The Stomachmouths pioneered the Swedish garage punk rock boom in the 1980s. They road the crest of the global 80s garage wave between the years 1984-1987 becoming one of the leading exponents of the genre at the time. When the Stomachmouths began playing vintage American teen music in Stockholm 1983, they had no European predecessors. There had been a few new wave-era bands in Britain and Sweden that covered a Nuggets tune or two, but for those bands it was always part of something else. None of them had gone the whole nine yards and stripped away all alien elements from 1960s punk, like the Stomachmouths. The 1980s garage scene was created and has to be understood as a complete immersion in American pop culture from the 1950s and pre-hippie 1960s. It wasnt about heavy fuzz guitars or tattoos, it wasnt about wearing leopard skin pants and proclaiming a revolution. Everything like that just had to go. It wasnt a retro scene either, because nothing like this had ever existed in Scandinavia. In this pure garage scene the Stomachmouths were undoubtedly kings. They were the best live band, they had been around the longest, they had the most developed sense for the right moves and attitude. Musically the band was top-notch, with no loose ends or weak links. Few would challenge the notion that the Stomachmouths spearheaded this scene because they took it so seriously, like a mission.
Sonny Vincent is one of the small group of New York City musicians who were instrumental in the creation of what became known as Punk rock in the mid-1970s. Vincent formed the Testors in 1976 with Gene Sinigalliano (guitar) and Gregory R (drums). They played the legendary New York clubs such as Max's Kansas City and CBGB with groups such as Mink DeVille, Teenage Jesus & The Jerks, The Cramps and Suicide, and toured nationwide with the Dead Boys. Testors released a 7" single, "Together" b/w "Time Is Mine" on Bleeker Bob's "Drive-In" label. In 1981, AND THEN THE Testors disbanded . I KNOW THERE'S BEEN A COUPLE OF RECORDS COME OUT WITHIN THE LAST FEW YEARS THAT CLAIM THEY HAVE THE COMPLETE DISCOGRAPHIES ON THEM. ITS ALL GREAT STUFF AND DEFINITELY WORTH PICKING UP.
IF YOU HAVEN'T HEARD OF THESE GUYS YET THIS WILL BE A GOOD INTRODUCTION . DIRECT CONTROL ARE FROM RICHMOND, VA AND THEY PLAY GREAT EARLY EIGHTIES STYLE HARDCORE. WHEN I LISTEN TO THESE GUYS C.I.A. ALWAYS SEEMS TO COME TO MIND. THIS IS THERE DEBUT SINGLE, AND ITS GREAT. THEY HAVE OTHER STUFF OUT THERE, AND ITS ALL DEFINITELY WORTH GETTING .
I REALLY COULDN'T FIND MUCH ON THIS BAND . BUT, I DO NO THEY CAME FROM SAN FRANSISCO THEY HAD I BELIEVE THREE SINGLES AND I THINK A TRACK ON ONE OF THE SAN FRANSISCO UNDERGROUND SINGLES AND THEY HAD MIKE FOX FROM CODE OF HONER ON GUITAR. PLEASE FEEL FREE TO COMMENT. THIS IS DEFINITELY MY FAVORITE RECORD BY THEM. . 1. HARD WARK 2. THE ROAD FOREVER . SUBTERRANEAN RECORDS 1980 . ***DOWNLOAD***
THE EARLY WIPERS RECORDS WERE THE BEST. THEY WERE SO STRIPPED DOWN DARK AND IN YOUR FACE . AFTER OVER THE EDGE THEY GET A LITTLE SHAKY FOR MY TASTE . MY COPY OF THIS IS ON CLEAR VINYL . IVE SEEN IT ON BLACK TOO . IS THIS REAL ALSO COMES IN CLEAR AND BLACK . THIS INFO COME FROM WIKIPEDIA http://en.wikipedia.org/wiki/The_Wipers THE WIPERS OFFICIAL WEBSITE IS http://www.zenorecords.com/ The Wipers were a punk rock group formed in Portland, Oregon in 1977 by guitaristGreg Sage, drummerSam Henry and bassistDave Koupal. The Wipers were one of the earliest American purveyors of the genre, and the group's tight song structure and use of heavy distortion has been hailed as extremely influential by numerous critics and musicians including Nirvana who covered many of their songs. The idea behind the Wipers started off as only a recording project. The plan was to record 15 LPs in 10 years without touring or promotion of any type. Sage's thoughts were that the mystique built from the lack of playing the traditional rock & roll promotion game would make people listen to their recordings much deeper with only their imagination to go by. He thought it would be easy to avoid press, shows, pictures, interviews. He looked at music as art rather than entertainment; with that concept in mind he thought music was personal to the listener rather than a commodity. "I think I got that concept early on as a kid. I was very lucky to have my own professional record