martes, 3 de diciembre de 2013
The Ramones-loving Australian punk-pop group Eastern Dark were formed by guitarist/vocalist James Darroch in 1984. Featuring drummer Geoff Milne and former Lime Spiders MC Bill Gibson on bass, the trio blended the three-chord tunefulness of the Ramones with the guitar attack of their Australian compatriots like the Celibate Rifles (for whom Darroch briefly played bass) and the New Christs. After playing live for almost a year, the group entered the studio with producer Rob Younger (of Radio Birdman/New Christs fame) and recorded its first single, "Julie Is a Junkie"/"Johnny and Dee Dee," which was released by Waterfront Records in 1985. More touring ensued before the band returned to the studio with Younger at the helm again. Tragically, before the resulting songs could be issued, the band was in a van accident that killed Darroch and seriously injured his bandmates. The EP Long Live the New Flesh! was given a posthumous release later that year.
The Eastern Dark
sábado, 30 de noviembre de 2013
After Bobb Trimble’s work, this is the best 80s psych album. In fact, at least for side one I’d go out on a limb and rank it the very best co-ed San Francisco-style psych album. In the tradition of the best latter day psych, it clearly is influenced by the golden age of West Coast music, but sounds completely of its time as well. This is no simple throwback or derivative work; it’s a wholly unique and distinctive album that combines a very wide and unlikely set of influences in creative and wonderful ways.... It’s a wonderful album. Highest among the many pleasures is the absolutely stunning title track, which benefits from a chill-inducing vocal from Kathy Bass. The long guitar solo on “Bye Bye” is also a winner, in the best tradition of Quicksilver Messenger Service or Tripsichord Music Box...
The Modernettes' Teen City EP is one of the Vancouver punk scene's best records. Each track is a clever punk classic inspired by the Ramones and the Velvet Underground. The album begins with The Modernettes' most famous song, "Barbara," leading into more lyrically complex songs. "Barbara" is a tale of teen desire that is reminiscent of the Ramones but not as overly simplified. Buck Cherry breaks into a strong solo in the middle of the song, showing his prowess on the guitar. The Modernettes were a very tight and gifted trio that was cable of writing various punk classics in various tones. "Celebrity Crackup" offers a warning about the downfalls of fame, something The Modernettes unfortunately never had to worry about. Throughout the different subject matter covered on the album, The Modernettes maintain a distinctive sound without repeating themselves. The song "Teen City" closes the album just as it began with another teenage fantasy. "Teen City" captures the feelings of the rock & roll-loving teens in Vancouver. Complaints about the constant rain and lack of good rock & roll clubs give rise to the demand for the "Teen City." The Teen City EP is a monument to Buck Cherry, Mary Jo-Kopechne, Jughead, and the honest rock & roll they created.
martes, 13 de agosto de 2013
THE LIMIT sprang from fertile ground. In the early 1980s, New Orleans was home to a thriving punk, hardcore, new wave and metal scene. The Limit, who coined their brand of music “powerful pop,” began playing the local club scene in the spring of 1982.
The trio recorded their debut EP at the end of 1982 and released it as a 10” in May of 1983 in an edition of 500 copies. Featuring four infectiously catchy tunes, the record sold well and received promising reviews.
domingo, 11 de agosto de 2013
Undoubtedly the most exciting mid sixties garage album to be recently discovered in the genre is that by The Horde from North Carolina. The existence of this self-produced album came to collectors' ears and eyes only about a year ago. It was recorded more or less accidently in early 1967, released in a micro quantity of only 25 copies and among the local U.S. garage albums of the decade it is one of the few eclectic examples with all the ingredients that makes it outstanding compared with the usual prep-school albums of the time.
sábado, 10 de agosto de 2013
1980 - Alcatraz Records 28001. co.sl. 7”
Recorded at Mobious Studios S.F. Engineered by Oliver Dicicco. Mastered by Bob Carbone at A&M. Produced by The Rockers
Awesome British Invasion influenced power pop from San Francisco circa 1980. On vinyl, this EP is a rare collectors item and Cheap Rewards Records has remastered and rereleased it on vinyl and digital formats.
sábado, 3 de agosto de 2013
This group from Namsos took their name from the famous Beatles song "Dear Prudence". Partly influenced by Bob Dylan, The Band, Jethro Tull and The Beatles, their idea was to make a new kind of rural Norwegian rock with the unhip accordion as one of their main instruments (along with electric guitars, mandolin and recorder).
