Monday 21 April 2008

Alternative archives October 2007

Wednesday, October 31, 2007

Dubrovniks - 1990 - Audio Sonic Love Affair

Dubrovniks - 1990 - Audio Sonic Love Affair

Tracks :
1 She Got No Love 2:58

2 Love Is on the Loose Tonight 3:47

3 Audio Sonic Love Affair 4:38

4 You're Gonna Get What's Comin' 3:24

5 Strange Kind of Love 3:46

6 She Lies 4:11

7 Promised Land 4:04

8 Somethings Not Right in This World 3:42

9. When the Rain Came 2:37

10 Cry Baby Killer 3:11

11 As Long as I Can Listen 2:12

12 Black Vinyl Suicide 3:56

Personnel :

Glen Armstrong (guitar, backing vocals)

James Baker (drums, percussion)

Christopher Flynn (guitar, vocals)

Rod Radalj (guitar, bass, vocals)

Peter Simpson (guitar, piano, vocals)

Boris Sudjovic (bass, guitar, vocals)


Dubrovnik Blues (Timberyard, 1989)

Audio Sonic Love Affair (Mushroom/Festival, 1990)

Chrome (Mushroom/Festival, 1992)

Medicine Wheel (Normal/MDS, 1994)


Formed in 1987

Original line-up:
Roddy Radalj (guitar, vocals; ex-Exterminators, Scientists, Rockets,
Le Hoodoo Gurus, Johnnys, Love Rodeo, James Baker Experience)

Peter Simpson (guitar, vocals; ex-Teeny Weenies, Super K, Spectre's Revenge, Hoi Polloi)

Boris Sujdovic (bass; ex-Exterminators, Scientists, Rockets, Beasts of Bourbon)

James Baker (drums; ex-Victims, Scientists, Hoodoo Gurus, Beasts of Bourbon,
James Baker Experience)

When Sydney band The Dubrovniks emerged in 1987, the individual members had personal histories in Australian music stretching back a decade. James Baker, Roddy `The Raj' Radalj, Peter Simpson and Boris Sujdovic comprised an inner-city `supergroup' of sorts right from the outset.

Originally known as The Adorable Ones (formed August 1986), the band had to change names due to a Brisbane outfit already operating under that moniker. The name Dubrovniks was derived from the fact that both Radalj and Sujdovic were born in the (former) Yugoslavian village of Dubrovnik. The band's clattering, yet accessible rock'n'roll was drawn along the lines of The Troggs meets T-Rex by way of New York Dolls. Radalj was also known for his stylish attire and his guitar made from a pine cheeseboard!

Citadel issued the singles `Fireball of Love'/`If I Had a Gun' (April 1988) and a cover of Alvin Stardust's `My Coo Ca Choo'/`Girls Go Manic' (November 1988). By the time the band recorded and issued the single `Speedway Girls'/`Freezin' Rain' (June 1989) and the album Dubrovnik Blues (August), the ever-restless Radalj had left. In late 1988, Radalj formed the sideline band The Punjabbers with Brett Ford (drums; ex-Kryptonics, Lubricated Goat), Tony Robertson (bass; ex-Hitmen, New Christs, Naked Lunch) and Tony Thewlis (guitar; ex-Scientists) and issued the single `Rock'n'Roll Loveletter' on Timberyard (December 1988). Radalj then formed The Surfin' Caesars and recorded several albums.

Chris Flynn (guitar, vocals; ex-Headstones) eventually replaced Radalj, and the band signed to Mushroom. The band's releases on Mushroom, both produced by Kevin "Caveman" Shirley, maintained the revved-up, trashy rock'n'roll tradition. Audio Sonic Love Affair (September 1990) included the singles `She Got No Love'/`Got this Far' (June) and `Love is on the Loose'/`Something's not Right in the World' (October). Glen Armstrong (guitar; ex-Girlies) replaced Simpson in 1991, and the new line-up issued Chrome in June 1992. It produced two cracking singles in `Saigon Rose' (February) and `French Revolution' (June). In between albums, Baker and Sujdovic toured and recorded with Beasts of Bourbon. In early 1991, the two severed their commitments to the Beasts in order to concentrate on The Dubrovniks. Mushroom dropped the band in 1993. German label Normal issued Medicine Wheel in Europe, and Mushroom Distribution Services (MDS) distributed it in Australia.

The Dubrovniks broke up in 1995 and Baker returned to Perth. He joined power pop band Satellite 5 with John Rushin (vocals), Phil Bradley (guitar; ex-Jackals), Doug Thomas (guitar; ex-Dagoes, Spikes) and Howard Shawcross (bass; ex-Elks, Howard I Know, Jackals).

Encyclopedia of Australian Rock and Pop / Ian McFarlane 1999

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Saturday, October 27, 2007

16 Horsepower - 2 Bootlegs

16 Horsepower was an alternative/traditional musical group based in Denver, Colorado. Their music was usually serious in tone with distinct Christian religious lyrics dealing with conflict and redemption. They consisted of David Eugene Edwards, Jean-Yves Tola, and Pascal Humbert (the latter two formerly of the band Passion Fodder). After releasing four studio albums and touring extensively, the band broke up in 2005, citing "mostly political and spiritual" differences. Since summer 2007, David Eugene Edwards and Pascal Humbert are performing 16 Horsepower songs like "American Wheeze" or "Harm's Way" with the band Woven Hand.