cutting lathe when I was in 7th grade due to my father being involved in the broadcast industry. I would cut records for friends at school of songs off the radio and learned the art of record making long before learning to play music. I would spend countless hours studying the grooves I would cut under the microscope that was attached to the lathe and loved the way music looked, moved and modulated within the thin walls. I might have spent too much time studying music through a microscope because it gave me a completely different outlook on what music is and a totally opposite understanding of it as well. There was something very magical and private when I zoomed into the magnified and secret world of sound in motion. I got to the point that I needed to create and paint my own sounds and colors into the walls of these grooves." Greg Sage's first choice of instrument was bass guitar, because of the low tones that made larger grooves in the vinyl records due to slower modulations. Unfortunately, basses were harder find and much more expensive when Sage was in grade school, so he had to go with guitar instead. After several years of playing and recording guitar he felt he wanted to do something different in music, and being labeled as a band seemed to be the first tradition and standard he should try to avoid. He wanted to make his own recordings, manufacture and run his own label himself without anyone else's financing to keep it as pure and unfiltered as possible. In fact, in 1979, Sage approached several young Portland punk bands and asked them to record singles for his new Trap label. Some of those early bands were The Stiphnoyds, The Neo Boys and Sado Nation. Sage later re-released some of that material on a compilation record entitled The History Of Portland Punk. It was soon found out that it was almost impossible to fulfill this idea: most labels did not want to accept this kind of a game as music was, first of all, business to them. Being such an independent artist was an oddity. Sage says he learned that it is almost impossible to be a true artist in the sense of the meaning he started off with and that survival was to learn to compromise. That was the reason why Sage wanted The Circle album to be the last The Wipers album. In spite of original idea The Wipers used to play live shows and even released a live album, called Wipers Live
Tot Rocket was formed in 1979 when Ron Spitzer, Andrew Halbreich and Robert Poss, who had played in various blues / rock bands together in high school, ended up moving to East Haven, Connecticut to form a new band. An early musical eclecticism caused by the three's disparate musical tastes (ranging from Chicago blues to glam to country rock) was soon galvanized by the burgeoning New Haven punk scene and by seeing live shows by The Clash, The Undertones, The Jam, Iggy Pop, The Neighborhoods, Johnny Thunders and Graham Parker and the Rumour. Tot Rocket and the Twins was a name coined by Robert Poss; he still doesn't know why, but it sounded right at the time, unfortunately. Their first drummer was Patti Coppola; she was followed by Lou Farace, who played on their first single, "Reduced / Fun Fades Fast," released by the infamous Whiplash Records (home of the Corpsegrinders). The band lived briefly in Jamaica, Queens and then moved into New York's East Village in 1980. Michael Goglia joined as the new drummer and played on their EVICTION EP, released on Trace Elements Records. John Bulcken, who replaced him in 1981, played on the band's SECURITY RISK EP, also released on Trace Elements. (This was in the days before digital recording, before music videos, before CDs, before the internet and MP3s, when vinyl still ruled the world.) Tot Rocket played at places like CBGB, Max's Kansas City, The Playroom, The Rat, Ron's Place, A7, and a host of other small clubs and underground spaces whose names are lost to history. THIS INFO AND MORE CAN BE FOUND AT THERE MYSPACE http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=191740720
I HAVE A COUPLE OF SINGLES AND TWO ALBUMS, (THE PENETRATING SOUNDS OF AND THE WINNING SCORE) FROM THESE GUYS . THEY APPEAR TO BE FROM LAFAYETTE , LOUISIANA . I'M YET TO FIND A RECORD THAT I DIDN'T LIKE FROM THEM. THEY KIND OF HAVE A GROOVE TO THEM WITH ALLOT OF ATTITUDE. YOU CAN PROBABLY STILL FIND THEIR STUFF FOR CHEAP . CHECK-M-OUT.
