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Thursday, October 29, 2009

INFLATABLE BOY CLAMS SINGLE

Well this is it for now, as promised 9 singles. in no particular order and for no particular reason. My Halloween treat to you. Last up, I leave you with a very strange single that seems to grow on you with every listen. It's certainly worthy of being the closer. From San Francisco, this all girl outfit released this one and only double 7" containing 5 songs on Subterranean Records label in 1981. My favorite is definitely I'm sorry but, Skeletons has grown on me as well over the years. Enjoy and !!!!!!!HAPPY HALLOWEEN!!!!!
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REFERENCES - INFLATABLE BOY CLAMS .COM http://inflatableboyclams.com/
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SUBTERRANEAN RECORDS 1981
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1. SKELETONS
2. SNOTELEKS
3. MARIN
4. I'M SORRY
5. BOYSTOWN
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***DOWNLOAD***

THE CORPSE GRINDERS (RITES 4 WHITES SINGLE)

The Corpse Grinders were formed by bassist Arthur "Killer" Kane and guitarist Rick Rivets, high school pals who founded the New York Dolls in 1970 or so (Rivets was subsequently replaced by Sylvain Sylvain before the Dolls really took off). After the Dolls, Rivets went on to form the Brats. The Corpse Grinders have been described as "primitive glam punk in the vein of early New York Dolls and the Voidoids; an essential chapter in the history of N.Y.C. punk rock" (All Music Guide) and "a trivial footnote to New York's new wave underground... a useless hard rock group" (Trouser Press).
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WHIPLASH RECORDS 1978
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1. RITES 4 WHITES
2. MENTAL MORON
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***DOWNLOAD***

THE MISFITS (HORROR BUSINESS)

I'm not going into a lot of detail here, I'm sure your all very aware of the Misfits story. I kind of shy away from them cause to be honest, the high record prices and overly obsessive fans kind of turn me off. But, with that said you cant deny their greatness. This is from the original Plan 9 single on yellow vinyl with haunted house story insert. I also have the first press Bullet single in the Better Dead On Red second press sleeve. If you go to misfits central there's a story on how they were mated together. Anyway, it's guaranteed original, purchased at Vintage Vinyl in Irvington N.J. years ago. I mention this to let any interested parties know that I could be persuaded to trade these records for Punk/Powerpop records of similar value. Email me. Founded in 1977 in Lodi, New Jersey by singer and songwriter Glenn Danzig, The Misfits had a fluctuating lineup during its first six years with Danzig and bassist Jerry Only as the only consistent members. During this time they released several EPs and singles and, with Only's brother Doyle as guitarist, the albums Walk Among Us (1982) and Earth A.D./Wolfs Blood (1983), both considered touchstones of the early-1980s hardcore punk movement. The Misfits disbanded in 1983
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REFERENCES - WIKIPEDIA http://en.wikipedia.org/wiki/Misfits_(band)
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PLAN 9 RECORDS 1979
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1. HORROR BUSINESS
2. TEENAGERS FROM MARS
3. CHILDREN IN HEAT
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***DOWNLOAD***

JOHN TRUBEE (BLIND MANS PENIS SINGLE)

I'm posting this for the flip side of this record. This single has hung around my collection for a quite a long time because for some reason, I find A Call To A Motel funny, and its just weird enough to include in my Halloween celebration. In 1976 John Trubee was at home in Princeton New Jersey and while reading the back pages of the Midnight Globe which is a magazine sorta like the National Enquirer. In the back pages there was a little classified music add that said "send your lyrics to Nashville and make 20,000 dollars royalties". Even when he was 19 years old he realized that was a scam and it was just some sort of ridiculous come-on. So as a joke he sat down on my dead grandfathers typewriter and typed out the most obnoxious obscene idiotic lyrics he could think of off the top of his head and talked about Stevie Wonder's private parts as well as stream of consciousness weird stuff. Sent it to Nashville. He thought they'd send him a letter back telling him that he was crazy, really that’s really what he wanted originally. But they sent him a letter back saying “We would like to record this, please remit 79 dollars 95 cents and we will record it for you”.
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REFERENCES - MYSPACE http://www.myspace.com/johntrubee
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THE ONLY LABEL IN THE WORLD 1986
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1. BLIND MANS PENIS
2. MOTEL RESERVATION
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***DOWNLOAD***