16 Horsepower - Pinkpop- Festival 06-11-2000

Set List :
Praying Arm Lane
Strong Man
American Wheeze
Straw Foot
Poor Mouth
Flowers in my Heart
Cinder Alley
Low Estate
Black Soul Choir
For Heaven's Sake (incomplete)


16 Horsepower - Wesel, Germany 22-03-2001
Wesel, Germany - March 22, 2001 - Karo-Club

Set List :
American Wheeze
I Seen What I Saw
Wayfaring Stranger
Cinder Alley
Straw Foot
Harm's Way
Poor Mouth
Praying Arm Lane
Burning Bush
Silver Saddle
Phyllis Ruth
24 Hours

posted by My Russia at 10/27/2007 08:56:00 PM

Woven Hand - 3 Bootlegs + 1 Video

Woven Hand (also Wovenhand) is a band from Denver, Colorado led by former
16 Horsepower lead singer David Eugene Edwards. Most of the studio recordings are performed by Edwards with minimal, if any, additional musicians. However, while on tour he plays with additional musicians such as Ordy Garisson. During a limited 2005 North American tour, Woven Hand consisted only of Edwards and a drummer. Since 2006, Woven Hand has become a regular band instead of a solo project. Permanent members are Ordy Garrison (Drums), Peter van Laerhoven from Belgium (Guitar) and former 16 Horsepower- member Pascal Humbert (bass) from France.

Woven Hand Denver 06-09-2006
Hi Dive, Denver, Colorado

Set List :
Sparrow Falls
Tin Finger
Whistling Girl
The Speaking Hands
Deerskin Doll
Chest of Drawers
Into The Piano
Swedish Purse
(to the tune of Phyllis Ann)
As I Went Out One Morning
(Bob Dylan cover)

Get It Here :


Woven Hand Seattle 09-19-2006
St. Neumos

Set List :
Phyllis Ann-Phyllis Ruth-Swedish Purse
The Speaking Hands
Wooden Brother
Chest of Drawers
Whistling Girl
Dirty Blue
Down In Yon Forest - Tin Finger

Get It Here :


Woven Hand Oslo 09-08-2007

Set List :
Harm's Way
Tin Finger
Dirty Blue
Wooden Brother
White Bird
Swedish Purse- Deerskin Doll
Down in Yon Forest- Truly Golden
The Speaking Hands
Winter Shaker
American Wheeze

Audio (best quality):

Video (made by NRK-TV):

Woven Hand - Foto: Kim Erlandsen, NRK

posted by My Russia at 10/27/2007 08:55:00 PM

Wednesday, October 24, 2007

Extended Organ - XOXO (1999)

IT'S ALIVE ! ! ! Imagine Frankenstein's monster rising up from the lab table, suddenly brought back to life by ungodly experiments of a mad scientist. Lightning flashes in the sky; a lab-coated assistant cowers, terrified, in the corner. The monster stumbles to his feet, groans and bellows for a while, smashes a few test tubes and beakers, and then lurches toward the nearest recording studio to make a really cool-sounding album of experimental soundscapes, moans, whispers, and creaks.
Extended Organ is Paul McCarthy, Fredrik Nilsen, Joe Potts, and Tom Recchion, so you know it's gotta be good. You'll be the coolest on your block when you play this at your Halloween party...

Get it

Tuesday, October 23, 2007

Dead Boys - 1977 - Young, Loud and Snotty

Dead Boys - 1977 - Young, Loud and Snotty

Tracks :
1 Sonic Reducer 3:05
2 All This and More 2:49
3 What Love Is 2:08
4 Not Anymore 3:38
5 Ain't Nothin' to Do 2:25
6 Caught With the Meat in Your Mouth 2:06
7 Hey Little Girl 3:01
8 I Need Lunch 3:36
9 High Tension Wire 3:05
10 Down in Flames 2:15
11 Not Anymore/Ain't Nothin' to Do [medley] 7:15

Members :
Vocals : Stiv Bators (Steve Bator)
Lead guitar : Cheetah Chrome (Gene O'Connor)
Drums : Johnny Blitz (John Madansky)
Bass : Jeff Magnum (Jeff Hellmaggie)
Rhythm guitar : Jimmy Zero (William Wilden)

Review :
Fellow Cleveland types Pere Ubu may have won the artistic kudos for their adventurous, surprising work, but if the goal was just to rock and rock again, the Dead Boys had them totally trumped. As both title phrase and capsule description, Young, Loud & Snotty accurately defines the predominating aesthetic so well that one could just leave it at that, but there's a lot more going on here than on the face of it. With perhaps surprising great production from demi-famous '70s rocket Genya Ravan, the five-some found something sonically smack in-between the US garage/punk heritage of the past and the more modern thrashings from overseas. Bators sneers, gobs, gasps, and whines with the best of them, but he knows his rock history, as does his bandmates. Zero and Chrome aren't guitar virtuosos, but they do know what makes a song great and aren't afraid to concentrate on that, while the Magnum/Blitz rhythm section keeps things moving as it does. In some ways songs like "All This and More" and "I Need Lunch" simply emerge from an alternate '50s, with admittedly much more feedback and stereo sound. Stone cold rock classic "Sonic Reducer" starts things off -- amusingly -- with all sorts of phased drums and other fripperies that later generations wouldn't consider punk at all. That said, it's still blunt, brilliantly sung by Bators and kicks out the jams with messy energy. Other all-time greats include the perfect bored-and-needing-kicks anthem "Ain't Nothin' to Do" and the thoroughly wrong "Caught With the Meat In Your Mouth." There's even a rock oldie -- a cover of "Hey Little Girl" live onstage at spiritual home CBGB's. And why not? With great punk rock and great rock, Young, Loud and Snotty still packs a punch.
~by Ned Raggett [AMG]

Bio (from AMG)

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Monday, October 22, 2007

Fugazi - 1993 - In On The Kill Taker

Fugazi is a band from Washington, D.C. They played their first show on September 3, 1987 and since then they have released seven albums and toured the world extensively covering all fifty United States, Europe, Australia, South America, Japan and many points in between. The band is self managed and release all their material through Dischord Records. The band maintains a policy of affordable access to their work through low record and ticket prices and all concerts are all-ages. In addition to their recorded output, Fugazi has released a documentary film/video called "Instrument" in collaboration with independent filmmaker, Jem Cohen. A soundtrack ("Instrument Film Soundtrack") was released in conjunction with the film. Fugazi's most recent musical releases are "The Argument" 10 song album and the "Furniture" 3 song single, both recorded in the spring of 2001 and released in the fall of 2001. These sessions mark the first studio appearance of long time roadie, Jerry Busher, who plays additional drums and percussion on a number of the tracks. The recordings were made in collaboration with long time Fugazi engineer Don Zientara at Inner Ear studios. Fugazi is currently on an indefinite hiatus as they tend to young families and other musical projects

source :