URBAN ASSAULT WERE FROM SAN FRANSISCO, AROUND IN THE EARLY 80'S . KIND OF A LOOSE DRUNK SOUND. BUT FULL OF ATTITUDE. GREAT RECORD !! FROM WHAT I GATHER THEY MADE ONE SINGLE AND THEY HAD ONE CUT ON THE GREAT WE GOT THE POWER COMP. ON MYSTIC RECORDS. I THINK URBAN ASSAULT AND JOIN THE ARMY ARE THE STANDOUTS BUT JUDGE FOR YOURSELF. ALSO YOU CAN GO TO THEIR MYSPACE AND CHECK THEM OUT . http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=162080769
Mourning Noise was an Americanhorror- and hardcore punk act hailing from Lodi, New Jersey, notable for drummer Steve Zing. In action around the time of the Misfits, these horror ghouls were strongly influenced by the Misfits as the drummer Steve Zing used to live very close to Jerry Only and Doyle's house and Steve went to high school with Doyle. Their music is really fast and aggressive, while being slightly melodic. Very few releases by this band all being 7" singles apart from the 1998 album of greatest hits Death Trip Delivery released on Grand Theft Audio. Steve later went on to play for Samhain, Son of Sam, The Undead, Chyna and his current band Doomtree. 1980–1983 was the period the band lasted with lineups changing frequently and Steve Zing on drums the only permanent memberHistory:An early formation of this group, called Implosion, featured Mike Mansfield (vocals) , Jon Carcich (guitar), Chris Morance (bass), and Steve Zing (drums and backing vocals). The group wrote such songs as "Laser Lights," "Monster Madness," and "Vincent's Theme," which were all later used by Mourning Noise. The group quickly dispanded when Jon Carcich (Steve Zing's cousin) joined the Navy. The group later reformed as Mourning Noise with Tommy K on guitar. Tommy K later left the group and Jon Carcich was re-inducted on guitar. He later switched to playing bass when Pete "Damien" Marshall (later of Samhain) joined on guitar and Chris Morance had left. Joseph "Jay" Olivetti (who was at one time chief roadie for Samhain while Steve Zing was playing drums for the group) was later asked to join on as vocalist when Mike Mansfield had left. Also, Joseph "Jay" Olivetti performed several times and overdubbed some session work along with Pete "Damien" Marshall. Mike "Ashley" Morance (a.k.a. Mike Marino) was called in on two occasion's to play with the group, one of which also featured Bobby Steele. Mourning Noise has had several reunions since their official break up in 1985. I THINK THIS PRETTY MUCH SUMS IT UP. RESOURCE'S FOR THIS POST WERE THE MOURNING NOISE FAN PAGE , THERES A TON OF INFO THERE .http://homepages.nyu.edu/~cch223/usa/mourningnoise_main.html AND WIKIPEDIAhttp://en.wikipedia.org/wiki/Mourning_Noise
THE SUNNYBOYS ARE ONE OF MY ALL TIME FAVORITE BANDS. AND THIS RECORD IS AN ABSOLUTE CLASSIC. I WOULD DEFINITELYRECOMMEND THE EARLY SINGLES AND THE FIRST TWO ALBUMS. AFTER THAT, THEY GET A LITTLE SHAKY DEPENDING ON YOUR TASTE. MY COPY IS THE 7" VERSION, I HAVE ALSO SEEN A 12" VERSION OF THIS RECORD. Sydney band The Sunnyboys remain one of the most highly regarded and best-loved bands of the Australian 'post-punk' era. Fronted by the enigmatic and youthful singer/songwriter cum guitarist Jeremy Oxley, the band breathed some freshness and vitality into the Sydney music scene in the early 80s. Essentially The Sunnyboys wore their influences on their sleeve; The Remains, The Flamin' Groovies, The Kinks and The Beatles with a dash of Detroit muscle thrown in for good measure. They produced melodic power pop classics and were rewarded with an immediate positive response. Things happened very quickly for The Sunnyboys, who went from playing inner-city venues to scoring hit singles for the prestigious Mushroom label all within a year of formation. What set the band apart in many ways was Oxley's song writing ability. The chemistry between the four members was perfect too. The Oxley brothers and Bill Bilson hailed from the northern New South Wales town of Kingscliff where they played in a garage band called Wooden Horse. The band gained early experience when the students of Tweed River High School were obliged to attend a compulsory concert in school hours arranged by the Oxley's father, who was an Art teacher at the school. Anyone who failed to applaud or was in any way unsupportive was awarded detention. Richard Burgman came from WaggaWagga, and they all met in Sydney in 1979, forming The Sunnyboys. On August 15th 1979, they played their first gig, supporting inner-city faves The Lipstick Killers. In October of that year the band recorded four songs with Lobby Loyde. The tracks, "Love To Rule", "The Seeker", "What You Need" and "Alone With You", all appeared on the band's