Welcome To the Voodoo Vault. Halloween is without a doubt, my favorite holiday. Its a time when you can be anyone you want to be. Your only limited by your own imagination. As a matter of fact, I like it so much I got married on this day. In this download you will find a sounds of Halloween soundtrack, A cool Halloween album by the Fuzztones, and the coolest little monster, from Electric Frankenstein. Which by the way I had played at my wedding reception. Anyway I hope you all enjoy my blog as much as I enjoy doing it. I HAD TO DO THIS POST IN TWO PARTS. YOU WILL HAVE TO DOWNLOAD BOTH PARTS TO GET THE FULL POST.
I think this was a cool record. First. cause you have to play both sides to hear the full song. second, cause it's recorded live and third, I like the cover. It has a transparent piece of plastic with checkers that go over the single. My camera couldn't capture it right so I had to take it off .So it was 1979 and a bunch of psyched-up, garage lovin, hi-heel and pink pant clad groovers embarked on an epic journey to share their psychosis with the world. John DeVault, Holly Scanlon, Mike Meehan, John Florence, Debora DeMarco and Eric Stumpo rocked out an ever expanding repertoire of garage classics from the 1960's (if you can remember it you weren't there...). The fledgling band attracted the attention of Tom Champlin, Eric Vandelin, Evan Williams and Mike Ripa - and created the wall of guitar sound which became indicative of Plan 9.1981 saw the release of the first single ("Can't Stand This Love, Goodbye") quickly followed by the "Frustration" EP, lots of touring, a meeting with the (at the time) relatively unknown R K Sloane and the recording of a full length album, "Dealing with the Dead" (which was released in 1983 sporting full color florescent artwork and cool comic insert by RK Sloane). Plan 9 were nominated in 1983 for a CMJ Future Music Award, along with the Lyres."Five Years Ahead Of My Time" was released as a double A-side, Apparently these guys are still out in some form. Go check out their myspace at http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=246305143
Paper dolls is a powerpop classic and definitely gets my vote as one of the more original covers for a single. I'm not sure what if any airplay this may have received ? It surely deserved it , I never heard the album , I'll have to try to find it . Really not much info out there about these guys, but wikipedia had a little . Screams was a late 70s Power pop band from the Champaign, Illinois region, who produced one album titled Screams. I have to assume that this single was taken from that album ? The album, Screams, was released in 1979 on the Infinity Records label . Members of Screams were David Adams (lead vocals), Steven Jones (bass guitar, vocals), John Siegel (guitar, vocals), Brad Steakley (drums) Since the demise of the band, singer David Adams has achieved considerable success with his web-based business, Adams Custom Slide Shows, located at http://www.adamscustomslideshows.com/This band backed up Van Halen on their first album tour.
Definitely one of my all time favorite records. The Pointed Sticks were formed in 1978 by vocalist Nick Jones, guitarist Bill Napier-Hemy, bassist Tony Bardach and drummer Ian Tiles; keyboard player Gord Nicholl joined later. After releasing several singles including this their second and undergoing a number of personnel changes, the band released their debut album, Perfect Youth, in 1980. They disbanded the following year. The band reformed after a hiatus of twenty-five years to play shows in Japan. They recently played a sold out performance in their hometown of Vancouver, B.C. More shows and recording are planned. I don't think any of the other versions of either of these songs are as good as these. They also had a great track on the Vancouver comp. You can visit their site at http://thepointedsticks.com/ also sudden death has reissued most or all of their material, which you can and should(if you don't own the records) go buy at http://www.suddendeath.com/
The Unclaimed Sid Griffin's first 'proper' band now hold a cult status as far as the sixties/garage/psychedelic revival that grew up around Los Angeles in the early 1980s. Their look, sound and whole attitude to garage music at once both encouraged the likes of Steve Wynn to establish their own bands, whilst The Unclaimed themselves remained firmly rooted in the sound and look of 1966. Effectively The Unclaimed were always Shelley Ganz's band and it was in response to an advert in The Recycler that Sid Griffin became involved. Ganz's ad to start a band along the lines of The Standells, The Seeds and sixties garage music immediately appealed to Sid who had quickly grown tired of playing 'punk' in Death Wish and was more interested in exploring the sound of the sixties, perhaps sensing a change in people's attitude to the music. The pair got together in the December of 1978, immediately hit it off and began looking for the rest of the group. They found them in the shape of bassist Barry Shank, guitarist Jeff Kaufman and drummer Steve Galloway and by April 1979 had a basic set up with which to work. The band began playing obscure covers by sixties garage bands, things so bizarre that even the most avid fan would not have heard of it before. The idea being that if the song was familiar to the audience then it just wasn't obscure enough to be in the set! So the band deliberately chose to cover incredibly rare songs such as those that were only available on unissued acetates by the most outlandish sixties bands. By the end of 1979 Kaufman and Galloway had been replaced by Matt Roberts (drums) and Thom Hand (guitar). The band had now picked up a bit of a following in and around Los Angeles with other bands beginning to rely on sixties influences and a revival movement seemed to be beginning. At this time The Unclaimed also began to add original songs to their set in addition to tracks by The Chocolate Watch Band etc. Whilst they were now making their own 'sixties' music the band had little chance of putting out a record, as only Sid had a regular job and the band lacked the support of a label. However they did find help in the shape of Dave Gibson who was prepared to put up some money to enable them to issue a record. The result, in September 1980, was the Moxie EP, a four track single which featured two tracks each from Griffin and Ganz. The Griffin titles were Time To Time and the highly acclaimed Deposition Central (the Acid Song), whilst Ganz contributed The Sorrow and Run From Home. The last of these was also later used by Greg Shaw on the first Battle Of The Garages compilation on Voxx records in 1981. The EP had a very poor production which the band were not happy with but money was tight and they had to settle for what they could get. The band continued to pick up gigs around LA though in February 1981 they replaced Thom Hand with Rich Coffee, the former guitarist of Indiana punk band The Gizmos. About this time Sid Griffin began to feel somewhat restricted by the definite sixties outlook of The Unclaimed, joking that if bands in the sixties wore purple underpants, then so would they. Eventually this came to a head with Sid determined to recognise that this was now the 1980s whilst Shelley Ganz remained steadfastly planted in the genre of 1966. The pair's differences could not be reconciled however, and though they remained friends, Sid Griffin left The Unclaimed in November 1981 to eventually form The Long Ryders. This and other cool info about the unclaimed can be found at http://www.dtodo1poco.com/musica/modules.php?name=News&file=article&sid=329