In on the Kill Taker is like scrubbing your face with steel wool. It finds the band relying on rusty guitar shards that scrape, seethe, and hiss, further removing itself from the sound of 13 Songs and Repeater. Harsh and grating, Fugazi surprisingly produces sheer noise at times, best witnessed in the lengthy closing of "23 Beats Off" and the unintentional Gremlins

homage that opens "Walken's Syndrome." Joe Lally's bass and Brendan Canty's drums are relegated to acting as a guide; they're pushed — but not squashed — down in the mix, allowing for Ian MacKaye and Guy Picciotto's guitars to take control, corrosively so. It's probably Fugazi's least digestible record from front to back, but each track has its own attractive qualities, even if not immediately perceptible.

"Facet Squared" and "Public Witness Program" open the record furiously, but the majority of the following "Return the Screw" is hardly audible, aside from occasional vocal tantrums. A good amount of time is spent alternating between low-key guitar noodling and intrusive bursts of aggression. They're smart with their sequencing, placing the gentle instrumental "Sweet and Low" (the only track where Lally plays a prominent role) after the exhaustive cacophony of "23 Beats Off," and generally piecing together a set of rather diverse tracks that flows well. Picciotto's anti-Hollywood rant on the properly titled "Cassavetes" is a classic Fugazi moment, as is his similarly name-dropping "Walken's Syndrome." Buried at the end of the record are two excellent lurchers, MacKaye's "Instrument" and Picciotto's "Last Chance for a Slow Dance."

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Minimal Man - 1986 - Slave Lullabyes

It's too easily the case that so many artists of that came out of the late seventies punk uproar -- and those of the other parallel scenes already coalescing at that time -- aren't as readily remembered or appreciated because they couldn't be specifically pigeonholed. Such was the case with Californian Patrick Miller aka Minimal Man, whose recorded work through the eighties spanned everything from near white noise to calm ambient reflections, scattered among a variety of labels. Born in Glendale in 1952, Miller, originally a student in art and design, moved to San Francisco in the late seventies, starting to explore both film and music more thoroughly as a result. He soon found friends and collaborators via the Subterranean label, notably including members of Tuxedomoon, and under the Minimal Man guise -- what Miller described once as a character who had ‘everything against him…rather than fixing a problem the correct way, he would make up his own delusions to get by' -- he began regularly performing what one critic called ‘antimusic' -- aggressive keyboards, shouted vocals and the use of tapes almost made him a one-person equivalent to Throbbing Gristle, as captured on the debut live single “He Who Falls"/“She Was a Visitor" in 1980. ...[After the first two albums]... Miller followed the example of Tuxedomoon and relocated to Europe, where the remaining Minimal Man albums were recorded and released... Miller then moved to the Play It Again Sam label in Brussels, who released Slave Lullabyes the following year, featuring Tuxedomoon members Peter Principle and Luc Van Lieshout among the many performers. Miller moved back to the United States in the early nineties, battling a variety of personal demons, particularly drug abuse, and setting aside music to create more art, finally settling down in Southern California again doing set dresser work in Hollywood. After contracting hepatitis C, Miller passed on in December 2003, survived by family and friends. In 2004, the LTM label, via its Boutique sub-imprint, reissued The Shroud Of on CD for the first, perhaps signaling a further overall reissue of Miller's often unique, striking work. ~ Ned Raggett, All Music Guide

Patrick Miller's close relationship with Tuxedo Moon (not only 2 TM members are playing here, but PM himself was a member of Tuxedo Moon in their shows), is apparent: this 1986 release is far away from the almost industrial approach of "The Shroud of..." and yet it has the same feeling. It's Miller's personality who rises above, no matter how he would decide to approach his music. From the electronic-circus-music of the opening "Trains", to the cello of "Heaven Lies", to the music-for-films "War at nite" and "Rue de Cinema", to the voice loops of "Voice Of Vacaville" to the closing tears-of-a-clown "Fun" we are witnesses of an artist who doesn't feel confortable in the conventional rock, punk or electronic music and tries to expand it with an almost theatrical feel, yet - at the same time - he's not acting. He is real.

A side: Trains / Heaven Lies / Far Away / War At Nite / The Light / Noose Gets Tight
B side: I Wish / Rue De Cinema / Voice Of Vacaville / Fun!

Patrick Miller: vocals, keyboards, electronics, drums & films. Ludo Camberlin: drums & keyboards. Kristin Oppenheim: films. Luc Van Lieshout: trumpet & fulgelhorn on 1, 7. Peter Principle: bass & electric guitar on 3, 7. Esteban Castano: clarinet & soprano sax on 8, 10. Ivan Georgiev: bass & synthesizer on 6, 8, 9, 10. Yves Mora: cello on 2, 4, 5. Zelda Ziegelbaum: vocal on 4. Produced by Patrick Miller and Ludo Camberlin at A.B.S. Brussels, November 1985.
Never reissued.

Sunday, October 21, 2007

Bay of Pigs - 1987 - Plastic Pig

I could find no review in the web for this one (just brief mentions on Colin Edwards and his current band, Tack), except this: "Colin Edwards was the frontman for the Los Angeles band called Bay of Pigs, then began recording and producing material under the name of Tack. He has also produced material for other artists such as the aggressive band Warrior's Path. A multi-instrumentalist with a sometimes startling baritone voice, Edwards should not be confused with several British musicians and the motorcycle racer that share his name. His Bay of Pigs project was influential in the cross-pollination of the L.A. punk and Latin music scenes, resulting in a climate where a punk band could claim Santana as an influence without getting laughed out of the bodega." ~ Eugene Chadbourne, All Music Guide

Well, it's very hard to disagree with a guitar legend and experienced reviewer like Dr.Eugene Chadbourne, but I must tell you that, after reading the above review, I listened again to "Plastic Pig" very carefully and I can't confirm that this album combines punk and latin music. There is post punk, there is almost 'progressive' rhythm section but there are only a few glimpses of latin feel. This means that the 'latin factor' is not the main thing here. I would call it a post-punk album made by VERY experienced and talented musicians, who have listened a lot to 70s music. I have to confess that I was not in LA in the 80s (not any other decade) and I wouldn't know a thing about the live shows of Bay of Pigs or the relations between the punk and latin scenes or if Colin Edwards states Santana as his guitar hero (just saying that they might were much more close to these latin influences in their shows). 