self-titled and independently released 4-track 7" EP on Phantom Records. The initial pressing of 1,000 copies sold out in two weeks. The Sunnyboys signed to Mushroom Records early in 1981, becoming the first Sydney-based band on the label, and by July that year had cracked the mainstream charts with the single "Happy Man". The same month they released their own independent EP which was given away at gigs, entitled Happy Birthday containing the tracks "What You Need", "Why Do I Cry?", "I Want To Be Alone" and "Let You Go". Their eponymous debut LP, was recorded at Alberts Studio during May, June and July 1981 with producer/mentor Lobby Loyde. The album had an initial print run of 2,000 on yellow vinyl, reached number 13 on the national album charts in October 1981 and remains an Australian classic. The album produced a second hit single, a new version of "Alone With You", which reached number 15 on the national singles chart, establishing The Sunnyboys as a bonafide headline attraction. In the midst of their heavy touring schedule the band recorded their second album, Individuals (issued May 1982). The album peaked at number 19 and two singles from the record charted briefly: "You Need A Friend" and "This Is Real". Their fifth single, "Show Me Some Discipline" charted in Sydney only. The band meanwhile travelled to the United Kingdom where they played two sold out shows at the famous Marquee Club before recording their 3rd album at Ridgefarm Studios, Surrey. The resultant album, Get Some Fun displayed a greater diversity and more confident musicianship. To coincide with the album's release, the band embarked on their first national Australian tour since May 1983. Unfortunately, neither the LP or the singles from the album ("Love In A Box" and "Comes As No Surprise") charted strongly enough. Internal dissent also plagued the band and The Sunnyboys announced their break-up in June 1984. Their farewell tour produced the album Real Live which was recorded over two nights in Sydney (29th and 30th June). In 1985, the French label Closer combined The Sunnyboys' first two albums as a double set entitled Days Are Gone for the European market. Following the demise of The Sunnyboys, Jeremy Oxley launched a new band called Chinless Elite. Shortly thereafter he formed another (and more successful) group, called The Fishermen. This band released one brilliant pop single entitled "Can't You Stop?" on the Waterfront label before calling it a day. Richard Burgman meanwhile joined The Saints and ultimately Weddings Parties Anything. He later emigrated to Canada. Peter Oxley and Bill Bilson formed the soul band The Sparklers with another Oxley sibling, Melanie. In late 1987, Jeremy Oxley attempted to revive The Sunnyboys with a new line-up. The new band signed a deal with RCA and released an album entitled Wildcat (produced by ex-Sherbert keyboard player, Garth Porter). The album failed to convince old Sunnyboys fans and the band broke up again in 1990. In July 1991, Mushroom released the compilation album Plays The Best and the original line-up reunited for a national tour. From 2001 onward, Jeremy Oxley has returned to writing and playing. Releasing Internet albums, Sanctuary 9, and Monastery, and is currently working on an up coming album, Companion THIS INFO CAME FROM http://en.wikipedia.org/wiki/Main_Page . 1. LOVE TO RULE 2. ALONE WITH YOU 3. WHAT YOU NEED 4. THE SEEKER . PHANTOM RECORDS 1979 OR 1980? . ***DOWNLOAD***
COOL SNOTTY GARAGE RECORD ON PINK VINYL. THE Witch Doctors were: (1989-1991 Line Up) Paul Carey - Vocals, Doug Price - Guitar, Steve Hill - Bass, Scott Burton - Keyboards, Greg Paynich - Drums; (1991-1995 LineUp) Paul Carey - Vocals, Gregg Hunt - Guitars, Steve Hill - Bass, Jake Cavaliere - Keyboards, Dave Klein - Drums PAUL CAREY WAS ALSO WITH THE UNTOLD FABLES, HE HAS A MYSPACE PAGE, GO CHECK IT OUT AT http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=289342055
John Caldwell and Mike Scott got together at the end of 1978 when they formed Another Pretty Face with drummer Crigg (Ian Walter Greig) and bass-player Jim Geddes, two old friends. Deciding that the best way to attract attention was to release a single, they obtained financial backing from the enigmatically named Z and started their own New Pleasures record label. The first single, "All The Boys Love Carrie" in May 1979, took the theme of Dion's "Runaround Sue" and updated it. It told of a girl who only let the boys go so far. The B-side "That's Not Enough", a Caldwell-Scott composition, was a thematic reply from the boys. The Chainsaw guitar sound was derivative of the fashionable new wave and a million miles from the Waterboys, but