage based music was fading fast... and Dean was a "lead guitar" player. The band split in early 1977, right after being offered a music contract, and Dean moved on.
He put an ad in the recycler looking for musicians,  rented a storefront for rehearsal space, and the band "Skin" was born. It included Randall Marsh on drums and  Michael Ostendorf on bass and with Dean writing songs they started playing gigs in late 1978. WB execs caught a gig and then signed them the next day. Michael left, Gary Tibbs filled in on bass, they changed their name to "Code Blue," recorded in London and Van Nuys, changed producers, and finally finished their first album. Dean's band had a national tour (a new bassist, Joe Read) and they opened for Thin Lizzy. The first show was pretty good but overall their tour was not well received and a couple years later, after reevaluating their music direction, the band broke up.

After Code Blue disbanded Dean formed the trio "Resurrection"... and later, "Orange Wedge", a four-piece group he describes as "southern-fried acid-speed-blues." Then, sometime around 1993, Mr. Chamberlain put down his guitar.
Years have passed and after spending time in an artists community out in the sticks of the Mojave desert (Wonder Valley) Dean has come back to the fold of Hollywood and is again playing gigs at local venues... this time with a folk/gospel edge added to his amazing guitar playing (which is now usually on an acoustic). He got a good write-up in the L.A. Times and you can catch his website here. Source


Une histoire du rock à Clermont-Ferrand est un livre ayant pour sujet 50 ans de bruits défendus à Bib-City.

Editions Un, Deux...Quatre,
216 pages,
format 18 x 22 cms.
Parution le 25 novembre

Le livre abondamment illustré se présentera sous forme d'une galerie de portraits de figures locales qui animent bruyamment les nuits de la capitale auvergnate depuis un demi-siècle. Une belle brochette d’agités qui ont œuvré et continuent d’œuvrer pour faire de la scène rock clermontoise ce qu’elle est devenue.

Le livre retrace leur parcours avec la ville en toile de fond et, par extension, le rock en France depuis son apparition au début des années 60.
Chaque intervenant y va de sa petite musique avec, parfois, une mémoire ayant oublié la monnaie sur le comptoir. 
Une petite histoire pour raconter la grande et pas uniquement celle de Clermont-Ferrand.

L'auteur et porteur du projet:
Né à Clermont-Ferrand en 1962, Patrick Foulhoux est tombé dans le rock dès l’âge de onze ans. Il ne s’en est jamais relevé.
Son amour pour la musique l’a conduit à de nombreuses activités que la morale réprouve, mais que la sienne de morale, approuve : Journaliste rock bouillonnant spécialisé dans les styles réputés à la marge pour de nombreux magazines français et étrangers (Rolling Stone, Punk Rawk, Violence, Dig It, Rock Sound, Kérosène, Abus Dangereux, X-Rock, Velvet, Rock One...).
Il est aussi l'auteur d'un très bon blog "Faut que ça rock ou que ça dise pourquoi" dont le titre résume à lui seul le contenu !

Le livre sortira en avant-première le vendredi 22 novembre, lors d'une soirée-événement gratuite à La Coopérative de Mai à Clermont-Ferrand.




Please help Pat Todd & The Rankoutsiders by supporting the DOUBLE LP VINYL production and promotion of their current, newest 3rd full length: "14th & Nowhere..." (here)

Why are we doing this? Well, as Pat says, "we want your money", but that ain't all. "14th & Nowhere..." is our third full length album, and we really want to make this release something special. In addition to the CDs we have already produced, we would like to press a run of vinyl - DOUBLE LP with extra songs (if you didn't know it, vinyl- especially a double LP- is very expensive for a band to produce - about half of what we raise will go directly to producing a vinyl release) - this includes the cost of remastering our album for vinyl (not cheap); get some new t-shirts printed up, buttons, merch galore, but most importantly we want to launch a full-on promo assault of this release because we believe it is the best thing we have done as a band and further to that, Pat feels that this is simply the best release he has ever put out (even including the Lazy Cowgirls releases!). We are also trying to raise the dough to help pay off our studio costs (about 1/3 of what we are asking).

But let me stop there- this is assuming you know something about Pat. Here, let me educate you: back in the early 1980's, Pat and the Lazy Cowgirls (henceforth will be referenced to as "the Cowgirls") came out to L.A. from Vincennes, Indiana. Within a few years, the Cowgirls helped to lay the groundwork for the next crucial stage of L.A. Rock 'n' Roll- you can call it "garage rock", "Cow punk", "roots Punk", whatever, but it was intense, powerful, and influential. Here is a link I recommend you check out to read further in Trouser Press, oh yeah, and another one on Grunnen Rocks.

