THE NEANDERTHALS (ARULA-MATA-GALI)

I think This is going to be my last post for the year but you never know . If that turns out to be the case, I would like to wish everyone a merry Christmas and a happy New Year, and I'd like to thank everyone for their interest in my site , and for all the great comments . So far its been allot of fun , and I've learned allot . This a really cool, and funny record . I really like the thick saxophone on the title track . I think that they're from the from Nashville, Tennessee area , but I could be wrong . If they're still around maybe some day I'll have to go see them live . I think it would probably be allot of fun .The Neanderthals claim to be real Cavemen! They dress up in leopard skin furs and play silly looking longhorn guitars to get their trashy sound. They play primitive stomping rock 'n' roll reminiscent of 60's garage frat-rockers The Sonics and The Trashmen with a little Chuck Berry and Link Wray thrown in. They sing about girls in hot rods and monsters in spaceships. No poetic introspection or post modern angst here.
Rumor has it that the members include guitarist Eddie Angel (Los Straitjackets) and singer Johnny Rabb, who's usually too drunk to give coherent interviews, but is a wild showman who has been known to disrobe onstage when gotten too excited!
So there you have it. If wild guitars, stompin' beats and wildmen dressed like The Flintstones playing real rock 'n' roll rattle your primordial bones then a Neanderthal show promises to be the most fun you're likely to have this millennium.

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REFERENCES - http://www.theneanderthals.com/thestory.html http://www.spinoutmusic.com/

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1. ARULA-MATA-GALI

2. GIRL AND A HOTROD

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SPINOUT RECORDS 1995

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DESTROY ALL MONSTERS (BORED)

I'm gonna go out on a limb and guess that this test press is a pretty rare record . I always wondered how many of these exist ? Rarity aside , Its a monster , no pun intended , punk record . your gonna die is one of my favorite female fronted punk songs . I think you can still find the official version of this record for a reasonable price . Formed in 1973, the first edition of Destroy All Monsters was formed by University of Michigan art students Mike Kelley, Jim Shaw, Niagara and filmmaker Cary Loren. They performed in the Ann Arbor area from 1973-1976, and their only release was a one-hour cassette of their recordings available only through Lightworks magazine. Their early music was Influenced by Sun Ra, Velvet Underground, ESP-Disk, monster movies, beat culture and futurism' their sound was experimental, psychedelic, darkly humorous and droning.
On New Year's Eve of 1973, the first Destroy All Monsters concert was held at a comic book convention in Ann Arbor, Michigan. At the time the instruments were a violin, a sax, a vacuum cleaner and a coffee can. They performed a demented version of Black Sabbath's "Iron Man" and were asked to leave after ten minutes. The group performed "Guerilla Style" setting up for free at parties, playing for food along Ann Arbor's frat row. They used modified instruments, a drum box, tape loops, hot-wired toys, cheap keyboards and broken electronic devices. The only formal gig they had (beside the comic convention) was at the Halloween Ball at the University of Michigan art school in 1976.
Kelley and Shaw left the band during the summer of 1976 to attend graduate school at CalArts in Los Angeles, California. Both have gone on to lead successful solo careers in the art world. Their work is held in major collections around the world. In 1976, Niagara and Loren recruited guitarist Laurence B. (Larry) Miller and saxophonist Benjamin (Ben) Miller; both had been in the short-lived Sproton Layer with their brother Roger Miller (who later went on to found Mission of Burma). They invited Mike (Jett) Powers on bass but he soon left for Harvard University. Not long after, members of two important Detroit-based groups signed on: guitarist Ron Asheton, earlier of The Stooges, and bass guitarist Michael Davis of the MC5. Their presence garnered the group more attention than ever before.
In 1978, Destroy All Monsters were preparing to release "Bored", their first official recording, when the group began to fall apart. Niagara ended her romance with Loren in favor of a new relationship with Asheton; Loren quit the group, and the Miller brothers left soon afterwards. The "Bored"/"You’re Gonna Die" single earned some attention in the UK music press, but the band was able to capitalize on the notoriety, and spent many years riding the punk/new wave era. They formed an alliance with the Ramones, The Dead Boys, and Pere Ubu, all seminal punk bands. They would tour together and open for each other in their respective home towns. This punk version of DAM disbanded in 1985.

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REFERENCES - http://en.wikipedia.org/wiki/Destroy_All_Monsters_(band)

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1. BORED

2. YOU'RE GONNA DIE

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1DB1 RECORDS ? 1978

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THE HUMAN SWITCHBOARD ( I GOTTA KNOW)