their plan worked better than they could have dreamed - 'NME' made it single of the week and the first pressing of 1,000 copies quickly sold out.For the second run of 5,000, the original wraparound green-and-white sleeve - with a photograph taken in front of Edinburgh's Sir Walter Scott memorial , band information and lyrics to both songs - was replaced by a single red-and-white sleeve with lyrics to the A-side only. Red sleeve copies surface occasionally but the earlier edition is much rarer as many were accidentally destroyed. "Carrie" was also released on the Scottish "Kultchur" compilation of acts recorded at the Barclay Towers Studios, Edinburgh. The collection, distributed by Pinnacle. Mike Scott WENT ON TO FORM THE Waterboys. THIS INFO CAME FROM http://www.waterboysfans.com/biog/pageone.htm , GO CHECK IT OUT.
THIS POST IS FOR MARK, D-DAY WAS A New Wave band from Austin, Texas, regionally popular in the early 80’s.De Lewellen - vocals Stuart Hillyer - guitarDave Fore - drums John Keller - bassGlover Gill - keyboardsWill Fiveash - guitar (replaced Stuart Hillyer)D-Day’s first 45 rpm single “Too Young To Date” was written by David Fore and De Lewellen. It reached as high as #1 on Rodney Bingenheimer’s show on KROQ in Los Angeles. A second single “Right to Know” also got a fair amount of air time on KROQ and on KLBJ in Austin. This led to a record with A&M in 1982 when Glover and Will had joined the band.Note that after the band had been together for a while, Glover Gill joined on keyboards and eventually Will Fiveash replaced Stuart Hillyer on guitar. You can read more about D-Day on this site: http://www.madmartian.com/music_dday.htm"Too Young To Date"reached #1 on KROQ in Los Angeles. There was some controversy over the "pop my cherry" lyrics. Some irate mothers complained to the FCC and the record was banned in California. After a DJ was suspended for playing the record, the 3rd verse was re-recorded to replace "pop my cherry". The altered version was played on the radio but not released to the public.De and John got married and have a Cajun band called ZYDECO RANCHZ. Will is a programmer for Sun. David is a programmer for IBM and plays with The Eggmen. Stuart just finished med school. SOME OF THIS INFO CAME FROM http://www.last.fm/ ,ENJOY!!! . 1. TOO YOUNG TO DATE
FIRST OFF, LET ME TELL YOU THAT THE SONG YELLOW SPOT DROVE ME AND MY FRIENDS CRAZY FOR YEARS. MY UNCLE HAD IT ON AN OLD TAPE, BUT HE DIDN'T KNOW WHO DID IT. WE LOOKED FOR IT FOR YEARS. ALWAYS HOPING THAT IT WOULD TURN UP ON THAT NEXT UK COMP THAT WE BOUGHT. BUT IT NEVER DID. I PLAYED IT FOR EVERYONE THAT I NEW AND NO ONE RECOGNISED IT. THIS SONG WAS A MYSTERY FOR AT LEAST 20 YEARS. THAN, ONE DAY I WAS LOOKING ON EBAY AND I SAW THIS RECORD, AND I THOUGHT, COULD IT BE? SO I BOUGHT IT AND SADLY, ANOTHER MYSTERY WAS SOLVED. I LOVE THIS RECORD AND I HOPE YOU WILL TOO. The Freshies were from Manchester, England & formed in the mid 1970's. Their first single, The FreshiesEP, was released in 1978 on the RAZZ record label. Their biggest selling and best known song is 1980's "I'm In Love With The Girl On The Manchester Virgin Megastore Checkout Desk", renamed as "I'm In Love With The Girl On A Certain Manchester Megastore Checkout Desk" on request from Virgin Records, which reached number 54 in the UK charts in 1981. The Freshies were led by Chris Sievey, and the members of the band changed numerous times. Others who played with Sieveyinluded Martin Jackson (later with Magazine) and Billy Duffy (later with The Cult). The usual line-up, however, was Barry Spencer (guitar), Rick Sarko (bass, ex-The Nosebleeds) and Mike Doherty (drums, ex-The Smirks). Sieveypre-dated the self-financing ethic of punk when he created his own record label "Razz" in 1974. "Razz" went on to release over 60 titles, including much of The Freshies material. They also produced possibly the first multi-media single by including The Biz, a Sinclair ZX81 game, on the tape version of one of their singles, something which Sievey later did himself as a solo artist with his single "Camouflage". THIS INFO CAME FROM THE FRESHIESMYSPACE, CHECK THEM OUT. http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=186415534
This next record is a request for my Friend John, I really don't know much about this band and really couldn't find much on the web. I do know that they were from Long Island N.Y, and that this single is on death records, the same label that the previous post of jimi lalumia is on. he is thanked on the back of the single. There is some info on this band along with a post over at the great killed by death blog. This is an absolute classic record, enjoy!