Their first album, ‘Tomorrow May Be Vanished’ (1972), was an uneven affair, but included some of the best tracks they ever wrote ("Going Through His Life" and the title track).
GROOVE was Sudden's last official album of the '80s (as well as his final for Creation). Recorded with his band The French Revolution, it is probably Sudden's grittiest outting.
The French Revolution
viernes, 26 de julio de 2013
In 1964 The Sneekers, released a 45 on the Columbia label Bald Headed Woman which was produced by Shel Talmy, and it was The Sneekers that The Who (as The High Numbers) had played with at the start of their run of Tuesday nights at the Marquee Club, which would become the stuff of Maximum R&B legend.
In 1965 they changed their name to The Frays and recorded an LP that was never issued. However, the holy grail of British Rhythm and Blues survived on one single acetate. With the exception of the song titles the only other information on the disc labels were the words, “The Frays, Marquee Club”.
At the time the recording was made The Frays were Brian Howard on vocals and harmonica, Johnny Patto on guitar, Clive Howse on bass and Barry Gilford on drums. They recorded the 12-track album presented here at the Marquee Studios, which were situated behind the club. It secured a deal with Decca Records. The Frays’ first release for the label was Walk On backed with the stunning group original Keep Me Covered, both of which are included here.
miércoles, 24 de julio de 2013
English singer-songwriter and guitarist, born 19 July 1956 in London, England, UK and died 26 March 2006 in New York, USA.
Together with his brother, Epic Soundtracks, Nikki Sudden formed what was to become Swell Maps, releasing 4 singles and 2 albums on Rough Trade (UK) between 1977 and their break up in 1980. All these releases hit #1 in the UK Independent Charts. Swell Maps are remembered, particularly by similarly minded US based bands such as Sonic Youth, as pioneering exponents of the 'DIY Punk' school.
Sudden then began a solo career making two albums 'Waiting On Egypt' and 'The Bible Belt' before joining up with Birmingham guitarist, Dave Kusworth. The pair formed the Jacobites in 1983, going on to make two albums, 'Jacobites' and 'Robespierre’s Velvet Basement', the latter reaching No. 1 in the German Independent Charts. This tied in with their first German tour which lead to Sudden relocating there.
When the Jacobites split in 1986, Sudden returned to his solo career with Creation Records, releasing five solo albums over the next five years: 'Texas', 'Dead Men Tell No Tales', 'Kiss You Kidnapped Charabanc' (with Rowland S. Howard), 'Groove' and a compilation, 'Back To The Coast'.
lunes, 15 de julio de 2013
The Untamed Youth were a mid-1980s garage rock group from Columbia, MO, led by Deke Dickerson, who is best known as the frontman for Deke Dickerson & the Eccofonics. The Untamed Youth first performed in Columbia at local club The Blue Note in January 1987, and quickly started playing locations throughout the United States between the years 1988–1993. The group disbanded in August 1993, but later reformed for a European tour in 1996 and to record two studio albums for both the Estrus and Norton labels in 1997 and 1998 respectively. The Youth were primarily a surf/frat rock band known for their wild stage antics such as spraying the audience with cans of beer and for their self-deprecating sense of humor (most notably to be found on their last album for Norton, 'Youth Runs Wild'). All this, while holding a true reverence for their influences… ”the gods whose grooves they hammer home are the stars on a hundred forgotten 45's, their sacred texts 'Surfin Hearse and 'Go Go Ferrari'. They're best live, but their Nineties LPs 'Some Kinda Fun' and More Gone Gassers (Norton) surge with power; do not run other appliances when playing these in your home”. While their live shows were generally hard-edged, their albums are notably well-produced and arranged particularly their early Norton work, which was produced by Billy Miller of Norton Records and Andy Shernoff of The Dictators. These early Norton albums “capture(d) the supercharged atmosphere created whenever the Untamed Youth filled a teen club or tavern”. Despite considerable local success and strong critical acclaim (including album reviews in Goldmine, Alternative Press, and Maximum Rock & Roll), the band followed many of their garage rock brethren into obscurity due to the (at the time) limited appeal of 1960’s retro music. However, as has often been the case with bands of this genre, the Youth gradually acquired a cult status as is evidenced by their reuniting recently for festivals in both the U.S. and Europe. The band's first albums, "Some Kinda Fun" and "More Gone Gassers" are now highly sought after collector’s items on vinyl.