All of the Human Switchboard records are great. Some time in the future maybe I'll post their album . The single after this one is essential too . They had a great quirky garage sound to them . but they could still kick your ass with intensity . I really like the B side of this record . The Human Switchboard formed in 1977 when Bob Pfeifer met Myrna Marcarian at Syracuse University. They spent that summer back in Cleveland, where Pfeifer grew up. They, along with drummer Ron Metz, recorded an EP of four songs, enlisting David Thomas of Pere Ubu to mix the tapes. The EP was self released during that fall.
The band next recorded their 'I Gotta Know / NO' single for Akron's Clone Records during a spring break in 1978. By this time, Pfeifer and Metz had moved to Columbus to Attend Ohio State University. Marcarian soon followed after her year at Syracuse and the band had formed as a three piece. After the school year ended, the band started playing shows, with its first in the basement of local Columbus High Street record store, Magnolia Thunderpussy.
Soon after the summer of 1978, the band moved back to Cleveland briefly and then opened a used record store in Kent, Ohio. This store was to provided support for the band, which it did for the following three years.
In the next few months, the band started playing shows in the area and gained followings in the Kent, Akron, Dayton, Columbus, Detroit and Pittsburgh regions. In 1979, the band recorded its next single at one of the better Cleveland studios named SUMA. With the help of Kent's famed The Numbers Band (15-60-75), they recorded their next single 'Prime of My Life / In My Room', later to be released on the band's own Square label.
After the release of the single, the band met bass player Dave Schramm who helped round out the sound. Shortly thereafter, they were invited to play at Hurrah, the premier new wave night club in New York City. The club was impressed enough with the sound to invite them back to play regularly. At the same time, the band also started playing other legendary clubs such as Maxwell's in Hoboken, NJ, The Rat in Boston and the 9:30 Club in Washington, DC. They continued playing more dates in New York with a new bass player George Scott III, formerly of the Eight Eyed Spy, James White and the Blacks and The Raybeats. The East Coast was becoming very friendly to them, but they still lacked a major record release.
At this time, a fan recorded and released a 'bootleg' with the band's blessing and help. The rough cassette recordings captured a couple of their exciting live shows in the Akron and Kent area. The 1,000 copies pressed sold quickly and their following was certainly established.
In 1980, Rough Trade record company out of the UK took notice of the band and commissioned them to record a three track 12 inch single. The band went back to SUMA, this time with bass player Doug Morgan, and recorded two songs 'Who's Landing in My Hanger?' and 'I Can Walk Alone'. These two songs would then be backed with a re-release of 'In My Room' from the year before. The songs were recorded, but the label inexplicably re-canted their offer at the last minute.
Later that year, an IRS label subsidiary name Faulty Products signed the Human Switchboard to what was to become their only studio LP. It was aptly named 'Who's Landing in My Hanger'. The two tracks recorded for Rough Trade were included along with eight newer tunes. The bass playing chores on the new songs was shared among two players, Paul Hamann the studio engineer and the newest band member, Steve Calabria.
The band toured briefly around the mid-west and east coast opening for Toots and the Maytals. It was an unusual mix of sounds, but the crowds appreciated the diverse styles of the tour and paid attention to the opening band. The Human Switchboard also became a resident fixture at New York's Danceteria night club where they would remain a feature act for the next couple of years.
After the tour, the band settled into a routine of shows in friendly environments. They decided to close the store and move from Kent back to Cleveland, where they obtained an apartment in Coventry (an area made famous by Harvey Pekar). Musically, they began to experiment with more contemporary music structures. They sought out and enlisted Jared Michael Nickerson from Dayton, Ohio to play bass and offer inspiration towards the new sound they were after. Nickerson would become the band's final and longest tenured bass player.
The beat straightened out. The bass lines became funkier and once again, the band tried to gain interest from the record companies. This is when they met John Stains from Polydor Records. Polydor was on a roll at that time with hits from bands like The Waitresses and was looking to expand upon the 'new wave' sound. John financed demos that the band recorded over a two week stretch in December of 1983. The Switchboard would setup up on the stage of CBGBs during the afternoons and tare down each evening before the nightly show.
The recordings were fleshing out nicely when suddenly, the rug was pulled out from them as John was let go from the record company. Those were the last studio recordings the band ever made. One track from these recordings 'When Your Train Starts Slowing Down' was completed and released on a 1988 compilation named 'It's Hard to be Cool in an UnCool World' (I Wanna Records).
During the remaining year and a half, the band played regular shows at the Peppermint Lounge and CBGBs in New York, Maxwells in Hoboken and Gilleys in Dayton, OH. The Human Switchboard finally broke up in the spring of 1985.
Bob Pfeifer went on to record a solo record for Passport Records in 1987 named 'After Words'. Jared Michael Nickerson, Ron Metz and Dave Schramm were the basis of the backing band on these recordings.
Myrna Marcarian recorded solo EP for Okra Records 1989 named 'Human Touch'. Nickerson, Metz and guitarist Jack Johnson also played on the record. Myrna later formed a band named Ruby on the Vine and released a full length CD named 'The World of Days' in 2004.
Ron Metz joined up with Dave Schramm and helped form The Schramms in 1985. He still plays with them today.
Jared Michael Nickerson has been a prominent member of Burnt Sugar, the Arkestra Chamber since it's inception in 1999.

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REFERENCES - http://en.wikipedia.org/wiki/Human_Switchboard http://www.trouserpress.com/entry.php?a=human_switchboard

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1. I GOTTA KNOW

2. NO !

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CLONE RECORDS 1978

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THE BRIEFS (POOR AND WEIRD)