The Lyres are a Boston-area band led by Jeff "Monoman" Conolly. Lyres were founded in 1979 following the breakup of DMZ. Their most popular songs included "What A Girl Can't Do" and "Help You Ann". The original lineup of the band featured DMZ guitarist J.J. Rassler. Former DMZ members Rassler, Rick Coraccio, Paul Murphy, and Peter Greenberg had rejoined Connolly in Lyres over the course of their existence (from 1979 to the early 2000s) . Miriam Linna, former drummer of The Cramps and The A-Bones, played in Lyres in 1986. Stiv Bators of The Dead Boys and Lords of the New Church, and Wally Tax of The Outsiders also recorded with Lyres in the late 1980s. Lyres were less active in the 1990s, due to Conolly living in California and in Europe for brief periods of time. After a renewed period of activity in the early 2000s, the band went through another dormant period up until 2005. The band has been playing regularly during the last two years and sound as strong as ever. Given the large number of personnel changes that Lyres have gone through over the years - Conolly is the only member who has been in every lineup - the band will always be around in some form. INFO CAME FROM http://en.wikipedia.org/wiki/Main_Page WITHOUT QUESTION ONE OF MY FAVORITE GARAGE RECORDS BOTH SIDES ARE CLASSICS!!! NOTHING ELSE TO SAY, ENJOY!!!
Humans were a well entrenched Santa Cruz, California semi-surf band, that had played in the area since 1976, originally as The Mysterious People. In 1979 they took the name Humans. Interestingly, the three mainstays (Sterling Storm, Eric Gies and John Anderson) have played together in some fashion since the 1960's in Southern California (Eddie and The Showmen(1963) are the earliest known recordings of the three), working their way up the coast to the idyllic Santa Cruz area. Sterling Storm's lyrics and voice were reminiscent of Wall Of Voodoo's Stan Ridgway, while bassist Eric Gies' (responsible for some of Humans' other material) wrote mostly quirky love ballads. Most of their songs centered around paranoia, big cities and personal identity crises with a dash of zany love and sex. The playing of both the writers as well as guitarist John Anderson (no, not that John Anderson), and drummers Jerome Deupree and Jim Norris (who rotated through during Humans' I.R.S. period) were top notch. Keyboardists David Larstein and Lee Stewart provide the frantic rhythm that gave their 'near-hit' "I Live In The City" it's dynamic one two punch. While nominally a "surf-band" their style embodied touches of Reggae, R&B and pure bubblegum pop and rock. Storm, Gies and Anderson were rounded out by a rotating assortment of drummers and sometime keyboardists. They continued to play around the Bay Area into the late 80s and even managed to make a long-form video to accompany their full length I.R.S. LP before calling it quits. Storm is now producing records and one of the two drummers who "rotated on through" during their I.R.S. stint is now in Boston, drumming for both a jazz trio and an alternative rock band.THIS INFO CAME FROM, http://www.rudyscorner.com/irscorner/h/humans.html THIS VERSION OF THE SINGLE IS PROBABLY A LITTLE MORE RARE AND HAS 2 TRACKS THAT ARE DIFFERENT FROM THE IRS VERSION THAT CAME OUT A YEAR AFTER THIS. I LIVE IN THE CITY HAS ALWAYS BEEN A FAV. I HEARD THE ALBUM ONCE AND DIDN'T REALLY LIKE IT. CHECK IT OUT FOR YOURSELF. I THINK YOU CAN STILL FIND THEIR STUFF PRETTY CHEAP.