SUGAR SHACK (YOU DONT MEAN SHIT TO ME SINGLE)

I know from previous experience, there's very limited info out there on these guys. But I like this record cover (and record) and it fits my theme at the moment so enjoy. Sugar Shack started some time around 1992. Based in Houston they have a number of great records to their credit. I posted the lp get out of my world a while back so if you like this , you might want to check that out as well. Sound wise, these guys hit hard like a punk band while at the same time they maintain a slick garage groove. lOVE IT!!!
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ESTRUS RECORDS 1995
1. YOU DON'T MEAN SHIT TO ME
2. QUINTANA
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***DOWNLOAD***

THE CRYPTICS (YOU'RE EVIL SINGLE)

I was looking for a cool primitive sounding Garage pounder to post and this jumped into my hand. For my money, Your Evil is the standout song here. I like the way the sound gets real full during the chorus. As always I included the whole record so you can decide for yourself. I couldn't find a whole lot on this band, except that they're from Montreal, Quebec Canada, which I already new from the back of the record. If you have any info that you would like to share please feel free.
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PRIMITIVE RECORDS 1992
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1. YOU'RE EVIL
2. BACK TO ME
3. RICORDAMI
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ELECTRIC FRANKENSTEIN (IT'S ALL MOVING FASTER/THE COOLEST LITTLE MONSTER)

I posted Electric Frankensteins first single some time ago. There's more info and links on that post so go check it out. All of the early records from these guys are blistering slabs of full speed ahead Punk Rock. I thought this was a great single to post for Halloween. Enjoy!!The punk revival quintet Electric Frankenstein comprised singer Steve Miller, guitarists Jim Foster and Sal Canzonieri, bassist Donato Canzonieri and drummer Rob Sefcik. Formed in New York during the mid-1990s, the group first garnered attention with a series of singles on indie labels including Demolition Derby, Frisbee, Get Hip and Estrus, also making any number of compilation appearances; their first full-length, Electric Frankenstein Conquers the World, followed in 1996. A year later, Electric Frankenstein returned with Sick Songs and The Time Is Now; Listen Up Baby and Spare Parts appeared in 1998, and the group's prolific output continued in 1999 with How to Make a Monster. Dawn of Electric Frankenstein, an album featuring a collection of bands that influenced Electric Frankenstein followed a year later; another studio effort Annie's Grave and Touch Me I'm Electric both appeared in early 2001.
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REFERENCES - ALLMUSIC http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:09fixqqhld6e
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FRISBEE RECORDS 1995
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1. IT'S ALL MOVING FASTER
2. ZACHERLE'S "THE COOLEST LITTLE MONSTER"
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***DOWNLOAD***

PETER AND THE TEST TUBE BABIES (ZOMBIE CREEPING FLESH SINGLE)

Definitely one of the more eye popping punk single covers, and a great record to go with it. You cant go wrong with any of the early material from these guy's, but I'm quite sure you know that. I believe the cover is taken from the late 70's cult classic horror film called Zombie. Brighton, England punk survivors Peter and the Test Tube Babies formed in 1978; soon debuting on the Vaultage 1978 compilation, the group — singer Peter Bywaters, guitarist Derek "Del" Greening, bassist Chris "Trapper" Marchant and drummer Nicholas "Ogs" Loizides — nevertheless did not issue their first proper single "Banned from the Pubs" until 1982, firmly establishing their tongue-in-cheek approach with the follow-up "Run Like Hell." Subsequent singles including "Zombie Creeping Flesh" and "The Jinx" preceded the 1983 release of the Test Tubes' first full-length effort, Pissed and Proud; The Mating Sounds of South American Frogs appeared just weeks later, topping the UK indie charts. 1986's Soberphobia was the Test Tubes' first American release, but the group was silent for the remainder of the decade, finally resurfacing in the early 1990s with little-heard efforts including Cringe and The $hit Factory. Eighteen years after the group's inception, co-founders Trapper and Ogs left the lineup following the completion of 1995's Supermodels; bassist A.D. and drummer Rum signed on for 1998's Alien Pubduction, followed two years later by The Final Nail.
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REFERENCES - ALLMUSIC http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:j9fexqw5ldte~T1 MYSPACE http://www.myspace.com/peterandthetesttubebabies OFFICIAL SITE http://www.testtubebabies.co.uk/
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TRAPPER RECORDS 1983
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1. ZOMBIE CREEPING FLESH
2. NO INVITATION
3. SMASH AND GRAB (STUDIO VERSION)
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***DOWNLOAD***