The Cowgirls split in 2004- just time to go separate ways. Nonetheless, Pat is never one to let a good thing go- the man knows where his heart is. So without skipping a beat, Pat formed The Rankoutsiders. In 2005, we released our debut, double CD, "The Outskirts of Your Heart", soon followed in 2007 with "Holdin' Onto Trouble's Hand". Now, we are ready for the next release, "14th & Nowhere" (which incidentally was recorded, as are all our releases, by Earle Mankey, who was not only the original guitarist in Sparks (check out this video!), but has produced and recorded albums with Possum Dixon, The Beach Boys, the Addicts, Concrete Blonde, 20/20, the Lazy Cowgirls and many, more.

NEWSFLASH: This LP will now need to be a DOUBLE LP + EXTRA SONGS!!! Please spread the word - we need your help more than ever. IF we can exceed our goal, we can produce more of these LPs!

Risks and challenges
Ok, so risks? It's rock 'n' roll- it all risk... One of the key things about having a successful release is the ability to promote it. If people don't know you have a new album out, they won't know to buy it. Without the ability to get your release into the right hands, it usually takes a good publicist, a little luck, and a lot of money: two outta three ain't bad. Without the ability to really promote this release, which we firmly believe is our best yet, we may end up making a few hundred new fans, when we know darn well there are thousands more out there. Being discovered twenty years from now is a romantic idea, but it won't get you too far in the here and now...
Also, we are asked continually for a vinyl release. I love vinyl as much as anybody, but guess what? Vinyl is incredibly expensive to produce, at least for a band trying to do it all out of pocket. With your help we can not only really get our music out to the masses, but we can get a hot slab of vinyl with all our tunes into your hands.



The untimely passing of Stooges guitarist Ron Asheton in January 2009 was felt around the world - but particularly in Australia.
A stellar line-up of Australian bands - including the Hoodoo Gurus - will recognise that fact by playing a tribute show benefitting the Ron Asheton Foundation at the Manning Bar at Sydney University on Friday, December 6.
The influence of Asheton and his bandmates held sway over the underground music scene in Australia like few others. From Sydney’s Radio Birdman to Brisbane’s Saints and Melbourne’s Birthday Party, innumerable bands owed a debt.
Ron died peacefully at home in Ann Arbor, Michigan, aged 60 in January 2009 while taking a break from touring the world with the reformed Stooges.
Proceeds from the Sydney show will go to the Ron Asheton Foundation, a fund for animal welfare and sponsor of music for children.
Legendary post Radio Birdman band The Visitors, led by Ron’s close friend Deniz Tek, will headline the night, making one of only a handful of appearances since disbanding in 1979.
ARIA Rock and Roll Hall of Famers the Hoodoo Gurus will appear as special guests with a short and sharp set put together just for this occasion.
The New Christs, the band fronted by Deniz’s ex-Birdman bandmate Rob Younger, will join them on the heavyweight bill.
The SC5 – a sporadic Sydney tribute to Stooges contemporaries the MC5 – and The Four Stooges, reprising songs of the Stooges, will round out the list. Both bands feature a range of Sydney rock scene luminaries.
“Ron’s distinctive guitar style and its impact on rock and roll around the world can’t be under estimated and this is a small way that we can honour his memory and support a great cause,” said Deniz Tek, an organiser of the night.
 Exclusive merchandise including DVDs of the similar tribute show, headlined by Iggy & the Stooges in Ron’s Michigan home town of Ann Arbor, last year will be on sale at the gig.

Tickets are just $20 + booking fee ($25 on the night) from oztix.com.au and doors open at 7pm:



DIG IT! N° 59

DIG IT! N° 59
Toujours fidèle au poste de combat, le gang de Toulouse remonte au front pour ravitailler ses rock'n'roll soldiers abonnés qui attentent leur nouveau numéro aussi impatiemment qu'un témoin de Jéhovah la fin du monde !
Si toi aussi tu veux devenir un soldat combattant pour la Cause, ABONNE-TOI !!!


RED INVASION - I'm Not Too Young To Die

RED INVASION  I'm Not Too Young To Die   CD  2005
I'm Not Too Young To Die / Get Away From Me / You Hate Me / No More / I Got No Time / A Year Ago Tonight / Look At You Now / This Is How I Live, This Is How I Die / People Like Us / Disconnected / Worst Nightmare.
Produced by Jason Duguay & Red Invasion.
Red Invasion: Ryan: guitar /  Joe Boy: vocals / Steve: drums / Rich: guitar / Joe: bass.