In my opinion this is the Brief's best record . All their records are really good though, and worth owning . I always thought that at times they sounded allot like the Boy's (the British band ) . This is on white wax and seems to have become somewhat collectible these day's . However if you look you can probably still find it . Go check out some of their web sites and buy their records . The Briefs are a punk rock band originally consisting of Daniel J. Travanti (guitar/vocals), Steve E. Nix (guitar/vocals), Lance Romance (bass/vocals) and Chris Brief (drums/vocals). The group was formed in 2000 in Seattle, Washington. They play punk music common to the Pacific Northwest independent punk / new wave scene, influenced by acts such as Buzzcocks, The Undertones and The Adverts. They released their first full length, Hit After Hit, in October 2000 via Dirtnap Records. The band was courted by and reportedly signed with major label Interscope Records following the release of 2002's Off the Charts, but the deal fell through. The Briefs surfaced on California's BYO Records with the release of 2004's Sex Objects and the reissue of their Dirtnap-era full lengths. They most recently released Steal Yer Heart in 2005. The Briefs have released a prolific number of 7" singles in their career for a number of small independent labels.
In 2004, the Briefs went on European tour without Lance Romance, who had stayed behind to get his GED. They took in his place bassist Steve Kicks of Vancouver's New Town Animals. Lance rejoined the line-up for the 2004 release party of Sex Objects, however retired from the band in 2005. Kicks has since become a permanent addition and was a full member for the follow up Steal Yer Heart.
Lyrically the Briefs have carried on many themes prevalent in `77 era punk rock. The Sex Objects single "Orange Alert" gained notoriety as a seething criticism of the Bush administration and the of the culture of fear in post-9/11 America. It is one of a number of songs critical of the U.S. Government, including "No More Presidents" and "Destroy The USA" from Sex Objects, and "We Americans" from Off the Charts. The band has written a number of love songs a consciously off kilter style similar to the Buzzcocks' "Orgasm Addict." Through songs like "Dolly Parton" the band has also shown a penchant for light-hearted absurdity.

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REFERENCES - http://www.myspace.com/thebriefs http://www.byorecords.com/index.php?page=one_band&aid=20 http://en.wikipedia.org/wiki/The_Briefs

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1. POOR AND WEIRD

2. ROTTEN LOVE

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CUT AND RUN RECORDS - 1999

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SOCIAL DISTOTION (ANOTHER STATE OF MIND)

One of my favorite bands . I think I saw them live three times . The first time being at City Gardens in Trenton N.J . If I remember right there were a bunch of skinheads causing trouble, which was usually the case at that place . Anyway I remember Mike Ness stopping in the middle of a song and challenging them to a fight . Of coarse he was on stage, protected by security , but it was cool anyways . In the late 1970s the first raw, sloppy, speeding guitar chords began to blare from the garages and backrooms of a Southern California suburb called Orange County. They echoed a sound forged in the preceding years in the seminal punk undergrounds of New York City and London.
By 1979, a 17 year old kid named Mike Ness had formed Social Distortion with drummer Casey Royer and brothers Rikk and Frank Agnew. The band’s world centered around Mike’s one-bedroom pad, dubbed “the black hole,” in a nondescript Fullerton, CA apartment complex. After meeting Dennis Danell, a punk loving classmate, Ness insisted Danell, who at the time didn’t play an instrument, join the band on bass. Royer and the Agnew’s soon split from the band and eventually form The Adolescents.
Local Los Angeles KROQ-FM deejay Rodney Bingenheimer embraced Orange County music, playing highlights from its major local bands, including Social Distortion, on his Sunday night radio show. In 1981, Social Distortion released their first single, “Mainliner/Playpen,” on the Posh Boy label. Around the same time, Mike Ness developed a reputation as a brawler resulting in a chunk of his left ear being bitten off during a confrontation at the Cuckoo’s Nest bar.
In 1982, Social Distortion, along with LA’s Youth Brigade and DC’s Minor Threat, are the subjects of the documentary “Another State of Mind,” which captures the band’s first stormy cross-continental tour in a beat up school bus. By late 1983, Social Distortion’s line up consisted of Mike Ness, Danell (now on rhythm guitar), bassist Brent Liles, and drummer Derek O’Brien. Released on the 13th Floor label, their debut album, Mommy’s Little Monster, gained the band a national name in punk circles . This is just the early history . There's much more to their story and, they're still around. Go check them out and buy their records !!!!!!

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REFERENCES - http://www.socialdistortion.com/news/ http://en.wikipedia.org/wiki/Social_Distortion

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1. MOMMY'S LITTLE MONSTER

2. ANOTHER STATE OF MIND

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13TH STORY MUSIC 1983

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THE LOCAL HEROES (BLAST THE POP)

I know blast the pop was the song comped from this but , I always liked tomorrow a little more . I had a hard time finding anything on this band . If you have any info please share it with us . The Local Heroes were formed in 1979, and they were an amalgamation of two other local bands Physical Wrecks and Cry Tough, bringing together a glam rock sound. Members included John Kay, guitar and vocals, Colin Schofield, drums and Ken Park, bass and vocals. The band found favour with Manchester DJ Mark Radcliffe who liked their demo tape, recorded under the name of Beans and the Toasties, so much that he later played a session from the band on Manchester's Radio Piccadilly. It was this brief taste of fame and fortune that prompted the band to change their name to Local Heroes.

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REFERENCES - http://www.rochdaleobserver.co.uk/news/s/1039928_celebrating_golden_age_of_local_music

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1. BLAST THE POP

2. TOMORROW

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JUNIOR RECORDS 1980

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THE RUTLES (I MUST BE IN LOVE)