Wednesday, October 28, 2009

DEAD KENNEDYS (HALLOWEEN SINGLE)

Happy Halloween, I'm going to post 9 singles in Honor of my favorite holiday. A couple of them really don't directly relate but I feel they capture the spirit. First up is the one of my all time favorite bands. I remember I bought this single when it first came out at the mall,(yes the mall) I believe I was 11 or 12 years old. I really played the shit out of it. My favorite song was the flip side but the A side deals with the theme so I thought this would be a perfect time to post it. If your interested in information on the Kennedys check out my previous post on them Enjoy!! Halloween" (B-side "Saturday Night Holocaust") is the seventh and final single by the Dead Kennedys. It was released in December of 1982 on Alternative Tentacles. The lyrics use the metaphor of a Halloween party to address the theme of human responses to nonconformity.The song is from the band's second album, Plastic Surgery Disasters.
"Saturday Night Holocaust" is a song comparing drug-filled disco culture in the 70's and early 80's to cabaret culture in Nazi Germany, namely in the case of the apathy towards the governments actions. It ends with a modern version of the Nazi's persecution of the cabaret, and can in some ways be seen as a sort of companion to "California Über Alles" ("a Hitler youth in a jogging suit smiling face branded round his arm" can be seen as a re-appearance of the hippie-nazis of the aforementioned song).
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REFERENCES - WIKIPEDIA
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ALTERNATIVE TENTACLES RECORDS 1982
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1. HALLOWEEN !
2. SATURDAY NIGHT HOLOCAUST
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***DOWNLOAD***

Saturday, October 17, 2009

THE SOUND (JEOPARDY LP)