New Jersey's mod power pop trio the Insomniacs formed in Englishtown in 1989 when their previous incarnation, the Tea Club, fizzled out after a year of rehearsals and infrequent gigs. By 1991, the group, made up of brothers David Wojciechowski (bass) and Robert Wojciechowski (guitar) and drummer Michael Sinocchi, released their debut 7", My Favorite Story, on Umbrella Records. The Time Ticks By and Going Out of My Mind singles followed, and in 1994, the band put out its self-titled EP on Estrus, known among fans as "the ghoul record." The next two years brought the Sylvia Gray and Already Down 7" records. The band's first album was delayed by the infamous Estrus warehouse fire, but in 1997, the Insomniacs finally debuted their first full-length of catchy munster rock, Out of It. The groovy, shag carpets and mood rings follow-up, Get Something Going!, arrived on the scene in 2000, and the similarly fabuloso Switched On! appeared in finer record shops in 2004. ~ Charles Spano, All Music Guide. I PROBABLY SAW THESE GUYS LIVE LIKE TEN TIMES THROUGH THE 90'S. A VERY GREAT AND UNDERRATED BAND. VERY NICE GUYS. MY SINGLE SAYS LIMITED EDITION OF 500. MOST OF THE INFO FOR THIS POST CAME FROM http://www.answers.com/.
The Bandables were a high-school combo from Port Washington, NY. Though '84 was far too late for the powerpop trend, they had fun for a couple years, had some success on college radio and a Hear No Evil track, and when singers Jerry and Amy broke up, so did the band. Jerry Kitzrow played in Wild Honey in the early 90s. THIS INFO CAME FROM http://www.hyped2death.com/allTeenline%20ABC.htm A GREAT SITE WITH LOTS OF GREAT INFO. . 1 CYNICISM 2 LOVE LIES DOWN
I KNOW THESE GUYS ARE NOT REALLY TAKEN TO SERIOUSLY, BUT THIS RECORD AND SNUFF ROCK ARE ABSOLUTE CLASSICS IN MY MIND. SERIOUS OR NOT, FUCK YOU IS A RAGING PUNK ANTHEM IF I EVER HEARD ONE. I THINK I SAW A COOL VIDEO FOR THESE GUYS OVER AT UTUBE. I GOT THIS INFO FROM, http://en.wikipedia.org/wiki/Main_Page, Alberto y Lost Trios Paranoias (often erroneously spelled Alberto y Los Trios Paranoias) were a comedy rock band, formed in Manchester, England in 1973. Their story is told in the book 'When We Were Thin' (published 2007 by Hotun Press). The name of the band is a corruption of a Latin American band called Alberto y Los Trios Paraguayos. Created in 1973 by former member of Greasy Bear -- Chris "C.P." Lee and Jimmy Hibbert (vocals, bass) and Bob Harding (vocals, guitar, bass), the comedy sketch outfit became a musical group in 1974 and was joined by former Greasy Bear drummer Bruce Mitchell (drums), with Les Prior (vocals), Simon White (steel guitar, guitar), Tony Bowers (bass, guitar) and Ray "Mighty Mongo" Hughes (second drummer). They became a popular support act, supporting Hawkwind on their 1974 tour. The group mercilessly parodied the major rock names of the 70s - "Anadin" was a reworking of Lou Reed's "Heroin" / "Sweet Jane". By 1975 they were topping the bill in their own right and were supported by such acts as The Police, The Stranglers and Blondie. As with many comedy ensembles, the Albertos belied their comic aspirations by their exemplary musicianship and they released three albums and a variety of spoof discs, culminating in the musical play "Snuff Rock". "Snuff Rock" was the record-breaking musical play presented at London's Royal Court Theatre and Round House, and was famous for the role of the comic disc jockey played by Les Prior. The accompanying EP, "Snuff Rock", released on Stiff Records, poked fun at the punk rock phenomenon, targeting the Sex Pistols ("Gobbing On Life"), The Damned ("Kill") and The Clash ("Snuffin' Like That") as well as a myriad of reggae bands in "Snuffin' In A Babylon". For once, the Albertos' act was successfully transferred to vinyl. They hit the UK Top 50 with the Status Quo spoof, "Heads Down No Nonsense Mindless Boogie" in 1978. Les Prior died in January 1980 from leukemia, which left a large gap in the group. After their nationally-networked TV show Teach Yourself Gibberish and a crack at America with Sleak, the Albertos called it a day in 1982. The band's brand of spoof rock was in the same tradition as that of the Bonzo Dog Doo-Dah Band and National Lampoon . 