Joke or not , I must be in love and with a girl like you are great pop tunes .The Rutles was a fictional band created by Eric Idle and Neil Innes as a pastiche of The Beatles. The group is known because of the 1978 mockumentary television film, All You Need Is Cash (often referred to as just The Rutles). The film was written by Idle, who directed it with Gary Weis. It featured 20 songs written by Innes, which he performed with three musicians. The Rutles began in 1975 as a sketch on Idle's BBC television series Rutland Weekend Television. The sketch presented Neil Innes (ex-Bonzo Dog Doo Dah Band) fronting The Rutles singing "I Must Be In Love", a pastiche of a 1964 Lennon-McCartney tune. The band name was a continuation of the premise of the TV show on which the skit originated.
The show was presented as a programme by a fictional TV network in Rutland, the smallest county in England. One running joke was that it was run on a shoestring. If the show parodied a topic, it would use names derivative of "Rutland". When Idle and Innes created a parody of the Beatles, Idle suggested "Rutles".
Innes was the musician/composer for the series and created songs with ideas on how they could be presented.
Innes came up with spoofing A Hard Day's Night. He had written "I Must Be In Love" which he realised sounded very "Beatley" and thought of the Rutles skit. He passed the idea to Idle, who had a separate idea about a boring TV documentary maker. They merged the ideas into one extended film shot for the TV show.
The Rutles had connections with The Beatles, the Bonzo Dog Doo-Dah Band and Monty Python. The Beatles were fans of the Bonzos: they featured them in the 1967 film Magical Mystery Tour and Paul McCartney (working with Gus Dudgeon under the alias Apollo C. Vermouth) had produced their 1968 hit single "I'm The Urban Spaceman". The Bonzos and members of the Python team worked together in the late 1960s on the TV comedy show Do Not Adjust Your Set. George Harrison was a Python fan as well as being involved in The Rutles film (see below), his company Handmade Films later took over production of Python film Life Of Brian after the original backers pulled out, fearing its subject was too controversial, as well as financing the two first solo films of ex-Python Terry Gilliam, Jabberwocky and Time Bandits.
In merchandising for the TV series, references were made to a Rutles album (Finchley Road) and a single ("Ticket To Rut"). In 1976, BBC Records produced The Rutland Weekend Songbook, an album containing 23 tracks including the Rutles songs "I Must Be In Love" and "The Children Of Rock And Roll" (later reworked as "Good Times Roll").

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REFERENCES - http://en.wikipedia.org/wiki/The_Rutles

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1. I MUST BE IN LOVE

2. CHEESE AND ONIONS

3. WITH A GIRL LIKE YOU

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WARNER BROS RECORDING 1978

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THE STRIKE (DANGER)

If you combined the sounds of the Rezillo's , Stiff Little Finger's , and the Clash , you would have a pretty good idea what the strike sound like . The first thing I heard from them was the album listed below when it first came out, and I instantly new I had to buy all their records . If you buy the cd these two songs are included as bonus tracks . All their stuff is worth owning , and you should be able to find most of their releases relatively cheap still . Hailing now from Chicago The Strike have quickly become the leaders of the leftist revolution. The story actually begins in the city of Minneapolis in early 1993. The band was started by Chad Anderson (guitar, vocals) and former guitarist Micah Garlich-Miller. They recruited Chad’s brother Chris Andersonas their drummer and local Minneapolis bassist Kris Adams. Both Chad and Chrisare originally from Winnipeg, Canada.The band began a local following in the city of Minneapolis that resulted in a single on Johann’s Face Records in 1995. They also released several other singles and compilation tracks including a short tour with Dillinger Four. In1996 the recorded their first full length on Johann’s Face titled ‘A Conscience Left to Struggle with Pockets Full Of Rust.’In 1997 The Strike relocated to Chicago without second guitarist Micah Garlich-Miller and began playing their leftist political rock that caught the Chicago scene by storm. The band’s has been involved with benefits for Food Not Bombs, the International Socialist Organization and performing at scooterrallies throughout the Midwest.The Strike take their influences from The Clash, Stiff Little Fingers and The Jam. They know that revolutions can only be created by the working class,they try to make people aware of the political struggles both past and present.

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REFERENCES - http://www.last.fm/music/The+Strike

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1. DANGER

2. TAKE ACTION

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JOHANNS FACE RECORDS 1995

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THEE CYBERMEN (PEABRAIN)

Great striped down 60's influenced garage band . I'm sure you can still pick up most of their stuff . Well worth your time . Formed by three school friends, Thee Cybermen have been thrashing out their particular melodic brand of Garage rock for 20 years. Influenced by the music of Medway Garage bands like The Milkshakes and The Prisoners they attempted to shake up the local music scene of Shropshire in the early nineties until a tape they had produced using 'ancient Rhino horn technology' found it's way into the hands of Bruce Brand (Drummer with The Milkshakes, Thee Headcoats etc.) This led, in 1994, to their first recording session at the now legendary Toerag studios with Bruce and Liam Watson at the desk. There followed four more sessions, two LPs, numerous EPs and singles, gigs at some of London's lowest lowlights, tours of Holland, a live session on Radio 1 and finally an acrimonious split in 1999. After years of inactivity Thee Cybermen have reconvened to record the odd tune and bash out a blistering live set every 4 months or so, usually in their hometown of Oswestry but further afield if the money is right and the rider is plentiful.

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REFERENCES - http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=208116648

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CAVE RECORDS 1995

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1. PEABRAIN

2. YOU SAY ( I WANT YOU)

3. OU EST LE CAHIER

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FUCKED UP / HAYMAKER (SPLIT SINGLE)