Most people categorize the The Sound as a Post Punk band, so I guess I'll go with that but, when you listen to this record, I'll think you'll agree they were much more. My personal favorites on this are Heartland and, Resistance. They're probably the more upbeat tracks here. The rest of the album is much darker and equally great. I guess it depends what mood I'm in. If you haven't heard this classic yet? Check it out! Many different disc's are for sale, that you can buy here http://www.resonancestore.com/renascent/music/2. The Sound formed in South London in 1979, shortly after a band called the Outsiders dissolved. It isn't a very well-distributed fact, but the Outsiders' 1977 LP Calling on Youth was the first self-released British punk LP, issued roughly four months after Buzzcocks' infamous Spiral Scratch 7". Guitarist/vocalist/songwriter Adrian Borland led the Outsiders though a couple of other releases, but the band sputtered out three years after their 1976 formation. Bassist Graham Bailey (aka Graham Green), who had joined the band in time for their final recordings, followed Borland into the new group with a drummer named Michael Dudley and a saxophonist/clarinetist/keyboardist named Bi Marshall.Fittingly enough, Borland's motivation to cut ties to the punk movement mirrored that of original Buzzcocks member Howard Devoto, who left his own band after Spiral Scratch. Like Devoto, who had gone on to pioneer yet another field called post-punk with Magazine, Borland looked around, saw all the bands who played straight-ahead chug-chug-chug rock & roll, and decided that the tired blueprint was in need of a little more depth and variation; atmospheres, tensions, and unfamiliar twists on the interplay between the instruments would be needed. Lyrics were another thing. Not content with simply railing against the government or grunting and yelping about trivial matters to merely keep a song moving, Borland became one of the few post-punk songwriters whose lyric sheets were truly worth ingesting and analyzing. Former Outsider Adrian Janes aided the cause, remaining involved with Borland in a behind-the-scenes manner, writing some of the band's lyrics with his former bandmate. The Sound made their first recordings in the living room of the Borland family home, with Adrian's supportive father Bob acting as recording engineer. As demonstrated on Propaganda, a posthumous release from 1999 that collects these sessions, the band was gradually — not so drastically and suddenly — leaving the Stooges/Velvets axis and applying touches that would be developed into something all their own. They received their first break of sorts from Stephen Budd, an early supporter since the Outsiders days, who had recorded and released some material by Bailey and Borland's electronically inclined side project, Second Layer. Budd's label, Tortch-R, made a small profit from a Second Layer release, so he opted to put it right back into the Sound's first release. Budd also became the band's manager, booking studio time for them with Nick Robbins in Elephant Studios and finding places for the band to gig.The first release made a humble impression. Physical World was reviewed positively in the NME by Paul Morley, and DJ John Peel took minor interest, playing it a couple times during his influential BBC program. Though the Sound hadn't the will to pine for a major label deal, the WEA-affiliated Korova label (home of Echo & the Bunnymen) came knocking when they found out the band was going back into the studio to make a full album. Korova heard the rough mixes of the album and a deal was made. Regardless of the label's involvement, Jeopardy was recorded cheaply, and upon its release was reviewed extremely favorably by all the important outlets. Reviews in the NME, Sounds, and Melody Maker gave it five stars. Rightfully likened to the Bunnymen, the Teardrop Explodes, and Joy Division. Korova tried to push the Sound into recording something more radio-friendly and they responded by recording All Fall Down (1982), a harsh, discordant and distinctly uncommercial electro album, and were almost immediately dropped.
With their major label days at an end The Sound signed to Statik, a medium-sized independent label, and released a mini-album Shock of Daylight, their fourth album Heads and Hearts (1985) and their fifth, the powerful In the Hothouse (1986), a double live album recorded over the course of two nights in August 1985 at the London Marquee.
Statik went into liquidation, and left The Sound without an outlet for their music. Borland fell prey to a malignant mental illness and was diagnosed as suffering from paranoid, schizophrenic, manic depression. The group stayed together long enough to release a sixth album, Thunder Up (1987)
A European tour to promote Thunder Up in November 1987, however, ended in disaster when Borland had a breakdown during the first date in Vitoria, Spain at a venue called The End
Adrian saw this as an omen, following a long obsession with Jim Morrison and The Doors, all subsequent dates were cancelled.
The band took a short break and played a few final lack luster gigs in Holland to fulfill contractual obligations. Mike Dudley decided to leave the band shortly afterwards and the group quit a few weeks later in early 1988.
Adrian Borland began a solo career and recorded five low-key albums but continued to be plagued by mental illness.As he put the finishing touches to his last album Harmony and Destruction Adrian began to show symptoms of illness again. He died on the early morning of April 26th 1999 after throwing himself in front of a train at Wimbledon Station.
Mike Dudley has now retired from music.
Graham Bailey moved to America in 1992 and has retired from music.
Colvin Mayers died from an Aids-related illness on Boxing Day 1993.

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REFERENCES - MYSPACE http://www.myspace.com/thesounduk ALLMUSIC http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kpfrxq95ldse~T1 TROUSERPRESS http://www.trouserpress.com/entry.php?a=sound WIKIPEDIA http://en.wikipedia.org/wiki/The_Sound
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KOROVA RECORDS 1980
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***DOWNLOAD***

Thursday, October 15, 2009

THE REDUCERS (THE REDUCERS LP)