"Plastic Pig" was recorded at Mad Dog studios in Venice, CA, produced by Stuart Schonwetter. It was virtually self-released and distributed by Chameleon group, and yetit's not a DIY product. I don't know if they had the money to finance the recordings for this or they were a group of very smart musicians and producer, that achieved this rich and crisp sound with very little means, but the sound of this LP is just that: rich. 
Don't get fooled by the opening 'Mary T.More', it's just a misleading almost-happy-start - the rest of the album is rather dark, equally divided between the wilder songs with an almost prog rhythm section and the stellar guitar work of Edwards and Cox (like 'Addiction', the instrumental 'Whore' , or 'Nothing Yet' which, strangely enough, reminds me of 'Out My Way'-era Meat Puppets) and the slower songs (like the title track - you can watch a video for it here , directed by Les Bernstien with a guy in prison, seeing rats, images of killed people, a vision of a lady and ...ehmm a plastic pig), owing much to Joy Division and Bauhaus. You may think at first listen that Colin Edwards' voice is just pretendious, but that's not the case: it's his real voice. To make things more strange I'll just mention that Edwards is one of the greatest known highland bagpipers! (you can hear him in a couple of tracks).
As a conclusion I would say that this record has a noir/dark feeling, like a movie filmed in the LA night life.
PS This is for Curious Guy from Phoenix Hairpins, Fritz Die Spinne, Highlander from Cactus Mouth Informer, Annie's Animal and the other bloggers, who do a terrific job into the most obscure and forgotten bands of the 80s. This is also for AngelaB23, who constantly searches good music.

You can have it from mediafire or from massmirror

Thursday, October 18, 2007

Aztec Camera - 1983 - High Land, Hard Rain [224k]

For most intents and purposes, Aztec Camera is Roddy Frame, a Scottish guitarist/vocalist/songwriter. Several other musicians have passed through the band over the years — including founding members Campbell Owens (bass) and Dave Mulholland (drums) — but the one constant has been Frame. Throughout his career, he has created a sophisticated, lush, and nearly jazzy acoustic-oriented guitar pop, relying on gentle melodies and clever wordplay inspired by Elvis Costello.
Aztec Camera released their debut album, High Land, Hard Rain, in 1983. Before its release, Owens and Mulholland had left the group, leaving Frame to assemble the record himself. Upon its release, the album won significant amounts of critical praise for its well-crafted, multi-layered pop. After releasing a stop-gap EP, Oblivious, the group's second full-length record, knife, appeared in 1984. Produced by Mark Knopfler, the album was more polished and immediate than the debut, featuring horn arrangements and a slight R&B influence. Three years later, Roddy Frame returned with Love, which featured musical support from several studio musicians. Love was a synthesized stab at pop-R&B, resulting in his greatest commercial success — the album launched four hit singles, including the Top Ten "Somewhere in My Heart."
Two years later, Aztec Camera returned to a more guitar-oriented sound with Stray. It wasn't as commercially successful as Love, yet it was a hit with fans who missed the chiming hooks of Frame's early work.Dreamland, released in 1993, followed the same pattern as Stray and achieved about the same amount of commercial and critical success. []

Track list;
01 - Oblivious
02 - The boy wonders
03 - Walk out to winter
04 - The bugle sounds again
05 - We could send letters
06 - Pillar to post
07 - Release
08 - Lost outside the tunnel
09 - Back on board
10 - Down the dip
11 - Haywire
12 - Orchid girl
13 - Queen's tattoos

Style; Alternative Pop/Rock, New Wave

Wednesday, October 17, 2007

Plasmatics - 1981 - Beyond The Valley of 1984

As Requested ...
The Plasmatics' 1981 release, "Beyond the Valley of 1984,"is a destructive album that continues attacking the vultures of society. While mixing the rawness of punk with frantic speed metal, the group used this CD to unleash politically-charged hatred upon the hypocrisy of cops, tabloid journalists, and the law. Hard rock fans will be impressed by what this album offers. Blistering anthems like "Headbanger," "Nothing," and live performances of "Hitman" and "Plasma Jam" all feature Wes Beech's squealing rhythm guitar and Neil Smith's hyperactive drumming. All 11 tracks are tuneful yet spontaneous, pushing the volume to sonic overdrive. Meanwhile, the great Metal Punk Priestess herself, Wendy O. Williams, speaks the songs' simplified lyrics with vocals that range from sultry purrs to cynical grunts.

Some of "Beyond the Valley's" tracks indicate a subtle, musical growth in the Plasmatics' material. The studio rendition of "Masterplan" includes the band's first use of overdubs. For "Summer Nite," Wendy sings a tragic narrative about a boyfriend who gets killed in a nightclub brawl. This tune is given a kiss of 1950's nostalgia by Jean Beauvoir's piano and the harmonious background vocals of the Angels. The humorous "Fast Food Service" is a 1-minute track about someone going out on a date. "Living Dead" is a little too polished when compared to the untamed version on "New Hope for the Wretched;" in this particular recording, Wendy's moans seem exhausted and overrehearsed. The sleazy "Sex Junkie," with its distorted echos, may make listeners envision a perverse sequence from a soft porn, sci-fi flick; a cult film that "Something Weird" can make available. Last but not least, "Pig is a Pig" will surprise audiences by opening up as a country western, courtesy of an acoutic guitar. This bitter tune resulted from the attack Wendy suffered back in Milwaukee. After being arrested for simulating self-gratification with a sledgehammer during a concert, she was beaten unconcious by police officers and sent to the hospital with a broken nose.
Although this CD isn't as wild and dangerous as the group's debut effort, I still recommend "Beyond the Valley of 1984" to any fan starving for underground music. As I've said many times before, the Plasmatics will live forever!