1 HEADS DOWN, NO NONSENSE, MINDLESS BOOGIE 2 THANK YOU 3 FUCK YOU 4 DEAD MEAT (PART 2) . LOGO RECORDS 1978 . ***DOWNLOAD***
I COULDN'T REALLY FIND MUCH ON THIS BAND BUT I DID FIND THIS OVER AT http://bubblegum.the.punk.free.fr/pp-dg1.html AGENTS -Don't Change Me 2:24 (Kool Kat PURR-1) Eastern PA/Philadelphia '81: The Agents' original label Kool Kat is still alive and well . Leader Ralph Leonen, meanwhile, has a cool musicians' blog going at ralphworld.com. I THINK THIS IS A REALLY UNDERRATED RECORD. YOU CAN STILL GET THIS FAIRLY CHEAP IF YOU LOOK AROUND. I HEARD ANOTHER SINGLE BY THESE GUYS THAT I DIDN'T THINK WAS AS GOOD. . 1 NEED THE GIRL 2 DON'T CHANGE ME 3 AMERICAN MAN 4 SUBURBAN PARADISE . KOOL KAT RECORDS 1981 . ***DOWNLOAD***
Adrenalin O.D. formed in 1981 from the ashes of late '70s punk band The East Paterson Boys Choir. A.O.D.'s first recordings saw release on the widely distributed New York Thrashcassette compilation released on ROIR cassettes in 1982. The compilation also featured the first recordings of the Beastie Boys, as well as prominent NYCpunk bands like the Bad Brains and Kraut. The comedic and speedy "Paul's Not Home" became an instant college radio hit. A.O.D.'s first vinyl release, a six song (EP) entitled Let's Barbecue, was released on their own Buy Our Records label. Because the budget was so tight, the band could only afford 15 minutes of studio time. They recorded all six tracks in one take with no overdubs. Buy Our Records became one of New Jersey's largest indie punk labels and spring boarded the careers of many bands including Flag Of Democracy, Raging Slab, and Pussy Galore.SOME OF THE INFO ON THIS POST CAME FROM Wikipedia. I'M SURE THIS WAS POSTED BEFORE, BUT IT'S ONE OF MY ALL TIME FAVORITES. MY COPY HAS OZZY IS GOD WRITTEN ON THE INSIDE. THESE GUYS STILL PLAY AROUND THE JERSEY AREA ONCE IN A WHILE. LAST I KNEW JIM FOSTER THAT PLAYS GUITAR IN THIS LINE UP, WAS WITH ELECTRIC FRANKENSTEIN.
I BORROWED SOME OF THIS REVIEW FROM http://www.punknews.org/ No Way Records is putting out `82 revival hardcore like it's no one's business. No Way's newest find is Social Circkle, a band from Massachusetts. The band gets things done loud, fast, and fun. The lyrics are a perfect mix of anger, nihilism, and angst, and the delivery is perfectly pissed off -- angry, yet understandable. The EP clocks in at five-and-a-half minutes, which tells you something about the speed of the drumming, and it left me itching for more. It looks like No Way has found yet another band to keep an eye on. IF YOU LIKE THIS GO BUY IT . IT SHOULD STILL BE AVAILABLE.
Shotgun Solution's purpose is sharing my passion for pre 1990's records and underground music. If your a band, label, etc. looking for exposure or if you want to contact me about anything to do with post 1990's music; check out my new blog, Neoteric Melodies. For anything else or if your not into having your record featured here, you can contact me here, enjoy!
Unfortunately, all of my pre 2/19/12 online files were lost during the takedown of Megaupload. I hope to eventually fix all of my broken links in time. But until then, if there's something you really want to hear I’ll consider requests.