This is a great single . Fucked Up comes about as close as I ever heard a band come, to sounding like Negative Approach . They have ton's of great records that you can still find at a descent price . I recommend that you pick them up , you'll be glad you did some day . I couldn't find much info on Haymaker but , their side of the record is good too . Fucked Up is a hardcore punk band from Toronto, Ontario. The band formed and played their first shows in early 2001. The initial practicing lineup consisted of 10,000 Marbles (Guitar), Concentration Camp (Vocals), Mustard Gas (Bass Guitar) and Chris Colohan (of Left For Dead/The Swarm fame, and was lead vocalist for now-defunct Cursed). Just prior to recording their demo tape, Concentration Camp moved to guitar and vocal duties were taken over by Pink Eyes (also known as Mr. Damian). Drums are played by Mr. Jo (also credited as G. Beat or J. Falco).
Following the release of the demo, the band embarked on a long series of 7" records. Unlike many of their contemporaries, the band shunned full length LP or CD formats, preferring to output their music two songs at a time. While some record distributors refused to carry the singles, they were generally released to broad appeal, receiving glowing reviews in many punk fanzines. The artwork and feel of the records was a tribute to the Dangerhouse Records era of punk vinyl and takes cues from the Germs GI album.
The band released the "No Pasaran" 7" in May of 2002. The record's aesthetic and philosophy was greatly influenced by anarchism and the participation of anarchists in the Spanish Civil War in particular. The cover and insert featured anarchist propaganda posters and portraits of Spanish worker and peasant columns. About this time, Fucked Up played at the Toronto Anarchist Bookfair.
The Police 7" was released on March of 2003, quickly followed by what is considered the bands' most significant recording, the Baiting the Public 7" in May of 2003. This single was in tribute to the Viennese Actionism a far left art movement during the 1960s, and the Situationist International. The record featured one song spread over two sides, and illegible liner notes, meant to shock and annoy the buyer.
Two more 7"'s followed in 2004, the Dance of Death single, and the Litany 4-song ep. The vinyl releases to this point were collected on 2004s Epics in Minutes CD. The band was the subject of a two-minute 16mm film showing its links to the Toronto hardcore scene, a local infoshop and punk radio show. Ten video copies exist of this unauthorized film.
The bands use of imagery and symbolism (notable the use of Sigils) took a decided turn after the release of Epics in Minutes, as it was followed by two obscure and limited 12"s, the Looking for Gold 12", and the live Let Likes be Cured by Likes 12". Many felt at this point the band's message became esoteric to the point of confusion, while others felt the turn towards a more convoluted approach was ultimately more rewarding. The Looking for Gold 12" contained no liner notes or credits, no song titles, and a hidden track. It was self-released by the band in 2004 in two limited runs of 300 & 400 copies and immediately became one of the most sought-after modern hardcore punk releases, selling for over $100 on internet auction sites like ebay. The title track was 17 minutes long, used 19 guitar tracks, had a three minute drum solo and contained 4 minutes of whistling, all unconventional by punk rock song-writing standards.
Following a lengthy and rumoured self-written interview in Maximum Rock and Roll, that discussed some of the bands politics and identity, many people became suspicious of the bands intentions, as they often brought up mind control and allusions to fascism and nazi mysticism. The release of a split 7" in 2004 with the band Haymaker did little to allay these concerns as it contained a picture of Hitler addressing a Hitler Youth Rally in 1938.
A public clarification followed in late 2004 after the band was attacked onstage at a concert in Toronto . Haymaker is a hardcore punk band from Hamilton, Ontario comprised of former members of Left For Dead, Chokehold, The Swarm, etc. They are well-known for extreme shows which usually end with fights and injuries. Their shows are usually closed down due to the violence, on some occasions parts of the club have been set on fire. Haymaker typically play live once every 1-2 years.

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REFERENCES - http://en.wikipedia.org/wiki/Fucked_Up , http://en.wikipedia.org/wiki/Haymaker_(band)

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DEEP SIX RECORDS 2002

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THE ROYAL NONESUCH (WHY SHOULD I CARE)

The A side of this record has a mosquito's meets the choir feel to it . The B side is more along the lines of the Chesterfield Kings , or the Stones . The Royal Nonesuch (first incarnation) formed in 1982 in Tulsa Oklahoma, Jon McKinney (originally from LA., CA.) on guitar, Spike (when wearing leather or Nathan without leather, he had a split personality) on bass guitar and vocals, and on drums, Jeff Radle (who's cousin Carl Radle of Tulsa was a bassists for Clapton). This band covering the Yardbirds, Who, Small Faces (more of the mid 60's mod psychedelic genre), and Jon worked with Jeff (both avid 60's vinyl collectors), writing and arranging original material (song "Something Strange" written in this period), which was recorded later with other members.Mad Jon and Jeff were roommates in a band house together, playing all hours of the day or night, in a downtown neighborhood where many other bands had houses (including the band Black Flag). It was common for neighborhood musicians to show up and end up in the basement jamming for hours. A Friday night gathering at the house could easily last until Sunday evening.This line-up of the band played several shows at a local Tulsa punk venue along with hosting and playing many parties during the spring of 1983 under the name "The Royal Nonesuch".
The band played around the Springfield area gaining a dedicated following. With Jon (and the help of several other members) managing the band booking regular weekly gigs, one every Wednesday night (84-85) at a local blues bar called Lindburg's (Springfield's oldest tavern), and with Marshall's driving drumming style and screaming lead vocals, Bez's psychedelic crunching guitar leads, McKinney's ranting rhythm guitar, Walt's power driving bass, not to mention some stage slamming tight percussion, the Nonesuch became known for great live performances. A mid-west sixties wave from the grave, king of fuzz, psychedelic rave-up band with go go dancers, oil light shows, rave-ups with slamming guitars and flying sticks and drums, tambourines exploding into pieces on to the dance floor with girls scrambling for parts, and beer raining from the ceiling after the final rave-up at the end of a show from patrons throwing pitchers of beer up in the air to cool off. This became a regular site for the fans of the Nonesuch. Unheard of or even seen anywhere else in the area at the time. The Nonesuch played many clubs and venues in and around the area extensively, and a regular every Thursday night gig at the Regency Showcase (86-87). The band having articles written in underground 60's mags from coast to coast and overseas, all raving about the band's music, fashion, and high energy performances. The Royal Nonesuch developed the reputation of one of the best garage bands of the mid-west.
The Band has put out several EP's and 45's along with having songs on compilation albums in England, France, and Germany with other retro 60's bands. The Royal Nonesuch early releases have become collector items here in the United States and overseas. Some recently selling for fairly hefty prices. If you go to their Myspace there's an extensive history on these guy's. Go check them out .