N.O.T.A. or none of the above were a great hardcore band from Tulsa, OK. The band started in 1979, and ended around 1987. The band reformed sometime in the early 90's and may still be around, I'm not sure. This is their first e.p.. Prior to this I think they had a live demo tape and a track on maximum rock ' n ' rolls welcome to 1984 comp. They have a myspace that for some reason I cant bring up and there's a web site called N.O.T.A. world headquarters. Go check it out http://www.papaskin.com/~nota/
The Replacements' history began in Minneapolis in 1978 when a nineteen-year-old Bob Stinson gave his eleven-year-old brother Tommy Stinson a bass guitar to keep him off the streets. That year Bob met Chris Mars, a high school dropout. With Mars playing guitar and then switching to drums, the trio began covering songs by Aerosmith, Ted Nugent and Yes without a singer. One day, as Paul Westerberg, a janitor in a Senator's office, was walking home from work, he heard a band playing in the Stinson's house. After being impressed by the band's performance, Westerberg regularly listened in after work. Mars knew Westerberg and invited him over to jam; Westerberg was unaware Mars drummed in Dogbreath. Dogbreath auditioned several vocalists, including a hippie who read lyrics off a sheet. The band eventually found a vocalist; however, Westerberg wanted to be the singer and took him aside one day to say "The band doesn't like you". The vocalist soon quit, and Westerberg replaced him. Before Westerberg joined the band, Dogbreath often drank and took various drugs during rehearsals, playing songs as an afterthought. In contrast to the rest of the band, the relatively disciplined Westerberg appeared at rehearsals in neat clothes and insisted on practicing songs until he was happy with them. After the other band members discovered first-generation English punk bands like The Clash, Dogbreath changed their name to The Impediments and played a drunken performance without Tommy Stinson at a church hall gig in June 1980. After being banned from the venue for disorderly behaviour, they changed their name to the Replacements. In an unpublished memoir, Mars later explained the band's choice of name: "Like maybe the main act doesn't show, and instead the crowd has to settle for an earful of us dirtbags. [...] It seemed to sit just right with us, accurately describing our collective 'secondary' social esteem". The band soon recorded a four-song demo tape in Mars' basement, and handed it to Peter Jesperson in May 1980. Jesperson was the manager of Oarfolkjokeopus, a punk rock record store in Minneapolis, and had also founded Twin/Tone Records with a local recording engineer named Paul Stark. Westerberg originally handed in the tape to see if the band could perform at the Longhorn, a local venue where Jesperson disc jockeyed. He eavesdropped on Jesperson's office as Jesperson put in the tape, only to run away as soon as the first song, "Raised in the City", played. Jesperson played the whole song through, again and again. "If I've ever had a magic moment in my life, it was popping that tape in," said Jesperson, "I didn't even get through the first song before I thought my head was going to explode". Jesperson called Westerberg the next day, asking "So do you want to do a single or an album?". With the agreement of Stark and the rest of the band, the Replacements signed to Twin/Tone Records in 1980. Jesperson's support of the band was welcomed, and they asked him to be their manager after their second show. Later that summer, the band played several club gigs to almost empty venues; when they finished a song, apart from the low hum of conversation, the band would hear Jesperson's loud whistle and fast clapping. "His enthusiasm kept us going at times, definitely", Mars later said, "His vision, his faith in the band was a binding force". After the Replacements signed to Twin/Tone, Westerberg began to write new songs, and soon had a whole album's worth of material . When the band's first album, Sorry Ma, Forgot to Take Out the Trash, finally appeared in August 1981, it received positive reviews in local fanzines. Option's Blake Gumprecht wrote: "Westerberg has the ability to make you feel like you're right in the car with him, alongside him at the door, drinking from the same bottle". The album contained the band's first single, "I'm in Trouble", Westerberg's "first truly good song". Sorry Ma included the song, "Somethin to Dü", a homage to fellow Minneapolis punk band Hüsker Dü. the Replacements had a friendly rivalry with the band, which started when Twin/Tone chose the Replacements over Hüsker Dü, and Hüsker Dü landed an opening slot at a Johnny Thunders gig that the Replacements wanted. Hüsker Dü also influenced the band's music; The Replacements began playing faster and became more influenced by hardcore punk. Despite this, the band did not feel part of the hardcore scene; as Mars later stated, "we were confused about what we were". This and plenty more info can be found at http://en.wikipedia.org/wiki/The_Replacements
This record smokes, it's one of the best hardcore records that i,ve heard in a long time . The Formaldehyde Junkies are from Minneapolis, the Junkies play fast, crazy hardcore punk rock not unlike the early `80s D.C. or Boston scenes. Are a Total Wreck, their first EP, is a latter-day masterpiece of punk rock. In a few short minutes, FJ channels the speed of the F.U.’s , the conviction of Minor Threat, and the snotty attitude of Government Issue, without sounding like a crappy tribute band. Some of this info came from http://www.punknews.org/review/5471 . I read that they supposedly had an album that was to be released, but I think they broke up before that happened. If anyone has any info on these guys or the album, please feel free to comment!!! Go visit the label at http://www.firestarterrecords.com/fr09pi.htm .