review by : By Pamela Scarangello

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Tuesday, October 16, 2007

The Feelies - 1988 - Only Life

Only Life

1. It's Only Life (Mercer) 2:59
2. Too Much (Mercer/Million) 4:37
3. Deep Fascination (Mercer) 4:07
4. Higher Ground (Mercer) 4:35
5. The Undertow (Mercer) 3:41
6. For Awhile (Mercer) 4:05
7. The Final Word (Mercer/Million) 2:24
8. Too Far Gone (Mercer/Million) 3:34
9. Away (Mercer) 5:25
10. What Goes On (L. Reed) 3:37

With an unchanged lineup but more attention due to their A&M deal, the Feelies hit the jackpot with their third album, a warm, inviting collection that finally addresses the endless Lou Reed comparisons with a cover of his "What Goes On." With its clearer feeling and peppier overall delivery, it avoids simply cloning the original arrangement and performance. The rest of the album shows off the band's distinctive yet flexible sound, as much jangle as it is quietly moody. Mercer and Million's previously tense guitar power becomes attractive shadings, implying a louder approach without always delivering it, while the Demeski/Sauter rhythm team takes the lead throughout; his steady drums and her low, rolling performances giving the guitarists something to play around instead of dominate. The Feelies always make this tranced-out rock their own, but this time around it's as quietly thrilling, if not more so, than ever. "Higher Ground" is a great example, with Mercer and Million trading off not merely notes and passages but differing approaches, whether laden with distortion or chiming clearly. Though Weckerman's work, as earlier, isn't easily distinguished from Demeski's, from the sound of it everything fit in right when recording. Where appears more audibly, as on the start of "The Undertow," his percussion adds an intriguing wild card to the proceedings, aiming at the same goal with slightly different sonics. Mercer's ghost-of-you-know-who vocals still pop up at times, but here his own ability to actually sing and hold notes comes forward, giving him a technical edge that he uses to great effect on the brisk "Away."

(All Music Guide, by Ned Raggett)

Line up:
Glenn Mercer (guitar, vocals)
Bill Million (guitar, vocals)
Dave Weckerman (percussion)
Brenda Sauter (bass)
Stan Demeski (drums)

Produced by: Steve Rinkoff, Bill Million and Glenn Mercer
Engineered by: Steve Rinkoff

1988 - Coyote/A&M SP- 5214

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(Re-post from "Time Is A Disease" - inspired by WeBuilTArks' previous post!)

Monday, October 15, 2007

The Feelies - 1980 - Crazy Rhythms

The Feelies seem to be the most criminally underrated post punk band of all time. Nerdy, nervous, and noisy, even decades later their droning. This album is great from start to finish without a single weak track. The combination of unorthodox drumming style and the group's collective awkward nervous energy leaves you a taste stuck in your mind even the album is finished.

Well, this is gooood, this is definitely fuckin' good, damn i love this album.

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Saturday, October 13, 2007

Wolfgang Press - 1985 -The Legendary Wolfgang Press and Other Tall Stories

Enigmatic, moody, and challenging, Britain's Wolfgang Press were one of the most mercurial talents of the post-punk era, restlessly moving from gothic noise to dark balladry to eccentric funk; paradoxically, the group was also the 4AD label's longest tenured artist -- even their stylish album packages were all the product of the same designer, Alberto Ricci.

Formed in London in 1983, the Wolfgang Press comprised vocalist Michael Allen, guitarist Andrew Gray, and keyboardist Mark Cox. Allen and Cox first teamed in the group Rema Rema, which also featured Adam & the Ants alum Marco Perroni; after reuniting in the short-lived quartet Mass, the duo recruited Gray, and as the Wolfgang Press issued their cacophonous, gloomy debut LP, The Burden of Mules , in 1983. An EP trilogy co-produced by Cocteau TwinRobin Guthrie followed in quick succession: while 1984's Scarecrow was a lighter, more streamlined affair, 1985's Water spotlighted ominously sparse torch songs, and the same year's Sweatbox explored deconstructionist pop.

The Wolfgang Press' second full-length effort, 1986's Standing Up Straight, incorporated industrial and orchestral influences into the mix, while the Big Sex EP's "God's Number" offered a soulful backing chorus, a harbinger of things to come. Indeed, after 1988's hypnotic Bird Wood Cage and its leadoff single, "King of Soul," introduced strong elements of dub, reggae, and R&B, the trio took the full plunge into the dance arena with 1991's Queer, an idiosyncratic outing admittedly inspired by De La Soul's landmark 3 Feet High and Rising; the first single, a surreal cover of the Randy Newman-penned "Mama Told Me Not to Come," was a minor hit. 1995's Funky Little Demons completed the Wolfgang Press' transition into white funk; prior to its release, however, Cox exited the group's ranks.

The Legendary Wolfgang Press and Other Tall Stories compiles the EPs Scarecrow, Water, and Sweatbox, three strong, eclectic efforts produced by Cocteau Twins' Robin Guthrie. Displaying marked leaps in sophistication and textural variety over their earliest work, the set establishes the trio as witty and incisive pop deconstructionists: a tongue-in-cheek cover of Otis Redding's "Respect" reveals a newfound sense of humor, while Neil Young's "Heart of Gold" undergoes such a radical transformation that it even receives a new title, "Heart of Stone."

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Thursday, October 11, 2007

Siouxsie & The Banshees - 1978 - The Scream

Review :
After building up an intense live reputation and a rabid fan base, Siouxsie and the Banshees almost had to debut with a stunner -- which they did, "Hong Kong Garden" taking care of things on the singles front and The Scream on the full-length.

Matched with a downright creepy cover and a fair enough early producing effort from Steve Lillywhite -- well before he found gated drum sounds -- it's a fine balance of the early band's talents.