The Reducers is an excellent record from a very underrated band. This lp has many memorable songs on it. The only negative thing I could possibly say about it would be that they took the best line out of the song Out Of Step. I guess they were going for radio play. Anyway, I included the single version, so that you can hear it properly. Just in case you haven't heard it yet. If you check out some of the links at the bottom, these guys appear to be still playing live and cranking out records as recently as last year. Formed in the banner year of 1978, New London, Connecticut's Reducers can honestly lay claim to being one of America's original D.I.Y. bands. Guitarists Peter Detmold and Hugh Birdsall formed the nucleus of the group in 1977 when they embarked on a beer soaked journey through the pubs and clubs of London. The Sex Pistols, The Clash, The Jam and a hundred other punk bands were seen that summer, but from the very start, Peter and Hugh brought another very English influence to their music -- Pub Rock bands like the Ducks Deluxe, Rockpile and especially Dr. Feelgood inspired the boys to form their own rockin' outfit.Tom Trombley and Steve Kaika were next to join. Both were employed as the rhythm section in the Bob Bridgeman Band, a country rock outfit ahead of its time by at least 15 years. "Boy, did we get paid," claims drummer Tommy of his country punk days, but somehow he, along with Steve were wrested from their steady cowpoke gigs, and thrust into the somewhat rougher and uncharted territory of the burgeoning indie/punk/new wave scene.In 1980, The Reducers entered the studio for the first time to record their debut single, "Out of Step/No Ambition". After finally selling out their initial pressing our favorite foursome decided that it was time to present the world with a full fledged LP. Rather than spend the hard to come by cashola on the frivolous extravagance of a recording studio, the band decided to release the demo it had recorded a year after their initial recording session. The band's rehearsal room then began serving double duty as the office and storeroom of the Reducers' private label, Rave On Records. They did it themselves.The Reducers was the smashing full length debut of a band that played with the fire and urgency of The Clash, but with humor of the Feelgoods or The Kinks. Already hot on the New England College Town Tour Circuit, The Reducers' debut started the inevitable "next big thing" buzzes in the dorm rooms, clubs, bars, and A&R desks of a population starved for a no-nonsense rock and roll band. Unfazed by their mounting popularity (and pay stubs), The Reducers returned to the recording studio a mere 3 months after the release of their debut LP to record what would become their signature song.Let's Go! was a hit right out of the box. Picked up immediately by college and alternative commercial radio, the title track brought the band immediate national popularity, top 10 chart action, inclusion on an Epic Records LP titled "Epic Presents The Unsigned", and the dubious moniker of CMJ's "Best Unsigned Act of 1985" award. Wealth, fame, a top contract with a major label, and all the glories of rock stardom seemed imminent for the boys from New London, and with a self assured swagger, they returned, worn from touring, to the studio.Cruise To Nowhere was the result of two weeks in the studio with a handful of songs, some finished, most unfinished and some unwritten. The resulting LP was surprisingly consistent given the haphazard nature of the recording, and college radio once again picked up on the album's standout track "Fistfight at the Beach." Another regional tour followed, and the wear and tear of the road soon shown its strain on the boys from New London. It would be another 3 years until The Reducer's next release.One unreleased live LP, one collaborative EP, a few compilation tracks, and a couple of singles later, and a 29 song retrospective CD (Redux) to tie it all together.
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REFERENCES - FACEBOOK http://www.facebook.com/TheReducers?v=info MYSPACE http://www.myspace.com/thereducers TWITTER http://twitter.com/thereducers REDUCERS.COM http://www.thereducers.com/
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RAVE ON RECORDS 1984
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***DOWNLOAD***

Saturday, October 3, 2009

THE LOONS (IN THE PAST / FASE OUT OF PHASE SINGLE)

Excellent Garage/psych record. From everything that I've heard from these guys, this single which I believe is their fourth, is my favorite. THE LOONS were formed in San Diego, California in late 1995. The band’s line-up features lead singer Mike Stax (ex-Tell-Tale Hearts, Crawdaddys, Hoods), bass player Anja Diabolik (previously of the Diaboliks and Thee Cherylinas), guitarists Marc Schroeder and Chris Marsteller, and drummer Mike Kamoo. This uniquely, multi-national line-up creates a distinctive sound combining the hard, kinetic drive of European freakbeat with the psychotic melodic cool of California’s Sunset Strip circa ‘66. While the Loons draw heavy inspiration from groups like the Pretty Things, the Yardbirds and Love, they are also fiercely original in their approach, creating their own uniquely intense songs rather than opting to be ’60 garage jukeboxes. Their first album, LOVE’S DEAD LEAVES, was produced by Ebbot Lundberg of Sweden’s Soundtrack of Our Lives. The Orange County Weekly hailed it as a “masterpiece”, describing the Loons as “a blast furnace of an art-driven garage band ... This music teems with the dementia of such bona fide American whackos as Arthur Lee, Sky Saxon, Sean Bonniwell and Roky Erickson.
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REFERENCES - MYSPACE http://www.myspace.com/theloons
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THERMIONIC RECORDS 1997
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1. IN THE PAST
2. FACE OUT OF PHASE
3. KNOCK KNOCK
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***DOWNLOAD***

THE WASPS (TEENAGE TREATS SINGLE)