Like me,have any of you ever listened to the Saint's do demolition girl on the old hope and anchor comp and wish that someone would put out the rest of the show? well you prayers are answered . This record smokes, and is essential for any Saint's fans. And if your not a fan, one listen to this and you'll become one. This is what wikipedia has to say about the Saints are an Australianrock band, formed in Brisbane in 1974. They are considered to be one of the first and most influential punk groups. By 1975, contemporaneous with the Ramones, The Saints were employing the fast tempos, raucous vocals and "buzzsaw" guitar that characterised early punk rock. With their first single "(I'm) Stranded", in late 1976, they released a record ahead of better-known punk acts like the Sex Pistols and The Clash. Bob Geldof has been quoted as saying, "Rock music in the Seventies was changed by three bands — the Sex Pistols, the Ramones and The Saints". The founding members of the band, other than Chris Bailey, left during the 1970s and '80s. During the 1980s, The Saints progressively adopted a more mainstream, classic rock style, and they achieved increasing commercial success in Australia. . LOCH CARDHU MUSIC 2005 . ***DOWNLOAD***
Up today i have a couple of live recordings for your listening pleasure. First up is a great recording from the FU'S, that comes from a disc called the origin of the straw dogs. I added tracks to it and made a quick generic cover from the kill for christ record . It might be kind of generic, but the recording is great!! So I thought it was worth posting. this is what wikipedia has to say about them. The F.U.'s were an early-mid 80's Bostonhardcore punk band consisting of John 'Sox' Stocking, Steve Grimes, Bob Furapples (Robert Hatfield), and Wayne Maestri. They took their name from a comment Wendy O. Williams made in an interview in which she said something to the effect that "Punk rock is a way of saying 'F you' to society." They played fast, snotty thrash/hardcore, although like many '80s hardcore bands (and especially Boston hardcore bands), they later switched to a more hard rock/heavy metal sound. Their first recorded output was on the 1982 Modern Method compilation, This Is Boston, Not L.A., which also featured Gang Green, Jerry's Kids and The Freeze, among others. A companion 7" EP, Unsafe At Any Speed, included another F.U.'s track. Later the same year, their debut LP, Kill For Christ, was released on X-Claim Records, featuring cover artwork by legendary artist (and Septic Death frontman) Brian 'Pushead' Schroeder. Their second LP, also on X-Claim, entitled My America, earned them a reputation as right wingnationalists due to its Rambo-patriotic lyrics (which were half-sarcastic), and artwork. The band used a stock album sleeve, available pre-printed in bulk for cheap record projects (q.v. the Flex Your Head "wheat field" cover), featuring a sentimental American landscape on the front, and George C. Scott as General Patton, in front of an American flag, on the back. The band were mentioned in a song by The Dead Milkmen entitled "Tiny Town". The song is about a conservative smalltown in a southern US state. The verse that references them has the song's narrator [a redneck Klansman] stating "...We hate blacks, and we hate jews, and we hate punks, but we love the F.U.'s". The LP Do We Really Want To Hurt You? followed in 1984, on Gasatanka/Enigma. This record showed hints of the band going in a more rock direction, which was finalized by their changing the band's name, beginning with the next release, to Straw Dogs. F.U.'s material has been re-released several times, and all three records are currently available on CD from Taang Records. . LOST AND FOUND RECORDS . ***DOWNLOAD***
This next post, is in memory of my uncle Paul, who passed away this last summer, at the way to young age of 53 . Paul and I went to many record stores and record shows together . We also shared a love of garage music . We could listen to a song with a great harmony ,organ ,or guitar lead. and I new by the smile on his face, that he felt the music just as I did. he got it !! I miss him already and hope that theres some great garage tunes in heaven that he can party to. This was one of his favorite records .This band sounds like Neanderthals banging rocks together" The band started in 1982, played their first show in 1983 and played their last show breaking up in 1984. The band released two EP's on Midnight records before disbanding. "We're Outta Place" released in 1984"and "Outta Too!!" released in 1987. "We're Outta Place" was the first record to ever come out of the N.Y.C. garage psych punk scene. It preceded the Vipers and Fuzztones singles by nine months, and created quite a stir from those more mature garage bands who could not understand why the "cave teens" had been elected and selected first.The answer to those questions came soon with world-wide acclaim. The mini-LP immediately hit number 1 in the alternate charts in Italy, France, and Holland, and received rave reviews in the U.K., U.S. and Canada.Chandler's vocals and the Outta Place's straight fresh delivery will probably never be equaled or surpassed. They also have a myspace http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=201002192 go check them out.