Red Invasion (2003-2010) was a 70's style punk rock band mixed with straight up rock & roll, glam, and powerpop. They've earned comparisons to The Dead Boys, The New York Dolls, D Generation, The Stooges, and The Heartbreakers in their look and sound. Their music is an HONEST celebration of the individual and the fucked-up life we all see and live. The goal is trying to bring back the original attitude of punk and rocknroll that's been dwindling since the dawn of the safe pop-punk and emo craze.
In October 2005, the excellent label Pelado Records released their debut full length, "I'm Not Too Young To Die." Red Invasion has shared the stage with a wide musical range of relevant bands like The Casualties, The Adicts, The Explosion, Buckcherry, Total Chaos, The Ducky Boys, Roger Miret and The Disasters, Rock'n'roll Soldiers,The Misfits(w/ Marky Ramone), Richard Bacchus (ex D Generation), The Heartattacks, The Jabbers, and many more.

 Here are some reviews from the debut album:

"...reminiscent of The Dead Boys-with maybe Johnny Thunders on loan as the patron saint of guitar leads. ...Singer Joey Boy sounds like he may well have escaped from the mental ward (dig that!) or just stepped on hot coals. ...And doesn't "I Got No Time" (not the 1976 Saints song, though that's another band Red Invasion sounds a little like) borrow Thunders' Heartbreakers' "Born To Lose" mixed with The Ramones' cover of "California Sun?" Chuck Berry, call your great-grandchildren!" The Big Take-Over 

"Red Invasion are a Boston band that I definitely need to pay more attention to after hearing this album. Snotty punk with a Dolls/Heartbreakers jones and given a dose of megawattage. Catchy tunes and played with energetic verve. The hooks on "You Hate Me" and "I Got No Time" will ensnare you with little resistance. "Disconnected" reeks of attitude. Slashing guitars accompanied perfectly by a percolating bass/drums tandem and insolent vocals. The real deal." Suburban Voice

"Speedy melodic punk from Boston with a lot of old New York snottiness. These guys definately own a couple of DEAD BOYS records between them." Maximum Rocknroll

 "These guys do the 70's glam-punk thing better than just about anyone, and the buzz on these guys has been growing. This is a must-have CD, seriously, everyone needs to go out and get this right now. Give them money so they can get their asses on the road and tour and rock your asses off in person!" Amp Magazine

"...They will light up a few Saturday nights around here in a riot of sleazy, hook-heavy snot rock...you know, lyrics about dying young spat out by an amped-up Stiv-abee, swaggering Thunders guitar solos, a pogo ready rhythm section, howl-along choruses, that kinda scene. "Disconnected" is the standout here, a real teenage temper tantrum with an awesomely primitive stab at a harmonica solo halfway through, and the Dolls-y closer "Worst Nightmare" has the potential to grow into an epic, burn-the-shithouse-to-the-ground monster live...but I'm guessing Red Invasion are gonna develop into a dangerous, druggy, virgin-killing juggernaut of beastly punk-sleaze sometime soon, so check 'em out while their young and desperate, and prepare yourself for the shitstorm to come." Sleazegrinder

"The title track is the perfect anthem for pogoing yourself dizzy in your eyeliner, leather and spikes, while the slower paced "A Year Ago Tonight" is a song that dwells on more power pop and glam tendencies. This is an enticing sampler of what may be ahead for them. Within the band's methodical design is a catchy comprisal attractive to anyone who deserves to buy any punk record. While Red Invasion may be focused on a finite time in our history, their appeal is one of the most far reaching I have heard on record. I'm hoping these guys can help usher in a new era in Boston punk history, one unique in its capacity for freedom and expression. A new door is peering open, abandoning the rigid dictates of hardcore. As a rock n roller, I find it my duty to pry the door a bit wider, and invite you all to the other side." Jimmy Reject from Fat City, Now Wave Zines
A Red Invasion interview can be read  HERE!
Thanks To Franck!
Buy it HERE!


The first video by Bullet Proof Hearts from the "American Custom" single on Drastic Plastic Records. Order here: http://www.impactmerch.com/store/bull...