Teenage Treats is an excellent 77 punk record. She made magic is my favorite out of the two. If you go to the Punk 77.com site, there's allot of info on The Wasps and a great interview with Gary Wellman. I recommend you go check it out. There's also a disc called Punkryonics for purchase which is where this info comes from. Go pick it up. Formed in February 1976 The Wasps were one of London’s earliest punk bands. They were regulars at The Roxy, The Bridge House etc. and soon built a large following. One of the first punk bands to tour nationally, in true punk rock style they managed to get themselves banned from many provincial towns following a particularly memorable gig at Shrewsbury Civic Centre in May 1977. Forced to play behind a barricade of stacked chairs, the security men sustained injuries trying to keep fans off the stage. Fireworks were thrown by the audience, one causing the drummer Rich’s shirt to catch fire. Soon people were diving off the balcony onto the crowd below and lots of fights broke out. The local newspaper reported that the gig had put a strain on the casualty department of the local hospital and the council branded The Wasps as "depraved" and started the ban.
In November 1977 their first single ‘Teenage Treats’ was released on the 4-Play label. Reviewed in the NME as "great single" by Bob Geldof, the single is vintage ’77 punk rock and now highly collectable.
A month later, The Wasps appeared on the ‘Live At The Vortex’ album. Recorded in October ’77 their track ‘Can’t Wait ‘Till ‘78’ was chosen as the lead track for a split single with Mean Streets who included a young Gary Numan!
In mid ’78 the band played a gig at The Bells in Kings Cross, London. During their set a fan was set upon by over zealous bouncers who thought he’d let off a firework, beat him up and he consequently died.
A change of management saw Jesse go to the USA. In New York he guested with The Ramones at CBGBs and in Los Angeles stayed with Sharon Osborne. Having met several major labels Stateside Jesses realised that the tactic was to sign the ‘new wave’ bands then bury them. Not for him! He headed home.
Back in the UK the band signed to RCA. ‘Rubber Cars’ was released to much acclaim and a TV company wanted to make an animated series based upon the band. Suddenly The Wasps were hot property and former managers filed writs causing RCA to pull the plug on ‘Rubber Cars’, despite it being RCA’s biggest selling single of the week!
The disappointment and the legal problems caused the band to split.
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REFERENCES - THE PUNKRYONICS LINER NOTES AND PUNK 77.COM http://www.punk77.co.uk/groups/wasps.htm
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4 PLAY RECORDS 1977
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***DOWNLOAD***

THE GAS (INGNORE ME SINGLE)

The Gas were a great three piece from England. They released a number of singles and two lps. Most of their records were on Polydor but, their second lp was released on the Good Vibrations label which, I guess led some to believe they were Irish. From a sound standpoint they vary, mostly teetering between Punk and Mod. In my opinion I always thought they sounded allot like the Clash. Ignore me is a great track but I must tell you my favorite stuff from these guys lies on their first LP Emotional Warfare which, I have full intentions of posting one day. My Friend John, told me once, his Friend Jack Rabid (who writes the Big Takeover Magazine) got to see The Gas live on tour with I believe he said The Ruts. Anyway he told him they were a great live band. Lucky guy!! I couldn't find much of anything as far as info out there on these guys, so if you have any please feel free to share with us.
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POLYDOR RECORDS 1981
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1. IGNORE ME
2. DO IT, DON'T TELL ME!
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***DOWNLOAD***

THE BOYS (SHE'S ALL MINE / I'M NOT SATISFIED SINGLE)

This is the first single from Lincoln Nebraska's The Boys. I read a very small number of these had a picture sleeve. Unfortunately, mine isn't one of them. For you viewing pleasure I found a picture of it on the web and included it with the download. I'm not Satisfied is a classic, and hands down my favorite track on this record. I love the way the lead guitar follows in the back through the entire song. It's hard to believe this was from 1975. I posted their second single as well some time back if your interested.
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OUTRAGE RECORDS 1975
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1. (SHE'S MY GIRL) SHE'S ALL MINE
2. I'M NOT SATISFIED
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***DOWNLOAD***

THE FUZZTONES (BAD NEWS TRAVELS FAST SINGLE)