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REFERENCES - http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=68427391

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GET HIP RECORDS 1990

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1. WHY SHOULD I CARE ?

2. TWO CAN PLAY THAT GAME

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***DOWNLOAD***

THE ZEROS (BEAT YOUR HEART OUT / WILD WEEK-END)

This is the second, and in my opinion , the best release from the The Zeros, aka "the Mexican Ramones", were an American punk rock band, formed in 1976 in Chula Vista, California. The band was comprised of Javier Escovedo (younger brother of Alejandro Escovedo) on vocals/guitar and Robert Lopez (later known as El Vez, "The Mexican Elvis") on guitar, who were both attending Chula Vista High School; and Hector Penalosa, bass, and Baba Chenelle, drums, who attended Sweetwater High School.
In 1977, The Zeros played their first major gig in Los Angeles at the Orpheum Theater, across the street from Tower Records/Sunset Strip, an influential record store. Opening the show was the first ever performance by The Germs, followed by The Zeros and then The Weirdos. The gig was promoted by Peter Case of The Nerves who later fronted The Breakaways and The Plimsouls. The Zeros first release, "Wimp" b/w "Don't Push Me Around" was released in 1977 on Bomp Records.
In 1978, Hector left the band briefly to live and play in Los Angeles, and was replaced by Guy Lopez, Robert’s brother. Soon after, Robert left to live in L.A. as well and his brother quit the Zeros also. Hector rejoined the band and they continued as a trio, and eventually relocated to San Francisco. In 1980, the band recorded a new single with the songs "They say," "Girl on the Block" and "Getting Nowhere Fast." After more touring that led to Austin, Texas and New York City, the band fizzled out.

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REFERENCES - http://en.wikipedia.org/wiki/The_Zeros_(US_band) http://en.wikipedia.org/wiki/The_Zeros_(US_band) http://punkmodpop.free.fr/zeros_pic.htm

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BOMP RECORDS 1978

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1. BEAT YOUR HEART OUT

2. WILD WEEK END

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***DOWNLOAD***

ANY TROUBLE (YESTERDAY'S LOVE)

This is the Stiff reissue of this single , it's not as rare as the Pennine version but, it's the version that I have . Yesterdays love is such a great song , one of my all time favorites. Manchester-native Gregson formed the original band in 1975 while attending teaching school in Crewe, taking the group's name from a misquote from the Mel Brooks film Blazing Saddles. After a brief moment as a folky trio with singer Tom Jackson, by 1976 Any Trouble changed to a four-piece rock group, speeding up their repertoire in response to the punk movement -- by this point the lineup was Gregson (vocals/guitar), Chris Parks (guitar), Phil Barnes (bass), and Mel Harley (drums). They built a strong following playing the pub circuit and released their own single Yesterday's Love on Pennine Records catching the attention of Radio One's John Peel, who quickly took the band and played the song on his show. This exposure started a small-scale bidding war from several labels. By 1980, the group signed with Stiff Records. In 1984, the band played their last gig and called it quits. Gregson went on to a distinguished, though still under appreciated, career both as a solo artist and as a collaborator with Christine Collister. - Chris Woodstra , All Music Guide It looks like these guy's are still around , go check out the links posted below .

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REFERENCES - http://en.wikipedia.org/wiki/Any_Trouble http://www.myspace.com/anytrouble http://www.anytrouble.co.uk// http://www.stiff-records.com//

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STIFF RECORDS 1980

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1. YESTERDAY'S LOVE

2. NICE GIRLS

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XS ENERGY (USE YOU / IMAGINARY)

Yet another band that was not easy to find info on . I try to be as accurate as possible , so if i misstate anything, please let me know . Information was one of the reasons I started this site . I pulled the info for this post from many different resources . Please feel free to add to it . XS Energy was Martin Patten's band , who ran Dead Good Records . This Lincoln based band put out two singles . The first being 18 / Jennys Alright / and Horrorscope , which originally came out on the World Records label , and was then reissued on the dead good label . The second record , Use You / Imaginary which is featured here , was on Dead Good Records , and was in my opinion , the better of the two . Members of this band went on to play with a later line up of the Cigarettes , and a short stint with a band called the Suburban Toys.

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DEAD GOOD RECORDS 1979

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1. USE YOU

2. IMAGINARY

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***DOWNLOAD***

THE NORMALS (ALMOST READY HARDCORE)

Here we have another one of my all time favorite records . I read once that after they moved to N.Y.C they recorded an album that was never released . Does anyone have a tape or some kind of copy of the album ? I've been wanting to hear it for years .The New Orleans-based foursome issued one single in 1978, "Almost Ready"/"Hardcore," built up a rabid fan base, and supported nearly all the big names (including the Police, the Ramones, and Talking Heads), yet never landed a record deal. The Normals tried to change their fortunes by moving to New York in May 1979, but they split up after failing to make any headway there. To pay off its debts, the band regrouped for an annual hometown gig from 1981-1984 (a gesture it resumed since re-forming in 1997).