Kevin Moran - Vocals, Guitar
Tammy "Gun" Moran - Bass
Mark Blackman - Drums
Aaron Schmitz - Guitar

Directed by Aaron Gum
Girl - Laura Ellis
Make-Up - Shera Baumel
Wig - Toiya Washington Brown
Assistant - Paula Christensen

Filmed at Brothers Lounge
(Thanks Trey & Lalaya)

The single is available on DRASTIC PLASTIC RECORDS

Contact - bulletproofhearts1@gmail.com

Bring together four musicians from the Midwest's most rocking bands, and you get BULLET PROOF HEARTS. Formed in 2011, the members of BULLET PROOF HEARTS’ past bands read like a who's who of the Midwest Underground scene, Kevin Moran - Guitar & Vocals: Nuns With Guns, The Criminals, New Ave. Kings. Mark Blackman - Drums: No Heroes, Apathy, Nuns With Guns, Bad Luck Charm. Tammy Gun - Bass: Chicken Hawks, Blue Collar Bravado, Vermins, Take Agent. Aaron Schmitz - Guitar: The Rundowns, The Upsets. BULLET PROOF HEARTS combines the members love of classic "real" punk rock & power pop, to produce its distinctive, loud rockin' sound.


THE REAL KIDS - Better Be Good

THE REAL KIDS Better Be Good CD 1999
1 All Kindsa Girls / 2 Common at Noon / 3 Solid Gold / 4 Better Be Good / 5 Just Like Darts / 6 Roberta / 7 Reggae, Reggae / 8 Taxi Boys / 9 She / 10 Up Is Up / 11 Now You Know / 12 She Come Alive/ 13 My Way/ 14 She's Alright/ 15 Do the Boob / 16 My Baby's Book/ 17 Rave On / 18 All Kindsa Girls.
Tracks 1 & 2: Sponge records single produced by Oedipus & The Real Kids / Tracks 3-8 & 13-18 Red Star lp alternate takes (1977): produced by Marty Thau & The Real Kids / Tracks 9-12: Bomp Records demos (1979): produced by John Felice and Phil Adler.
Recorded in Newton and Boston, Massachusetts; Nyack, New York. Includes liner notes by John Felice.Digitally remastered by Vic Anesini.

The Real Kids: John Felice: vocals, guitar / Allen "Alpo" Paulino: bass / Billy Borgioli: guitar / Billy Cole: guitar / Howard Ferguson: drums.

"Better Be Good" is an 18-track compilation of alternate takes and live versions of songs that showed up on various releases by the Real Kids and the Taxi Boys, who for all intents and purposes were the same band. Leader John Felice, who was in the first, unrecorded lineup of the Modern Lovers with his next-door neighbor Jonathan Richman in the early '70s and later roadied for the Ramones, is a punk rock savant; the Real Kids were the first truly great Boston punk band, although they sounded much more like the Flamin Groovies than the Sex Pistols. These three-chord rockers, bracketed by two versions of the great "All Kindsa Girls," are tough, cool, and catchy. Complete novices should probably start with the original albums, but these alternate versions are much more than mere ephemera.

Buy it HERE!

THE REAL KIDS - The Real Kids

THE REAL KIDS  The Real Kids  LP/CD  1977 
All Kindsa Girls / Solid Gold (Thru and Thru) / Rave On / Better Be Good / Taxi Boys / Just Like Darts / She's Alright / My Baby's Book / Roberta / Do The Boob / My Way / Reggae Reggae.
The Real Kids: John Felice: lead vocal, guitar, chimes / Billy Borgioli: guitar / Alan Paulino (Alpo): bass, backing vocals / Howard Ferguson: drums, percussion + Mono Man (DMZ): piano on "Roberta"
Produced by Marty Thau & The Real Kids.

In the late '70s through the early '80s, the Real Kids were Boston's original rock & roll slop band. Fronted by John Felice, main songwriter and guiding spirit, the Real Kids ran on equal parts adolescent rivalry, drugs, and as much beer as they could consume. When Felice wanted to tear up a club with his rockin' originals or his favorite rock & roll tunes (equally adept at both), the Kids could be a thing of raw beauty to watch and hear. When Felice wasn't in the mood, he could play pissed-off rock star to the max and the results were desultory at best. This LP, however, catches them early in the ball game, their debut album for the tiny Red Star label with all the great John Felice tunes like "All Kindsa Girls," "Taxi Boys" (which later became the name of an offshoot group that recorded for Dave Pierce's Star Rhythm imprint, the label that also issued the second (or last, depending on how you're keeping score) Real Kids album), "My Baby's Book," and "Better Be Good" along with spirited covers of Buddy Holly and Eddie Cochran material just to give you the big picture. Perhaps the Real Kids were just too undisciplined to make it big; maybe the drugs and the booze got in the way of the creativity. Alas, it's an old story, but Felice's reputation over in Europe continues to earn high marks and rumors abound that new material is on the way. In the meantime, check this one out -- close your eyes and you'll swear you've been transported back to the late '70s at CBGB's. Like their name, these guys were for REAL!