This is the debut single from one of the all time Garage greats. I found This bio on the very cool Fuzztones official site. Go check it out. I don't believe they predated the entire Garage revival scene. For one off the top of my head I believe The Lyers were around in the 70's . But anyway I thought this was a great piece on them so I used it. The Fuzztones have certainly achieved legendary status as cult faves during their almost 30 year career. Their fiery brand of Garage-Psych Punk pre-dated the entire "Garage Revival" of the 1980's and has influenced hundreds of groups, from The Hives to The Horrors. Born in the summer of 1980 in the bowels of NYC's Lower East Side, The Fuzztones were soon regulars at legendary NYC hotspots such as CBGB, and the Mudd Club. By utilizing the fuzzbox (an antiquated effects pedal used by many 60's groups to achieve overly distorted "psychedelic" guitar sounds), the band created a raunchy sound they referred to as "Grunge"...(On their 1984 debut single, "Bad News Travels Fast", lead guitarist Elan Portnoy is credited as playing "lead grunge", at least a decade before the Seattle Grunge Invasion), and the band was nicknamed "The Gurus of Garage Grunge." Complete with paisley and leather attire, genuine human bone necklaces, The Fuzztones influenced the fashions of musicians as diverse as the Hoodoo Gurus (who also modified the Fuzztones infamous skull and crossed Vox Phantom guitars logo for use on one of their album covers) to Ian Astbury and Marc Almond (who aped The Fuzztones by wearing black turtlenecks with bone necklaces) to the Dwarves, whose X-rated logo was stolen from the Fuzztones "Lysergic Ejaculations" cover. Finland's platinum selling rockers, 69 Eyes, and German superstars Die Artze even sport Fuzztones t-shirts in their promo photos! The band's classic video for "Ward 81" even inspired the legendary Ramones, whose "Psychotherapy" video copies several scenes directly from the Fuzztones' masterpiece, as did the glitter-rock docu-film "Velvet Goldmine"! The band's first European tour in 1985, a 3 month onslaught of England, Wales, Scotland, Germany and Italy, firmly established the band with a dedicated, and avid following that continues to this day! Their 1985 debut studio LP, "Lysergic Emanations" has achieved major cult status, and has been released by 3 different labels over the last 16 years, the combined sales of which has assured gold record status! The Fuzztones have toured Europe fervently since 1985, and have headlined major venues in Italy, Spain, Greece, France, Norway, Sweden, Belgium, Wales, Scotland, Austria, Germany, Czech Republic, Portugal, Denmark and Finland, as well as Canada, Israel, Prague, Serbia, Croatia and Mexico. During their illustrious 30 year career they have appeared on 78 vinyl and CD releases, including at least 15 albums, countless singles, and compilations, not to mention 5 videos, several television and radio appearances, and countless major press articles (NME, Sounds, Melody Maker, Rockerilla, Hit Parade, US,and more). They were the only band involved in the 80's "Garage Revival" to obtain a major label record deal (RCA). Since then they have released 3 singles, and 4 albums:"SALT FOR ZOMBIES," (2003) on Tribal Stomp (CD) and Misty Lane (LP), "LSD-25" (2005) on Get Back, "HORNY AS HELL" (2008) on Electrique Mudd (Unique) and No Fun (USA), and finally "LYSERGIC LEGACY," a "Best of" compilation on Cleopatra Records, that was released this year (2009). Get Back Records also re-released several classic Fuzztones albums in 2005, and Rolling Stone magazine included a Fuzztones track on a CD called "Fuzz-Tones," which was included with a 2007 issue.The Fuzztones were among the advertised headliners of the Little Steven Underground Garage Festival in 2004, which featured 42 bands, including The Strokes, NY Dolls, Iggy & The Stooges, Bo Diddley, Nancy Sinatra, and the Pretty Things. More recently they've headlined the Purple Weekend Festival in Leon, Spain, and the Stag-o-Lee Festival in Beverungen, Germany. They also co-headlined the Ink 'n' Iron Festival in Los Angeles with the legendary Sonics in 2009. The band will be headlining a televised segment of Rockpalast on October 10th (2009) and will be entering the recording studio soon. Plans are in motion to release their next studio album in 2010 in time to celebrate their 30 year anniversary. Meanwhile, a second Fuzztones tribute album, "Fuzztones Illegitimate Spawn 2," featuring 50 bands from around the world, will be released in October on England's Twist Records.
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REFERENCES - FUZZTONES .NET http://www.fuzztones.net/ FUZZTONES MYSPACE http://www.myspace.com/thefuzztones WIKIPEDIA http://www.myspace.com/thefuzztones OFFICIAL PARE OF RUDI PROTRUDI http://www.rudiprotrudi.com/
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MIDNIGHT / ZULU RECORDS 1984
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1. BAD NEWS TRAVLES FAST
2. BRAND NEW MAN
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Thursday, October 1, 2009