This next post, is for my best friend , my wife Karen . she really likes this disc . we saw them live once, and I was very impressed. definitely my favorite female garage band. I like just about every song on this disc. most of the female garage bands that I've heard tend to have a fluff to them, or just sound winy or screechy . These girls are loaded with attitude. The Friggs defined chick-driven garage rock during their ‘90s heyday. From their first 7-inch single in 1991, “Come Now,” The Friggs reigned as the queens of garage-pop sass, mixing it up with their own blend of surf, punk and girl group influences and releasing five 7" singles, one 10" EP and their classic debut album, Rock Candy, over their nearly decade-long year career. Led by ponytailed minx-with-the-mostest Palmyra Delran, The Friggs’ guitarist and principal songwriter, the girls shared a passion for trash pop culture, up-tempo rock music and getting the audiences up and moving. -- their track “Shake” appears in the hit film Superbad. "Rock Candy" proves to be one of those classic debut albums that rocks and rolls at the same time. Bad Word for a Good Thing" recently featured on a commercial for Chevy Trailblazer. Other movie credits include: "Jawbreaker" (2 songs), "Prey for Rock & Roll" (1 song), "Lipstick & Dynamite" (1 song), "the Treasures of Long Gone John" (2 songs), & "FUCK" (1 song) Like everyone else these days, they have a myspace . http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=59124011 go check it out.
Detroit has been the site of several musical generations of punk; Cinecyde emerged on the local scene there in the late '70s, gigging and releasing records (by several bands as well as compilations) on their own label. Following a sneery pair of rudimentary 7-inch EPs and some singles, I Left My Heart in Detriot was the groups first full length. A great mix of powerpop with a punk punch. Don't come crying to me is my favorite song from them. They have a myspace page, it's http://www.myspace.com/cinecyde go check them out.
This is one of my favorite live albums. especially side two starting with riot on sunset strip. if you listen to it straight through, your ears will bleed .The Hypstrz were a Twin Cities club institution in the 70s and 80s, and one of the first American bands to revive the 60s garage rock sound. The quartet gained a receptive audience in the burgeoning punk/new wave movement for its incendiary live shows, With a pounding, hyper attack, the band commences to steamrolling through a loud, crowd-pleasing, drunken dancing set of mostly covers. You can practically smell the fresh sweat being tossed around in the beery heat; This is the quintessential party album.
GREAT NEW LP, THE BAND IS FROM OAKLAND CALIFORNIA, AND I THINK THIS IS A VINYL ONLY RELEASE. AS FOR THE MUSIC, IF YOU TOOK THE VOCAL STYLING'S OF THE RAMONES DEVO AND THE WIPERS, SET IT TO SOME GREAT MID TEMPO POP PUNK . I THINK YOU WOULD HAVE A PRETTY ACCURATE DESCRIPTION OF THIS RECORD. I REALLY LIKE IT. AFTER A COUPLE OF LISTENS, YOU'LL BE HOOKED. GO OVER TO THEIR MYSPACE AND CHECK THEM OUT. http://www.myspace.com/thepetsoakland AND AGAIN, I POST NEW BANDS IN HOPE THAT AFTER YOU HEAR THESE BANDS, YOU'LL WANT TO GO BUY THEIR RECORDS. SO PLEASE SUPPORT THESE GREAT NEW BANDS.
DEAD ROCK 'N ROLLERS IS WITHOUT A DOUBT, A NEW JERSEY PUNK CLASSIC. AND A NOT SO EASY TO FIND RECORD THESE DAY'S. DETENTION WERE FROM MANVILLE N.J.. NOT TO FAR AWAY FROM WHERE I WORK. I THINK AT ONE TIME , MANVILLE HELD SOME KIND OF RECORD FOR HAVING THE MOST BARS PER CAPITA. THIS RECORD WAS PUT OUT ON VINTAGE VINYL RECORDS, AND THEY HAD AN ALBUM THAT WASN'T VERY GOOD IF I REMEMBER RIGHT. I KNOW I SOLD IT A LONG TIME AGO, SO I MUST NOT HAVE LIKED IT MUCH.