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REFERENCES - http://www.answers.com/topic/your-punk-heritage-1977-84 http://www.electricearl.com/normals/index.html

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ELECTRIC EYE RECORDS 1978

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1. ALMOST READY

2. HARDCORE

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THE LA'S THERE SHE GOES

This is probably one of the more mainstream records that you will ever see on this site . But I included it because in my opinion it's almost a perfect pop song , and one of my favorites . I started this site to post my favorite records, so before it's all over .there's no telling what might pop up here. The La's formed in 1983, with original member Mike Badger claiming the band name occurred to him in a dream, as well as it being Scouse for "lads", and having obvious musical connotations. The band existed briefly as an arthouse / skiffle-type outfit with a few tracks included on local compilations. Lee Mavers joined in 1984 as rhythm guitarist, eventually gaining songwriting prominence and emerging as the band's enduring figurehead. Longterm bassist John Power joined the group in 1987, having met Badger on a council-run musicianship course. Badger however was asked to leave the group in late 1986.
The La's attracted the attention of several record labels after a series of performances in their home town of Liverpool in 1986, and Bootleg demo tapes copied from a session at the Flying Picket rehearsal studio in Liverpool began circulating. Several record labels heard these and offered recording contracts. The band chose to sign with Go! Discs.
The band's first single ("Way Out", released in October 1987 on Go! Discs (GOLAS 112)), was mixed with producer Gavin MacKillop, but attracted little notice. It broke in to the top 100 and was praised by The Smiths' frontman Morrissey in the music magazine Melody Maker, but otherwise went generally unnoticed. Five thousand copies were pressed, making it a sought-after item for La's record collectors. This was the beginning of The La's music career, which would last for little more than four years until the band slipped away from the limelight in 1992.
The band continued to perform shows around the UK and gained success as a live act, drawing comparisons to the Beatles due to their origins, vaguely Merseybeat sound, and Mavers' expressive lyrics.
Another single (from the Woodcray recording session), "There She Goes", was released in 1988 with the B-sides "Come In Come Out" and "Who Knows". The song garnered moderate attention and airplay, but performed poorly in the charts. The music video for "There She Goes" features The La's scampering through run-down Liverpool streets and was filmed in an afternoon on a handheld camera. The song has been used on several soundtracks, including the films So I Married an Axe Murderer, The Parent Trap and Fever Pitch and was later re-released.

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REFERENCES - http://en.wikipedia.org/wiki/The_La

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GO ! DISCS MUSIC 1990

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1. THERE SHE GOES

2. FREEDOM SONG

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THE MARC THOR BAND TRAK

Once again I searched around for quite awhile and came up pretty much empty on any real info on this band . So once again I'm just gonna wing it. From what I can tell the Marc Thor Band Formed in Boston some time around the mid 70's . I believe The first single, Holiday Fire / Boystown Boys came out around 1976. Also that same year they had a track called Circling L.A. on the Live At The Rat comp and then this single came out in 1979 . I think there may have also been a flexi disk that I don't own and never heard . For my taste Love Sucks is the winner here, but judge for yourself . I read that Marc Thor now teaches music somewhere in N.Y.C If you have any other info on this band please feel free to share it with us.

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INDY RECORDS 1979

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1. TRAK

2. LOVE SUCKS

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THE CULT HEROES (AMERIKAN STORY SINGLE)

The Cult Heroes from Ann Arbor, Michigan have been around since 1978. They are often compared to The MC5 or The Stooges. They have performed with the likes of Joan Jett, Iggy Pop, The Ramones, Smashing Pumpkins, The Sonic Rendezvous Band, The Dead Boys, Johnny Thunders and others. Drummer Larry Steele also played in Destroy All Monsters.

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REFERENCES - http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=121805373

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MAVERICK RECORDS 1981

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1. AMERIKAN STORY

2. DON'T LIKE IT

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THE UNTAMED YOUTH (AN INVITATION TO PLANET MACE WITH)

The Untamed Youth were a band from Columbia Missouri who I think formed some time around the later half of the eighties . They played great surf and frat style rock and roll mixed with great covers . I'm not sure if their still around or not . I was lucky enough to see them live once, and I have to tell you, they were a really fun band to see live. I really enjoyed myself that night . Sorry for the cover but I bought this as a promo . I love the Gary Lewis cover on here . An Invention to Planet Mace is named after Untamed Youth bassist and, according to the liner notes, King of Men Steve Mace. The Untamed Youth managed to channel the original charge they absorbed from listening to rockabilly, surf, and '60s punk records and spit it back out with vigor and unabashed humor. Highlights include the twangy guitar/ Farfisa organ, hully gully injected "Without a Word of Warning," "Two Wheel Show Stopper," "Fire Breathin 32," and "Mailbox Jamboree" (in which the joys of mailbox smashing are explored,) a swipe at Billy Childish on "I'm More Punk Than You!," the gravelly vocal ranting on "Beer Belly Baby" and "Beer Bust Blues pt 2," and instrumental Watusi mayhem of "Ghost Wave," "Scramble,r" and "Jet's Julep." Seek out this Estrus release from The Untamed Youth and live it up! ~ Al Campbell, All Music Guide

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REFERENCES - http://www.juvalamu.com/youth/ https://www.wherehouse.com/music/product-detail.jsp?id=1007866 http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=117284862

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ESTRUS RECORDS 1997

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TERMINAL STATE (SICK)

Terminal State hail from Toronto Canada and play early eighties style punk / hardcore . Mostly leaning towards the punk side of things, they remind me allot of Black Flag actually . They are just one of the many great newer bands out there that has totally got me interested in punk and hardcore again.