sábado, 6 de julio de 2013
viernes, 5 de julio de 2013
If you are an alternative/sixties rock fan than this album should be a blessing. The songs range from dark ,haunting melodies to upbeat and heavy sixties style garage rock without ever resorting to tacky lyrics or boring sound-alike melodies.The songs are diverse and well crafted,each one sounding unlike the other.This was the Steppes final album and also their best,although there wasn't a bad album in their entire cataloge.Definatly a band worth tracking down.
miércoles, 19 de junio de 2013
sábado, 1 de junio de 2013
The Vicars have evolved since their first 45 in 2008 with their then overall philosophy of Budget Rock. Their style has also changed due to the original line up of singer and bassist Mike Whittaker being completely changed; the group now plays as a trio.
Constantly on the road for five years, they obviously crossed paths with a lot of gangs of rock’n'rollers out for a good long-term tour, like them, have sympathized with many, toured with the other (Black Lips), got severely drunk with others (King Khan and his cronies) and provided highlights of the first parts (Billy Childish, the Mummies), then necessarily the influence of groins (Vicars are the young 22-year average) is felt at one time or another.
So, this album, their fourth (three on Dirty Water Records and the first, ultra-primitive garage punk which passed under the radar, “Let Us Play”, on Eh Steeeeve Records in 2008) sees the band enrich their usual 60s garage beat usual incursions into the new territories: hilbilly country blues (“Rooftop Blues”), garage folk (“Lights” sounds like Dylan facetiously updated by the Black Lips) or 50s rock’n'roll dance tunes (“I Wanna Be Your Vicar”, “Alligator Chomp”).
The group also clearly benefited from expert advice for the production. A development that may disconcert fans of the Vicars explosive punk side, but there’s no need for concern regarding the strict garage purist; the shadow of Billy Childish (“Satisfy You”) or early Makers (“Hauser and O’Brian “) are still strong.
domingo, 26 de mayo de 2013
1. A Question Of Temperature - Balloon Farm
2. I'm Five Years Ahead Of My Time - The Third Bardo
3. I Stole The Goodyear Blimp - Book Of Changes
4. Sun Lights Up The Shadows Of Your Mind - First Crew To The Moon
5. Up All Night - S.R.C.
6. Crusader's Smile - Morning Dew
7. Your Mother's Homesick Too - Fallen Angels
8. April 15th - The Human Beinz
9. Bubble Gum - Kim Fowley
10. Tripping Into Sunshine - T.I.M.E.
11. The Beauty Of Time Is That It's Snowing (Psychedelic B.B.) - The Steve Miller Band
12. Never Learn Not To Love - The Beach Boys
13. Isha - Chris & Craig
14. Sewer Rat Love Chant - The Raik's Progress
15. One Ring Jane - Mother Tuckers Yellow Duck
16. Wind Chimes - Mad River
17. Can You Travel In The Dark Alone - Gandalf
18. Bells - Hour Glass
19. Forever Is A Dream - Food
20. Urizen - David Axelrod
21. Soon There'll Be Thunder - The Common People
22. Sunny Day Blue - Fargo
23. Bears - Quicksilver Messenger Service
24. Ah Feel Like Ahcid - Captain Beefheart & The Magic Band
jueves, 9 de mayo de 2013
Massimo talks...The Story of The Others starts right after a couple bands I founded in'86-88 split up. The First, The SILENT SHAPES with members of Head & the Hares. The second was the THE SIDE WALKERS. When this last one disbanded, around April 1989 I soon stated The Others with some friends of mine. We had just one thing in mind, playing garage punk and surf instrumentals but pretty soon we chose the garage side. We had our first show in September 1989. Then we recorded 8 demo tapes and sent them to radio stations. We started to have requests from bigger places than the usual social centers. We worked pretty hard playing sometime 3 shows a week with a good following. Local 'Radio Rock' gave us a chance to support The Fuzztones last tour in '92 and that was a really successful night. We also had a great time in Rome with The M. Overcoat, The Cynics.. Rich Coffee..