Great Chiswick release here, Johnny and the Self Abusers practised for one week, and with one original song, they were on stage. It was Easter Monday, 1977. (They weren't the first Glasgow punk band to play live, they were beaten to it three-piece The Jolt by two nights.) "Charlie and I only had to do it only once to realise that this was what we wanted. It was all lots of fun. Charlie had a violin, I played the few chords Charlie taught me on the keyboards and we also had a few girls who had made themselves up like Indians out for war, at our request. There was a touch of glamour there. Even then it wasn't punk. No spitting or anything, more like kitsch." Two weeks later, Johnny And The Self Abusers played Edinburgh supporting Generation X. "Nobody liked us, so we started to practise. John Milarky got money from his parents, and we used it to record a demo." This came to the attention of Chiswick Records, who promised to release a single in August. In the meantime, The Abusers continued writing and gigging. All of Milarky's songs were filtered out (no-one wanted to play his other compositions such as Toss Yourself Off which Charlie described as trash), and Jim and Charlie became the main songwriting team. Tensions started to mount between the two groups. This even erupted into fits of fury; one night, Brian McGee threw a wellington boot through Milarky's front window. By July 1977, it was obvious that they had nothing in common. But they stuck together - waiting for the single. They even bought a flat together in October; leading to more riotous behaviour. By now, fed-up with the confines of punk, and unhappy with the group's lavatorial name ("I began to feel Johnny And The Self Abusers sounded like Big Dick And The Four Skins. I can do without that kind of toilet humour"), Jim changed the name of the group to Simple Minds. This resulted in calls to Chiswick Records to get the name on the single changed - which was in vain. Most of this info came from http://www.simpleminds.org/sm/tree/jatsa1.htm go check it out.
THE B SIDE OF THIS RECORD HAS ALWAYS BEEN A FAMILY FAVORITE . IF YOU CAN WAIT THROUGH A COUPLE MINUTES OF SLOW TEMPO REGGAE, THE A SIDE WILL REWARD YOU WITH A PRETTY HARD HITTING ENDING TO THE SONG. THERE'S NOT MUCH INFO ON THE WEB ABOUT THIS BAND . BUT, AS FAR AS I CAN TELL THE DANGEROUS GIRLS WERE FROM WORCESTERSHIRE, ENGLAND THEY HAD AT LEAST FOUR SINGLES. THIS BEING THE FIRST AND I DON'T THINK I CAN RECALL EVER SEEING AN ALBUM FROM THEM . IF ONE EXISTS LET ME KNOW .
Meantime were a short lived powerpop outfit, out of Davis California who in 1981 released this three song single . This group was a precursor to True West. The other two tracks are pretty forgettable but, Two For One, is a powerpop classic . At least to me anyways . ENJOY
I named this blog after this single. Shotgun Solution is one of my all time punk favorites . A lot of good men will do some time for a fuckin cunt with out a spine !! Classic !!Theres really not much I can tell you about these guy's that you probably don't already know. But in case for some reason, you don't know who they are. This is what Wikipedia has to say about them . The Angelic Upstarts are an anti-fascist, socialistworking classOi!punk and skinhead band formed in South Shields, North-East England in 1977. More than two decades after its release, their debut single, "The Murder Of Liddle Towers", was included in Mojo magazine’s list of the best punk rock singles of all time. The original lineup was Thomas Mensforth (aka Mensi) on vocals, Ray Cowie (aka Mond) on guitar, Steve Forsten on bass guitar, and Decca Wade on drums. The band has reformed and split a few times, and some of the ex-members include bassists Ronnie Wooden, Glyn Warren, Tony Feedback, Ronnie Rocker and Max Splodge (who also had a stint playing drums). Other drummers have included Sticks (who later joined Cockney Rejects), Paul Thompson (ex-Roxy Music) and Chris White. Decca Wade rejoined the band for a few years before leaving again. Brian Hayes originally joined the band as second guitarist until Mond left, leaving Hayes as the only guitarist. Mensi was the only original member still in the band. In August 2006, Mensi announced he was resigning, however he requested that the band continue with Chris Wright (of the band Crashed Out) on vocals. The band's lineup became Chris Wright on vocals, Dickie Hammond on guitar, Neil Newton on guitar, Gaz Stoker on bass and Decca Wade on drums. In the latter part of 2007 Mensi rejoined the band and the line up is now as follows. Mensi-vocals, Gaz Stoker-bass, Dickie Hammond-guitar, Neil Newton-guitar and Brett Mulvaney,drums.
The Thanes have been playing since 1986 in the semi-obscurity befitting an Edinburgh act that never moved to London. Hailing from Edinburgh, Scotland, they have released tons of records on the coolest labels around, such as SUNDAZED, CORDUROY, MISTY LANE, LARSEN and DISTORTIONS to name but a few. They write originals that match their fine covers, and focus more on the music and overall sound than on adherence to iconography. They may not have had the commonly accepted caveman look and bowl haircuts of so many contemporaries, but they made some excellent music -- It's not easy to pick because these guy's have put out some really great records, but this is probably my favorite from the thanes. It's dark, the harmonies are great, in short, when I listen to this record at times it gives me chills. anyone who really loves music, knows what I mean. both sides are fantastic!!! enjoy Visit their myspace page, http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=72516631
The Vipers were a band Steeped in the traditions and style of classic 60’s garage, By early summer of 1981 they were playing well-received shows. Their originals were hookish, melodic, short songs - everything the mid-sixties gems they revered were. Vipers’ live sets from the beginning were a carefully mixed blend of covers, originals, and speed but their own compositions were of such quality that they were often indistinguishable from the hopelessly obscure covers they played. Old set lists included such classics as The Remains’ “Why Do I Cry?”, The Standells’ “Medication” (a song which would be a staple throughout their career), and The Robbs’ “Bittersweet”. Their first waxing was a homemade 4 track recording called “We’re Outta’ Here!” for Ron Rimsite’s ‘99th Floor’ fanzine recorded in their rehearsal studio, ‘The Nest’. Then, what would ultimately be considered their anthem, the trippy rave up “Nothing’s From Today” which was easily a highlight on one of Greg Shaw’s early Bomp/Voxx comps, “Battle Of The Garages”. Getting them more notoriety, it opened the doors for their first single release, a cover of The Five Canadians- “Never Alone” b/w an original called “You Left Your Hold On Me”, on the (then) new Midnight label. The single, in turn, received regional airplay, which further increased their East Coast penetration. This , tons of other info, and cool music is available at the vipers myspace, http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=161618592 go check it out.