Siouxsie Sioux herself shows the distinct, commanding voice and lyrical meditations on fractured lives and situations that would win her well-deserved attention over the years. Compared to the unfocused general subject matter of most of the band's peers, songs like "Jigsaw Feeling," "Suburban Relapse," and especially the barbed contempt of "Mirage" are perfect miniature portraits. John McKay's metallic (but not metal) guitar parts, riffs that never quite resolve into conventional melodies, and the throbbing Steven Severin/Kenny Morris rhythm section distill the Velvet Underground's early propulsion into a crisper punch with more than a hint of glam's tribal rumble. The sheer variety on the album alone is impressive -- "Overground" and its slow-rising build, carefully emphasizing space in between McKay's notes as much as the notes themselves, the death-march Teutonic stomp of "Metal Postcard," the sudden near-sunniness of the music (down to the handclaps!) toward the end of "Carcass." The cover of "Helter Skelter" makes for an unexpected nod to the past -- if it's not as completely overdriven as the original, Siouxsie puts her own definite stamp on it and its sudden conclusion is a great moment of drama. It's the concluding "Switch" that fully demonstrates just how solid the band was then, with McKay's saxophone adding just enough of a droning wild card to the multi-part theatricality of the piece, Siouxsie in particularly fine voice on top of it all.

~by Ned Raggett

Download It Here :

Blue Orchids - A Darker Bloom_The Blue Orchids Collection [2002]

This thoughtfully compiled 19-track anthology contains most, though not all, of what the Blue Orchids recorded between 1980 and 1992. It emphasizes their early-'80s releases, simply because most of what they recorded was done between 1980 and 1982, though there are three post-1982 songs. On their first pair of singles and their 1981 The Greatest Hit album, the Blue Orchids were very much in the groove of Manchester acts like the Fall. That should come as no great surprise, since singer Martin Bramah and keyboardist Una Baines had been among the uncounted musicians to pass through the Fall. The Blue Orchids were distinguished from the Fall, however, by a greater (though not immensely greater) melodic bent, particularly in the creepy '60s-ish minor-keyed organ lines of Baines. Too, Bramah sounded less histrionic and gratuitously abrasive than Mark E. Smith and other Fall imitators, though he too favored sing/speak stream-of-consciousness ruminations. For the 1982 Agents of Change EP (whose four tracks are all included here), the band actually became more interesting, toning down their punkiness for more ethereal, gentler textures of muted gloom, perhaps influenced by Nico, whom they backed and toured with for a while. Those who collect Fall-ish acts like Marc Riley & the Creepers should check the Blue Orchids out, particularly in the United States, where the band were virtually unknown; they were very much in the thrust of Manchester post-punk, and they were better than some of their competitors that carved a higher profile. (
An extremely precious band for all music lovers and especially for us Fall-obsessives! “…Think Tom Verlaine guesting with The Doors. So – from being the guitarist in a non singer band he’d become the singer in a non-singer band…and at their best they were one of the most engaging and intriguing bands of the 80’s. ‘Work’…‘Disney Boys’….‘The Flood’…‘Diamond Age’….‘Tighten My Belt’ and ‘Bad Education’ (once covered by Aztec Camera), they’re all here…file the vinyl and enjoy!” [Marc (Lard) Riley December 01]. Ripped using EAC/LAME 3.97 (VBR --preset fast extreme). – K
Tracks :
01 Disney Boys (3:41)
02 The Flood (4:20)
03 Work (4:03)
04 The House That Faded Out (3:18)
05 Sun Connection (3:46)
06 Wait (3:55)
07 Dumb Magician (2:56)
08 Low Profile (4:40)
09 No Looking Back (4:05)
10 Bad Education (2:30)
11 A Year With No Head (2:38)
12 Tighten My Belt (4:04)
13 Agents of Change (4:31)
14 Conscience (3:20)
15 Release (3:16)
16 The Long Night Out (5:16)
17 Sleepy Town (4:29)
18 Diamond Age (3:34)

Wednesday, October 10, 2007

Various Artists - Sons of Rarer Than Radium

01 Suka - Spit Winter Spit
02 Rip - (Wrecked reversed)
03 Brian Crook - Daggers
04 Kitset - From the hollows
05 Fats Thompson - Midnight Coltrane
6 Lung - Full Moon Again
07 Sferic Experiments - Who Does What
08 Shayne Carter - Seed
09 Mestar - Turtle Control
10 Matt Middleton - Love Theme 03
11 Parsec - Cosmodrome
12 Dean Roberts - Smash The Palace And What Nerves You've Got
13 Peter Wright - Wonderful.mp3
14 Gordon Wallace - Mastery.mp3

Third part of the New Zealand selections of obscure acts, this time with a few brave men from this lovely country. Recordings are low-fi for the majority of the tracks, that means that they just used slightly better equipment than Chris Knox's 4-track! As for the quality, I believe you won't be dissapointed. We have Suka in a track reminding of the best Xpressway music, a low-fi recording of the Rip with a great (as usual) work on violin from Alastair Galbraith. A naked, yet moving song from Brian Crook of Victor Dimisich Band and Renderers leads to an equally strong strong song from Kitset - same mood but ritcher arragement with horns etc. Fats Thompson continues the Xpressway tradition of raw and aggressive guitar-based songs. Things go wilder after this, starting with the very loud (for NZ music) Lung , the primitive sound of Sferic Experiment and Shayne Carter in one of his most wild moments. A short pop track from Mestar leads to the jazzy Love Theme of Matt Middleton and the spacey Cosmodrome from Parsec. Dean Roberts and Peter Wright (both prolific writers) continue in this relaxed atmosphere. For the end there's a bonus track from Mr.Gordon Wallace, a nice little tune, perfect for a night beside the fireplace.