In 1995 the illustrious neo-sixties band The Kliek broke up, after 8 years of hard work and lots of effort in order to try to get attention for the band's trademark - faithfully reproduced sixties-garagepunk classics and self-written songs in that same vein. The bandmembers went separate ways. Marcel Kruup had his 15 minutes of fame as a member of the Treblespankers, the Dutch reincarnation of the Shadows. Theo Brouwer, bassplayer in the final line-up of the Kliek plays in a couple of "hobby" bands, Big Paulus and de Sgeurvreters. For a while we didn't hear of Robert Müter, the singer of the Kliek. It was known to only a few that he had formed a new band in 1996, called Kek '66.
sábado, 4 de mayo de 2013
Laidback psychedelia from this hip British trio – a group that was something of a placeholder in between Peter Dunton's work in The Flies and Please – but which are plenty darn great on their own! There's some vocals on the record, but they always seem to take second seat next to the guitar bits and keyboards – possibly because no singing could ever match the subtle sonic genius of these more electric elements.
jueves, 18 de abril de 2013
Though the Mainstream record label is best known for its jazz, blues, and soundtrack releases, in the late '60s its founder, Bob Shad, explored the rock world to search for new talent. His first rock band signing, Big Brother and the Holding Company, released their debut album on the label, only to have their contract sold to Columbia as Janis Joplin's star began to rise, but dozens of likeminded artists waited in the wings. All Kinds of Highs: A Mainstream Pop-Psych Compendium 1966-70 collects the best cuts from the psychedelic pop catalog of Mainstream (and related label Brent), offering a heady hodgepodge of vintage sounds and crafting an immersive experience by using original mono mixes where available, and including extensive liner notes.
lunes, 15 de abril de 2013
domingo, 7 de abril de 2013
viernes, 29 de marzo de 2013
miércoles, 27 de marzo de 2013
Based in Tucscon, Arizona, the group made a convincing enough case for itself, with its Kinks and Yardbirds-influenced originals and covers, that it made it as far as stages across the United States, Canada, and western Europe, charting high on some college radio listings in the process. They recorded a series singles, EPs, and LPs for Dionysus Records in Los Angeles.
martes, 26 de marzo de 2013
This was the last Tell Tale Hearts single to be released and it's a fitting way to go out with two sides of purist endeavour. By now the line-up hardly resembled the original band with only Mike Stax and Bill Calhoun remaining. No one appears to have been able to fill lead guitar duties and the licks were provided by associate Carl Rusk.
jueves, 14 de marzo de 2013
This vocalist and guitarist was a veteran of many sixties groups. Often spelt Melouney, he was in The Vibratones, a Sydney instrumental band who evolved into The Aztecs. He spent 1964-65 in Billy Thorpe and The Aztecs before setting up the short-lived Vince and Tony's Two (with Tony Barber) and his own Vince Maloney's Sect later in 1966. This too was short-lived and followed by spells in The Bee Gees, Ashton, Gardner and Dyke (in the U.K.), Fanny Adams, The Cleves, Flute (a Melbourne band, which existed for only two months and included Leo De Castro before he formed Friends), McAskill, Levi Smith's Clefs and Hot Rocks.
Vince Maloney's Sect
Formed by Maloney in Melbourne in 1966, after Tony Barber had left Vince and Tony's Two, they had a residency on the 'Kommotion' T.V. show. Their cover of U.K. band The Birds' No Good Without You is considered a bit special and their EP included their 45 and two additional tracks; Sticks And Stones and Watch Your Step.