Que dire ?
Que c'est un des meilleurs album du rock, au même titre que "L.A.M.F." ou  "Shake Some Action" ?
Que j'en ai usé deux exemplaires ?
Que c'est un disque séminal ?
Que la pochette est magnifique ?
Que la guitare rythmique vous empoigne dès le premier morceau et ne vous lâchera plus jusqu'à la fin !
Que les Real Kids font le meilleur reggae blanc !
Que les reprises de "My way " ( E. Cochran ) ou "Rave on" ( B. Holly ) se confondent avec des originaux comme "My baby's book" ou "Do the boob" !

Cet album n'a pas pris une ride ! Et le rock de Boston, des Lyres à Willie Alexander, des Del Fuegos aux Neighborhoods non plus !!!
Thanks to Max for the artwork!
This post is dedicated to Philippe Martin who introduces me to the Real Kids, 36 years ago...rest in peace, brother!

THE REAL KIDS - All Kindsa Girls

THE REAL KIDS All Kindsa Girls  7'' SP  1977/1982  (re-up)
All Kindsa Girls (Full Length Recording) / Common At Noon.
Produced by Oedipus & The Real Kids.
The Real Kids: John Felice: lead vocal, guitar, chimes / Billy Borgioli: guitar / Alan Paulino (Alpo): bass, backing vocals / Howard Ferguson: drums, percussion.
" Dedicated to real kids everywhere."
The Real Kids were one of Boston's earliest new wave bands; their debut album is full of dynamite tracks that take the trashier aspect of the Rolling Stones and couple it with the high-power guitar approach of the Ramones. Frontman (and onetime Modern Lover) John Felice not only provides tough guitar and distinctive lead vocals, he has a knack for writing clear, infectious melodies. Spin "All Kindsa Girls,"  for proof!

The first ever Real Kids release !!!
The 1977 French Sponge label debut disc with the classic anthem "All Kindsa Girls" (different version from Red Star LP!) b/w Beantown ode "Common At Noon", a song  "about Boston Common, which is this park in the middle of Boston where people go to hang out and look at girls in the summertime".
Star Rhythm Records reissued the Sponge single with a different cover in 1982. Norton Records then did the same in 1999.

The Real Kids were a Boston punk rock band led by guitarist, singer and songwriter, John Felice.
Felice (born 1955) grew up in Natick, Massachusetts as a neighbor and friend of Jonathan Richman, a fellow fan of The Velvet Underground. At 15 he joined Richman in the first line-up of The Modern Lovers in the early 1970s. He performed with the band intermittently from then until 1973, but because of his school commitments, he was not involved in the 1972 sessions which produced the classic first Modern Lovers album. Commenting on Richman, Felice has said, "Me and Jonathan, as close as we were, you know, I was like a punk, I was a wise-ass kid. I liked to do a lot of drugs, I liked to drink, and Jonathan was like this wide-eyed, no-drugs, ate nothing but health food...".

Felice then decided to start his own band and formed The Real Kids (originally named The Kids) in 1972, with Rick Coraccio (bass), Steve Davidson (guitar), and Norman Bloom (drums). They became a successful live band in the Boston area, playing "an aggressive brand of straight-ahead, no-bullshit rock which harkened back to Chuck Berry, had overtones of the British Invasion groups at their mod finest, yet pointed the way towards the Punk to come". In addition to Felice's own songs, they performed versions of classics by Eddie Cochran, Buddy Holly and others. The band did not record until 1977, when it comprised Felice, Borgioli, Allen "Alpo" Paulino  and Howie Ferguson. Their first record was a single, "All Kindsa Girls" issued in 1977 on Sponge Records, a french label headed by Philippe Garnier (later journalist / novelist in California).

A french fan club existed in Bordeaux, France, in the 80's.The Stilettos from Bordeaux recorded a french version of "All kindsa Girls"."Toutes les filles" (1980) was the b side of "Nos gueules sur les affiches". José Ruiz, their guitarist was an huge fan of the Real Kids!


THE CRY - Louie Louie (50th Anniversary Version)

"... just a free classic for all our fans!" The Cry

Last weekend The CRY! went into the studio with original Kingsmen guitarist Mike Mitchell to celebrate the 50 years since the release of the classic LOUIE LOUIE!   Mitchell, (now in his 70's) recreated his epic guitar solo and The CRY! (all under 22) add their tradmark swagger and attitude.

The results speak for themselves.  
We offer this free download for ROCK "N" ROLL lovers everywhere.

Please enjoy, share, and remember past generation of rockers who gave us a legacy to uphold!