Summer 1981. The Clash were in New York City to play a week at Bonds Casino on Broadway & 45th Street. The hottest gigs of the summer, these shows had already gained national attention as The Clashs only American appearances that year. The infamous ticket scandal broke..Bonds had oversold every show to double capacity. Both the club and The Clash became evening news items. The Clash themselves decided they would solve the problem by volunteering to play twice as many shows inorder to accommodate everyone that had bought tickets. "More dates added", announced the media.."More support bands needed", thought every musician and agent in NYC. Doug Holland and Don Cowan. Decided that this was the ideal situation for the bands debut what a laugh it would be if they actually got the gig! With fellow KRAUTs, Davey Gunner(VOCALS), Doug Holland (GUITAR), and Johnny (Koncz) Feedback (DRUMS), Don Cowan (BASS), they plastered the city with KRAUT posters. Doug and Don quickly recorded a 3-song demo tape. " Mick Jones likes it!" " are they nazi?, No, GREAT! They got the gig!". So on June 11, 1981, KRAUT made their first ever public performance, opening for The Clash at Bonds, and from that point on, theres no turning back. Though young (Johnny 13, Davey 15, Doug 18, and Don 22), they committed themselves to an irreversible course of action. They were a bit righteous to say the least, on a mission of sorts. They played a club called A-7, Maxs Kansas City, and just about anyplace that could hold a few punks. In August 1981, KRAUT released their first single "Kill For Cash" B/W True Colour and Just Cabbage" , the songs from the original demo for The Clash, now re-recorded with the help of RYK OAKLEY(producer). RYK had become the fifth member of the band helping them record and giving the guidance only a producer can give. "Kill for Cash quickly sold out its 1000- copy pressing. There's not much i can add, a real classic peice of N.Y. punk rock . This is a good history up to this record. This and other info, music, ect., can be found at their myspace , http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=28808657 . . 1. KILL FOR CASH 2. TRUE COLOUR 3. JUST CABBAGE . CABBAGE RECORDS 1981 . ***DOWNLOAD***
DIE TRYING IS A CLASSIC TRACK. I'VE SEEN THIS WITH TWO DIFFERENT PICTURE SLEEVES . THE PARASITES FROM N.J. DID A GREAT JOB OF COVERING IT. NEW MATH IS A BAND FROM ROCHESTER N.Y. WHO FORMED IN THE FALL OF 1976 . THIS RECORD WAS RECORDED IN A FIVE HOUR SESSION AT CHRISTMAS 1978. AFTER IT WAS RECORDED, THE BAND DIDN'T HAVE ENOUGH MONEY TO PRESS IT. RELIABLE RECORDS LOVED IT AND PUT IT OUT FOR THEM. THE RESULTING PRESS AND RADIO AIRPLAY GAINED ATTENTION FROM MAJOR LABELS, AND EVENTUALLY THE BAND SIGNED WITH CBS. THE UNOFFICIAL WEBSITE THAT SOME OF THIS INFO CAME FROM IS , http://members.aol.com/MickeyMoto/NewMath.html GO CHECK IT OUT!!!!
IS THIS JOEY SHITHEAD FROM D.O.A. SCREAMING FOR SOME GARAGE BAND ? NO THIS IS THE TIKIS FROM 1966. NOT TO BE CONFUSED WITH THE BAY AREA COMBO WHO BECAME HARPERS BIZARRE, THESE TIKIS WERE POPULAR IN THE SOUTHEASTERN REGION OF THE STATES, AND ALSO HAD RELEASES ON THE MINARET AND ASCOT LABELS. THEY MAY WELL HAVE ORIGINATED FROM NASHVILLE, WHERE SOMEBODY'S SON WRITTEN BY COUNTRY STAR RONNIE SELF, WAS RECORDED. I THINK THIS GUY'S VOICE AND THE LYRICAL CONTENT OF SOMEBODY'S SON ARE PRETTY HEAVY FOR 1966 . I TOOK THIS INFO FROM THE LINER NOTES OF THE I TURNED INTO A HELIUM BALLOON COMP, WHICH IF YOU CAN STILL FIND IT, THERES ALLOT OF CLASSIC RECORDS ON THEIR INCLUDING THIS ONE.