When Maloney was given the opportunity of joining The Bee Gees in England, the writing was on the wall for the 'Sect although Jim Thompson and John Shields formed The Little Bits, backing Peter Doyle and Billy Taylor joined Chirs Hall and The Torquays, Flake and Blackfeather.
domingo, 10 de marzo de 2013
Back in 1979 when the original Mod revival took the Country by such storm there were a handful of Mod bands that stood out proud above the others. The Chords, Secret Affair, The Purple Hearts and Squire to name just a few. Hot on their heels were the Killermeters, not quite so well known but well accepted by the music press of the day. Full pages were written in Sounds and the NME and a minor hit was nicely tucked under their belts courtesy of RCA. Becoming the pride of the North the Killermeters stuck around for a number of years until they split in the early 80s. Like so many others the Killermeters started life as a punk band the "Killer Meters" as they were then, split in 1978, reforming in the October as the mod band The Killermeters, kicking back into life with a new song that said it all; "Back In Business". During their time they were warned by John Peel that the Mod image would lead them down a blind alley but they were also raved about in Sounds by Gary Bushell, supported Secret Affair and the Undertones and finally went on tour with Eddie and the Hot Rods. Unfortunately the tour was to leave them badly in the red and as a result the Killermeters finally came to an end, coming back to life as Soldiers are Dreamers in 1981, taking their name from the Sassoon poem. This double album takes the listener through the legend that was the Killermeters. With tracks taken from various sources this is the definitive Killermeters recordings including demo versions of their better known tracks "Twisted Wheel" and "SX225".
This release is collated from all of the BBC owned Kinks recordings that still exist in the archive and charts the inexorable rise of the band: from the first steps on the Pye label, to the glory days as one of the greatest acts of all time. The BBC gave the band a platform and support at crucial stages in their career and “The Kinks at the BBC” could be seen essentially as an alternate Greatest Hits, a musical growing up in public.
sábado, 9 de marzo de 2013
The Nomads are a Swedish garage punk band founded in 1981 by Hans Östlund, Nick Vahlberg, Joakim Tärnström and Ed Johnson. Today, Östlund and Vahlberg are the only members left of the original line-up.
The band plays music influenced by the MC5, The Stooges, Roky Erikson, The Cramps, The Ramones, New York Dolls and other early garage rock and punk bands. The Nomads have been an influential band in the Scandinavian garage rock and punk scenes, inspiring bands such as The Hives, Hellacopters, Gluecifer, and many others
miércoles, 6 de marzo de 2013
`Muziek Expres` started out in 1965 as Dutch music magazine gaining them a reputation as THE music mag of the mid 60`s in Holland. Trying to be on top of all wild developments that took place during those days the magazine started a label called `Op-Art` later to evolve into `Yep` were they released some 15 singles between 1965 and 1967 by the then new and upcoming Dutch `Beat` bands such as OUTSIDERS, BINTANGS, GROUP 1850, ZIPPS, etc.. On this double LP Pseudonym have collected all tracks ever recorded for and released on the `Op-Art/`Yep` labels including 2 unreleased versions by THE BUMBLE BEES, later to be released in `cleaned` versions on Philips.
sábado, 23 de febrero de 2013
Extraordinaire Kenne Highland's self-released anthology of his many bands, spanning from 1977 to 1989: The [Majestic] Gizmos, Hopelessly Obscure, The Afrika Korps, The Korps, Cryptic Edge, The Exploding Pidgins, The Kenne Highland Klan, and Kenne Highland's Puppets (not present here, apparently, are Johnny and the Jumpers, Thee Psych-O-Daisies, or Kenne Highland and his Vatican Sex Kittens). Kenne Highland was a true DIY eccentric in the vein of fellow Bostonians The Lyres (who Kenne sends up here in "The End of the Lyres"); also present on this compilation are covers of the Dead Boys' "Sonic Reducer" and Roky Erickson's "Two-Headed Dog.
Milwaukee 1981. The Sidewalks (famed for "(Keep your Hands off) Natalie" from Teenline 102) were just a bit younger than the Shivvers, Spooner and the RPMs (not to mention the Shoes) and as a result they had more than a little trouble getting into the few Southern and central Wisconsin clubs that still supported pop bands. But the music is terrific straight-ahead garage-pop. Fifteen tracks from the single and three studio sessions: we hadta rescue and remix a fair amount of this from aging cassettes, but you'll like the result
Foreign Objects's heritage was that of the garage - from '60s thugs such as the Sonics, through to the pre-punk teen damage of the Dictators, right on into the junk culture mania of the Gizmos and the simple-spoken truths of the Ramones.