This is the link for almost-an-hour-mp3 file and this is for the
rar file with the individual tracks

Saturday, October 6, 2007

Various Artists - Daughters of Rarer Than Radium

Maryrose Crook - Storm from the East
Francisca Griffin - Medicine for Melancholy
Jay Clarkson - Raise The Glass (demo)
Lovely Midget - Ghost Wall
Melayne Web - Mine
Angela Darcy - Tuesday Morning Addiction
Sola Monday - Medic Kate
Mink - Gold
Cloudboy - Cup of Roses
Demarnia Lloyd - Folding
Minisnap - In My Pocket
Sandra Bell - Holding
The Ghost Club - The Crying Room

Second collection with New Zealand acts, this time more recent - i.e. from the last ten years, and exclusively women. These songs - rock, pop, experimental, personal, or whatever you call them, are far away from the Flying Nun sound, they're differently produced, better recorded (at least not in Chris Knox's 4 track TEAC!) and more ehm... modern. For those not familiar with the names just a few notes: Maryrose Crook is half of the Renderers, Francisca Griffin was formerly known as Kathy Bull and a founding member of Look Blue Go Purple, Jay Clarkson is also a veteran in the scene from the early 80s with the Expendables, Minisnap is the Bats without Robert Scott, with Kaye Woodward as lead singer and songwriter and Ghost Club are Denise Roughan and David Mitchell from the 3Ds. Of the newer acts I must mention especially the outstanding Demarnia Lloyd - included here are three songs of her, one from her Trace album, one from her 90s band Mink and one from her 2000s band Cloudboy, all of them in her very high quality standarts. Lovely Midget is also promising - it's the moniker of Rachel Shearer, former Angelhead, a bit more experimental than the rest.

Here is the single mp3 file 
and here is the rar file with the individual tracks.

Friday, October 5, 2007

Various Artists - Rarer Than Radium

18 songs of New Zealand pop, not frequently heard

Ocean Lover - Kim Blackburn (Lizards In Love)
Somewhere Lovers - Vibraslaps (Vibraslaps)
Say Cheese - Expendables (Between Gears)
Corsican Ride - Raith Rovers (Songs from the Lowland)
Suzanne Said - The Shallows (Suzanne Said 12")
Solomon's Sister - Peter Arnold & Claire Timmings (Rarer Than Radium)
What's In A Name - Orange (Fruit Salad Lives)
Too Far Gone - Scorched Earth Policy (Keep Away from the Wires)
Time of the Leaves - The Kiwi Animal (Music Media)
Ice Lands - Alpha Plan (Stratford Workshop)
Iceberg - Bilderine (Split Seconds)
Thats What Friends Are For - Mainly Spaniards (7" single)
Thursday - The Puddle (7" single)
Not A Private Joke - Letterbox Lambs (Not A Private Joke)
Hey Old Man - Calamari Bushmen (The Ghosts Of Things I've Killed)
Under Your Face - April Fools (Disturbed)
Pinhead - Debris (Super 8 Mayhem)
Anais - Alastair Galbraith (Talisman)

This collection tries to present some of the lesser known New Zealand acts, mainly from the 80s and a few from the 90s.
It starts with the voice of Kim Blackburn, a voice straight from the Valhala, singing about the great ocean. Two groups with more experimental sound - Vibraslaps and the Expentables (whose singer Jay Clarkson we will meet again in a future NZ compilation) and a short track from Robert Scott's band, the Raith Rovers. Then there's the Swallows, the group of Roy Montgomery from 1985, and then a track from a record that became what it's title said: rarer than radium. Following are two real masterpieces of teenage pop (New Zealand way), by the Orange and Scorched Earth Policy. The only way I can explain why these two groups aren't bigger than the Beatles, or even the Chills, is that they never tried hard. They were just kids and they were doing it for fun. Note that Orange's Andrew Brough later wrote some realy great songs for Straitjacket Fits. The pair of Kiwi Animal released a few records in 1984-85 and then went on to other forms of art. Two songs about ice follow, from the Alpha Plan and the great Bill Direen, this time under the name of Bilderine. An equally great musician, George Henderson with the Puddle sings a perfect Creation (the label) style pop hit about Thursday. Then there are 3 groups from the 90s (as far as I know only Debris managed to release some more of their music, Calamari Bushmen put out only this record and the April Fools was a short lived super group including Martin Phillips and David Kilgour) and this collection closes with one of the more quiet songs of Alastair Galbraith from his first album.
Those who are in this scene (i.e. the 'classic' New Zealand or early Flying Nun sound) will find some real obscure names, some of them never heard for over 20 years - not even included in the many F.N. compilations. Anyway this doesn't matter. What it does matter is the good music, and everyone bother to listen to it, I hope will enjoy some real pop gems, made in New Zealand.

Comes in two flavours:
Here you can have a big mp3
and here a rar file with the individual tracks.

Joan Jett & the Blackhearts - 1981 - Bad Reputation [192k]

By playing pure and simple rock & roll without making an explicit issue of her gender, Joan Jett became a figurehead for several generations of female rockers. Jett's brand of rock & roll is loud and stripped-down, yet with overpowering hooks — a combination of the Stones' tough, sinewy image and beat, AC/DC chords, and glam rock hooks. As the numerous covers she has recorded show, she adheres both to rock tradition and breaks with it — she plays classic three-chord rock & roll, yet she also loves the trashy elements (in particular, Gary Glitter) of it as well, and she plays with a defiant sneer. From her first band, the Runaways, through her hit-making days in the '80s with the Blackhearts right until her unexpected revival in the '90s, she hasn't changed her music, yet she's kept her quality control high, making one classic single ("I Love Rock 'n Roll") along the way.