ZOUNDS (WAR / SUBVERT SINGLE)

This is my favorite release from the Crass record label. In my opinion, Subvert is the strongest of the three. However, Can't cheat karma, is a great track as well. Enjoy!!! Zounds formed in 1977 from loose jamming sessions around the Reading area. Originally they were part of the cassette culture movement, releasing material on the F**k Off Records tape label, and were also involved in the squatting and free festival scene. The name of the band is derived from the old English minced oath coined by William Shakespeare: "zounds", which is a contraction of "God's wounds" - i.e. the crucifixion wounds of Jesus Christ - formerly used as a mildly blasphemous oath.
The band formed around the nucleus of Steve Lake in Reading, Berkshire and evolved from a number of jamming sessions with other musicians and friends, taking in influences from the Velvet Underground to the Sex Pistols. The band began performing gigs in 1977/78 with a line-up of Steve Lake (Vocals/Bass), Steve Burch (Guitar) and Jimmy Lacey (Drums) adopting the name 'Zounds', chosen from a dictionary by Burch. Soon Burch left the group and was replaced by Joseph Lawrence. After this the band slowly became more politicized due to troubles with police and unfolding events of the cold war, and became more and more involved with free festivals, alongside The Mob who they developed a close association with.
The band met up with fellow anarchists Crass when, legend has it, their van broke down on the road. They made their way to nearby Dial House, where Crass were based, who helped them with repairs. The two bands became friends, and although musically very divergent, they shared many common political views. After undergoing several line-up changes Zounds shortly afterwards released their first EP, Can't Cheat Karma, on the Crass Records label (although drummer Joseph was replaced for the recording by a session drummer) in 1981. The EP featured possibly their most well known track "Subvert", a call to arms against the grind of daily life. The release of this EP and association with Crass led to an increase in the bands profile in the embryonic Anarcho Punk scene, touring with both Crass and the Poison Girls as well as performing several squat gigs in West Berlin.
The band released their first album The Curse of Zounds on Rough Trade Records in 1981, recording and mixing the LP within five days. The cover art, by anarchist artist Clifford Harper, featured a painting of fire fighters apparently trying to put out a blaze at the Houses of Parliament in Westminster. However, the picture continued onto the back cover, which showed that in fact they are spraying the fire with petrol, thus feeding it. The band released three more singles on Rough Trade, Demystification (a psychedelia influenced track backed with "Great White Hunter"), Dancing and More Trouble Coming Every Day as well Le Vache Qui Rit (initially intended for a split EP with The Mob for an anti-draft benefit in Belgium)
The band split up in late 1982, Steve Lake disaffected with the Anarchist music scene in general and the band worn out from touring. Bass player and vocalist Steve Lake and guitarist Laurence Wood continued to work together for a while as The World Service, whilst drummer Josef Porta went on to join the The Mob and later Blyth Power. Lake continued work as a solo artist, and Zounds occasionally reform for benefit gigs with a line-up augmented by Protag (formerly of Instant Automatons, Alternative TV and Blyth Power) and drummer Stick (previously of DIRT, Doom and Extreme Noise Terror). A remixed version of the bands song "This Land" was released in 2001 as a CD single benefit for the McLibel support campaign. In 2005 the Go All The Way EP was released with tracks from an aborted second album, with tracks commenting on the USA's War on Terror.
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REFERENCES - WIKIPEDIA http://en.wikipedia.org/wiki/Zounds ZOUNDS HOME PAGE http://www.zoundsonline.co.uk/
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CRASS RECORDS 1980
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1. WAR
2. SUBVERT
3. CANT CHEAT KARMA
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***DOWNLOAD***