I really like this , a great little jangly pop record . "St. John's Alliance"formed in the summer of 1983 by two high school pals, Jon McNamara (a good witch) and Ron Vail ( a right mean cow ) when they discovered how much fun it was to harmonize while singing songs by Lennon/McCartney. They even took a crack at writing their own songs like their fab hero's and made sure that almost every song had a nice harmony and that thing they called "the sound", which seemed to mean jangly guitars and lots of minor chord progressions. This made their songs sound happy and sad at the same time, thus confusing their listeners and made them come back the following weekend to give it another go. Drummer Dennis Eisenhart was also a school mate who loved bug music and it wasn't long before the trio had attracted the talents of a handsome young cat named Ken Bussiere. Ken is a fab bass player and lover of good music ( Kaja-Goo-Goo, Lionel Ritchie, Clay Aken...) and was a major force in the 'education' of his fellow bandmates when it came to the more obscure music of their favorite period, the 60's. The band debut was the Fall of 1983 as an opener for legendary local rockabilly raves, "The Rebeltones". Both bands hit it off swimingly and a good time was had by all that chilly night at the (sob* sniff*) 2nd Avenue in Bethlehem, Pa. you can find this and more past and current info on the band at their myspace http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=62855388 Go check them out!!!, . 1. MARK MY WORD 2. NO ONE SEES . ALLIANCE MUSIC 1983 . ***DOWNLOAD***
The Blisters are one of the longest-lived and least-appreciated pop-punk outfits to ever come out of New Jersey. Beginning in 1987 with a string of singles and compilation cuts, the group established itself as a favorite in the Garden State's punk-rock underground by seamlessly blending Ramones-influenced three-chord rock'n'roll with Replacements-ish garage-punk. I really like that boy better scram. But hey, judge for yourself.
I REALLY COULDN'T FIND MUCH INFO ON THIS BAND , JUST A COUPLE OF REVIEWS ON THEIR MYSPACE . http://www.myspace.com/statues THE MYSPACE PAGE SAYS THAT THEIR FROM Sudbury, Ontario Canada. THESE GUYS KIND OF HAVE A BLEND OF 70,S PUNK , INDIE ROCK AND 90'S PUNK , THEY KIND OF REMIND ME OF ZOINKS, BUT WITH A MORE QUIRKY 70,S PUNK EDGE . I REALLY LIKE NO TIME, AND THEY DO A GOOD JOB OF COVERING GG ALLIN'S DEAD OR ALIVE . THEY HAVE QUITE A BIT OF STUFF OUT. GO CHECK THEM OUT AND BUY THEIR RECORDS.
I never said that i was only going to post vinyl, although that's where most of my collection is. So, this is my first cd , and what a great disk this is . This is a comp of most of their best stuff, and when you listen to it you will realize what a awesome band this is . Brothers Rick and Kurt Reil grew up playing music together in Central New Jersey and their strong musical and familial bond ultimately gave birth to The Grip Weeds. Both share singing and songwriting duties and their close-knit harmony vocals recall those of the Everly Brothers or The Byrds. Besides being a capable singer, Kurt’s explosive drumming resembles that of a young and sober Keith Moon, while Rick alternates between crashing power chords and delicate 12-string riffs. Female lead guitarist Kristin Pinell proves that a woman can rock as intensely as anyone; her epic melodic leads draw inspiration from the likes of Jimmy Page, Eric Clapton, Brian May and George Harrison. Rounding out the foursome is super musician Michael Kelly, whose bass lines run from lyrical to thunderous. The band has released four full-length CDs (three on the Rainbow Quartz label), performed throughout the US and in Europe, and has garnered significant radio/internet airplay including several songs spotlighted on Little Steven’s Underground Garage radio shows. The Grip Weeds have produced all of their recordings at their own studio House Of Vibes as well as those of many other artists- most recently, Kurt engineered and co-produced Meet The Smithereens, a CD tribute to the Beatles by New Jersey's The Smithereens. The Grip Weeds' latest release, House Of Vibes Revisited, is a remixed and remastered edition of their debut disc, re-imagined for the 21st Century. Featuring an impressive blend of Beatle-esque sensibilities fused with rock edginess, the band’s trademark lush harmonies and high caliber songwriting, the original release put The Grip Weeds on the map in the ‘90s. Having already remixed and remastered their second album The Sound Is In You in 2003, a “fresh coat of paint” on House Of Vibes seemed a natural next step; the album’s remix is a dramatic and sometimes astonishing sonic improvement, which celebrates and cements the band's reputation as D.I.Y. recording stalwarts. In addition, the band will be featured on compilations to be released on Little Steven’s Wicked Cool Records this year. I just saw these guys play some songs from this at a promotional show at vintage vinyl and they were really great . You should definitely own this disk. some of this info came from http://www.gripweeds.com/