Joan Jett's debut album is an infectious romp through her influences, ranging from classic '50s and '60s rock & roll through glam rock, three-chord loud'n'fast Ramones punk, and poppier new wave guitar rock. Half the songs on the original album (not counting bonus tracks on the remastered reissue) are covers, but whether it's Lesley Gore's feminist girl-group anthem "You Don't Own Me" (featuring the Sex Pistols' Steve Jones and Paul Cook) or a roaring version of Gary Glitter's "Do You Wanna Touch Me (Oh Yeah)," Jett makes them all work. The production can be a little weak in spots, but Jett's exuberance and tough-girl attitude overcome most deficiencies. Plus, the title track is a classic. []

Track list;
01 - Bad Reputation
02 - Make Believe
03 - You Don't Know What You've Got
04 - You Don't Own Me
05 - Too Bad On Your Birthday
06 - Doing All Right With The Boys
07 - Do You Wanna Touch Me (Oh Yeah)
08 - Let Me Go
09 - Shout
10 - Jezabel
11 - Don't Abuse Me
12 - Wooly Bully


Style; Rock & Roll

Thursday, October 4, 2007

Buddy Mondlock - 1998 - Poetic Justice

Buddy Mondlock - 1998 - Poetic Justice

Tracks :
1 Poetic Justice
2 New Jersey Sunset
3 Sarah Kills the Day
4 Leaving
5 Baby
6 Westbound Fast Lane
7 Temporary Grace
8 Comin' Down in the Rain
9 Magnolia Street
10 Heavy Coat
11 Postcard With Wheat Field
12 No Choice

Although Buddy's discs have never been easily available in the UK, he is well respected and known as a songwriter's songwriter - his compositions have been covered by the likes of Nanci Griffith, Cry Cry Cry, David Wilcox and Joan Baez. This official UK release is deservedly going to increase the profile of one of the very best singer/songwriters around.
Poetic Justice is a quiet, reserved disc, that lets it lyrics and Buddy's intimate vocals do the talking - the stories and imagery in the songs are fantastic, full of description and detail, but with enough left out for the listener to create their own pictures.
The excellent lyrics are not at the expense of melodic accessibility, on the first few listens it's the melody and musicianship that stands out, there's some first-rate acoustic guitar work throughout the 12 tracks. Subtle support is provided by numerous people, including Guy Clark, Nanci Griffith and Ellis Paul - they really add depth to the already superb compositions,
'Poetic Justice' is a classy disc from start to finish; it's an understated collection of great sings from a talented individual.

Hi, Guys, just in case you want some folk-related album, here's Buddy Mondlock.

Get it here @ 256

Thanks bluenorther for this one !!!

Tuesday, October 2, 2007

Simply Saucer - 1975 - Cyborgs Revisited

Manic CBGB's era electro-punk from Canada. Recorded in 1974 by Daniel and Bob Lanois and bolstered by demos, live tracks, and later day singles.

Tracks :
1. Instant Pleasure
2. Electro Rock
3. Nazi Apocalypse
4. Mole Machine
5. Bullet Proof Nothing
6. Here Come The Cyborgs (Part 1)
7. Here Come The Cyborgs (Part 2)
8. Dance The Mutation
9. Illegal Bodies
10. Low Profile (Demo)
11. Little Sally (Demo)
12. Get My Thrills (Demo)
13. I Take It (Demo)
14. Yes I Do (Live)
15. Bullet Proof Nothing (Live)
16. Now's The Time For The Party (Live)
17. I Can Change My Mind (1978 45 rpm Single)
18. She's A Dog (1978 45 rpm Single)

This expanded reissue contains material from a two-song single, a recording session from 1974,
a live set from 1975, and the 1978 single "She's A Dog".

Simply Saucer :
Edgar Breau
(vocals, guitar, Theremin)
Ping Romany (keyboards)
Kevin Christoff (bass, background vocals)
Neil DeMerchant, Tony Cutaia (drums)

Reviews :
Mojo (9/03, p.117) - 4 stars out of 5 -
"A masterpiece of neo-punk/psych outness....
A brain baking feast of proto-punk repetition and overdriven stellar guitar scrawl..."

Uncut (p.130) - 4 stars out of 5 -
"Smalltown freakery was a rock'n'roll staple long before punk gave it a name, and here's a great example of how it could accidentally transcend its limitations."

Here come the Cyborgs: an over-amplified plastic inevitable explosion of Velvet Underground white light/white heat, Pink Floyd interstellar overdrives, Eno's astral synth squelches and insert your own freewheeling free rock titan's antics here. Having the honour of being the most criminally underrated underground band to emerge from 1970s Ontario, Canada's Simply Saucer were the brainchild of Syd Barrett fan and import vinyl fetishist Edgar Breau and a high energy improvisational rock barnstorm to boot. This expanded reissue of 1989's self titled release, draws together a 1974 studio session, a 1975 live disconcert and a 1978 single, ably showcasing the quartet's red hot improvisations, in which songs suddenly leap off into the cosmos, and quirky song-writing skills. It appears that Simply Saucer were as out of step with the general musical consensus of the mid 1970s as Cleveland misanthropes Rocket From The Tombs, and indeed the musical comparison is appropriate; Imagine a psychedelic Pere Ubu with a firecracker up its ass. Breau's switchblade guitar style and the fantastically christened Ping Romany's electronic effects whipped up a synapse-assaulting maelstrom on the likes of Nazi Apocalypse, Dance the Mutation and the preposterously ambitious Here come the Cyborgs (parts 1 and 2). Check out those titles! On the live material included here, we have the insane juxtaposition of the Chrome like acid punk guitar soloing on Illegal Bodies and the smattering of polite applause that follows. The three people that seem to have composed the Jackson Square Rooftop stage audience that night in 1975 clearly enjoyed something a world away from the likes of the Eagles. As the musical zeitgeist evolved again in the late '70s, Simply Saucer were slightly more in step with the spirit of the age with a series of Edgar Breau's shorter, song-based compositions recorded following the departure of Moog mentalist Romany. This later incarnation is represented here with a clutch of live material, studio rehearsals and the aforementioned sole 'official' release of 1978's 7" single. She's a Dog and I Can Change My Mind are catchy and angular punk pop gems, complete with the latter's infectious Lou Reed yelps over the instrumental breaks. This superb reissue confirms Simply Saucer's legendary status as one of the 'missing link' acts, alongside The Pink Fairies, that bridge the gap between punk and psychedelia, their legacy alive and well in the audacious guitar throttling of the likes of Japan's High Rise.

Simon Berkovitch
CWAS #12 - Summer 2003

Simply Saucer - Cyborgs Revisited

Thanks Kaiten for this one !!!

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