I must have seen these guys at least 10 times through the 90's, and let me tell you they put on one hell of a live show .The Swingin' Neckbreakers only seemed to burst out of nowhere (although Trenton, New Jersey may be pretty damn close to nowhere). Brothers Tom and John Jorgensen had been champing at the bit to go out and do some rock 'n' roll damage for years. However, the odds on finding like-minded rabble rousers in their neck of the woods were against them. The duo recorded some home demos, and played a couple of obscure gigs here and there with different names and band members, until they adopted Don "Shaggy" Snook. John Jorgensen moved from guitar to drums, handing the six-string seat to Shaggy, while Tom continued to play bass and scream. In the spring of 1992 the trio recorded some demos, which they passed on to Maxwell's booking impressario and Telstar Records chief Todd Abramson at a Lyres/A-Bones gig at the Hoboken, New Jersey, club in the hopes of securing a gig there. Abramson liked what he heard so much that they not only got a gig, but an offer to go into the studio and record for Telstar. These sessions resulted in the band's first release, "Diggin' A Grave" (Telstar 008). The three song 7" offered a promising glimpse of the future. The Neckbreakers began doing local gigs, starting with a Lyres/Rising Storm show at Maxwell's that brought the band to the attention of many local hipsters. Based on the strength of these gigs -- and impressive sales of the debut single -- the Neckbreakers headed into Coyote Studios to record their first album in January of 1993. The resulting album, Live For Buzz (Telstar 012) has been hailed by critics and fans alike as a stunning masterpiece. The long player consisted of a strong mixture of well chosen cover tunes and excellent Tom Jorgensen originals. The opening cut, "You", became an instant favorite with its driving organ (courtesy of Dave Amels). The title track is a good old fashioned-hedonistic ode, not unlike the album's single, "Little Pink Medicine". Covers of The Rogues' "Same All Over The World" and The Jay Jays' "Shake It Some More" became the Neckbreakers' most requested live numbers. The pounding medley of "The Girl Can't Dance"/"Look Away" closed the album and most live shows, leaving fans breathless. A dramatic step forward from their original recording, Live For Buzz really put the Neckbreakers on the musical map. Area gigs began filling up to capacity as sales climbed. Later in the year, the Neckbreakers took Estrus up on their offer to record a Crust Club single of the month, the pounding "Workin' & Jerkin'". Which is my favorite single from them . some of this info came from http://www.neckbreakers.com/snhist.html
Ive always really liked this record . I think the lyrics to diamond in the rough are every as bit as relevant today as they were when these guys wrote them . In the early-80s, the patron saints of the Champaign, Illinois music scene were a four-piece band named The Vertebrats, They formed around 1978, and played a brand of simple, urgent, garage-rock --influenced by 70s punk and the British Invasion rock of the 60s-- defined the budding music scene. The ‘Brats were raw, dynamic and unpretentious, raised on The Clash, Rockpile, Creedence Clearwater Revival, The Ramones, and Neil Young, and empowered by their peers, like The Replacements, Husker Du, and Mission of Burma. Ironically, what makes the band sound so vital today is probably the same thing that kept the ‘Brats from getting a record deal in their prime. The Vertebrats music was too tuneful to make them “punk”, too rough around the edges to qualify them as “new wave”. Despite their rave reviews in the rock press of the day, shortsighted label executives didn’t know what to make of their approach. I think this was self released . Theres another great track called left in the dark on a comp called battle of the garages that I think voxx put out . Some of this info came from this website http://www.parasol.com/labels/reaction/reactcd003.asp .
I know I'm a little late on this, but I wanted to mention the sad passing of Creatures singer, Mark Smith, on June 1, due to complications related to Huntingtons Disease. I found a couple of pages, if you would like to read about Mark.
FROM THE LEHIGH VALLY , BETHLEHEM P.A. TO BE EXACT, HERE'S A GREAT SINGLE BY THE CREATURES OF THE GOLDEN DAWN . I POKED AROUND THE WEB AND COULDN'T REALLY FIND MUCH INFO ON THEM. I THINK THEY STARTED SOME TIME IN THE LATE EIGHTIES . I SAW THESE GUYS LIVE A COUPLE OF TIMES AT THEIR LOCAL STOMPING GROUND, THE FUNHOUSE . THEY WERE A REALLY GOOD LIVE BAND AND THEIR DRUMMER KICKED TOTAL ASS. WHICH I DON'T REALLY THINK COMES ACROSS ON ANY OF THE RECORDS THAT IVE HEARD . I BELIEVE THE DRUMMER ALSO WAS BRIEFLY IN A BAND CALLED THE SONIC MOOD SET . I THINK JT FROM THE ORIGINAL SINS WAS ALSO WITH THESE GUYS AT SOME POINT. AT ANY RATE THIS IS WELL PLAYED GARAGE MUSIC AND I WOULD SAY ALL OF THEIR RECORDS ARE WORTH GETTING, AND YOU CAN PROBABLY FIND MOST OF THEM PRETTY CHEAP. I THINK THEY HAVE FOUR OR FIVE ALBUMS AND A NUMBER OF SINGLES . THIS ONE IS MY FAVORITE .THEY ALSO DO A GREAT COVER OF WE THE PEOPLES MY BROTHER THE MAN ON ONE OF THEIR ALBUMS. ANYWAY, HAPPY HUNTING. . 1. THE CLOWN WITH A BROKEN CROWN 2. I DON'T NEED YOUR LOVE 3. LIVING IN SARAH'S LIES . DIONYSUS RECORDS 1991 . ***DOWNLOAD***
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.