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MYSPACE - http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=99635631

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GO BUY IT - http://www.derangedrecords.com/catalog/advanced_search_result.php?keywords=TERMINAL+STATE&x=4&y=2

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DERANGED RECORDS - 2007

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1. SICK

2. DISEASE

3. WAKE UP

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THE EASYBEATS (FRIDAY ON MY MIND)

Here's an Italian picture sleeve variation of a classic. All sons of European immigrants to Australia, the group was formed in 1963 and by '65 with a similar repertoire to that of the British groups they had established themselves as easily Australia's leading group. Their Australian hits included "She's So Fine", "Sad And Lonely And Blue" and "In My Book" before they took the decision to move to the UK in 1966 to work with producer Shel Talmy in an attempt to crack the international market. Talmy, who had also worked with The Kinks and The Who, cut the Vanda/Young composition Friday On My Mind" - the group's only international hit. Their 1966 release "Friday On My Mind" was one of the great expressions of teenage frustration, but The Easybeats would prove to be unable to translate the success of that record into a sustainable career. In search of repeating their success, and under the guidance of the adventurous team of Vanda and Young, they recorded in a variety of different styles including soul, psychedelia and ballads, but none of their efforts met with much success and The Easybeats folded in 1969.
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REFERENCES -http://www.geocities.com/sunsetstrip/villa/9500/easybeats.htm
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UNITED ARTISTS 1966
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1. FRIDAY ON MY MIND
2. MADE MY BED: GONNA LIE IN IT
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THE NASTY FACTS (DRIVE MY CAR)

I guess if you were only gonna release one record , you could feel pretty great about this one being it. I remember the first time I heard this I thought the band was British . I was really surprised when I found out they were from New York. No doubt about it, this is a pop punk classic . Nastyfacts made quite an impact on the NY punk/new wave scene, especially considering that they only released one single, and were just teenagers at the time. They appeared regularly at Max's Kansas City, CBGB, and most of the other hot spots of the time. Their success culminated in the release of a 3 song 7" ep on Jimboco Records, produced by Ramona Jan (Dizzy and the Romilars, Comateens). The single was very well received, and has become a highly sought after collectable.
Fans may be interested to know that the band recorded a 5 song EP in 2004, entitled "All Around The World", which is available at Cd Baby, Itunes, and dozens of other digi-download sites (Cherl Boyze went absent, but everyone else participated, including original producer Ramona Jan).

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REFERENCES - http://www.myspace.com/nastyfacts

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JIMBOCO RECORDS 1981

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1. DRIVE MY CAR

2. GOTTA GET TO YOU

3. CRAZY ' BOUT YOU

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***DOWNLOAD***

THE CHORDS (IN MY STREET)

The Chords story starts with cousins Billy Hassett and Martin Mason rehearsing Beatles and Who songs, etc, together at school. Via a New Musical Express advert Chris Pope joins in January 1978. They spend the year writing, rehearsing and playing a couple of gigs. They also fail to become the band in Quadrophenia - too loud apparently!.
With the dawn of 1979 Paul Halpin (the original drummer and eventual road manager) is replaced with Brett (Buddy) Ascott. Buddy adds the final element the band is looking for. A powerhouse drummer with far too much energy and a desire to be Keith Moon, Buddy is the final link in the chain.
By the end of March the band are playing the Wellington in Waterloo to packed crowds. In the audience are Paul Weller, NME and Polydor. This helps the band secure more gigs and an important support slot to The Jam. The band play with many bands including, The Purple Hearts, Secret Affair, The Scooters and Back to Zero.
s
From then it goes very quickly: Jimmy Pursey, he of Sham 69, signs the band for his new label - this end in tears with Pursey disrupting an Undertones gig (The Chords are the support band on the tour). Luckily or (unluckily?) Polydor take The Chords on. From here, as the band see it, it all starts to go wrong.
The first single 'Now it's Gone' is the second version the band has had to record. It's released in September and gets to 63 in the charts. The band is disappointed it doesn't get further, but for a debut it sells well. In the U.K. at the time the Mod Revival is in full swing with the release of the movie Quadrophenia and The Jam are making their mark on the charts. The band receives press and airplay by association with the Mod scene. It can be said that they were part of the revival, but sensing this is a bad move the band try to distance themselves from the scene. This would have been a wise move but the press weren't going to let them get away with it. Anyway, enough bad vibes - what about the tunes?
'Maybe Tomorrow' is recorded in December and released in the New Year. A brilliant 45, a pure blast from start to end. This song alone has more balls than any tune at the time and by the end you are knackered just listening to it. It gets them an appearance on 'Top of the Pops'. It is followed by 'Something's Missing' - another slap of energy. If these songs had been the sole output of the band it would have been great.
April see the release of 'So Far Away'. Highlights of the LP are 'Breaks My Heart', 'It's No Use' and the mighty title track 'So Far Away'. If this LP were released now the Stereophonics would pack and go home. The LP charts at number 30. The past year has gone well for The Chords and for rest of the year they seem to be making headway. Two more singles are released, 'British Way of Life' and 'In My Street'. Several radio sessions are recorded and transmitted. The band seem to be on tour continually - highlights include Loch Lomond Festival, Scotland, with Bad Manners, Stiff Little Fingers, The Tourists and The Jam; and their first gigs abroad.
But by November Billy Hassett is no longer a Chord, ousted for reasons known only to the group. The band are looking for a new singer and a replacement is found in Kip - ex-Vibrators. New songs are recorded and it's make or break time for the band. The single 'One More Minute' is brilliant - imagine 'It's Gonna Happen' by the Undertones, but better. When it fails to achieve the success the band hope for, they are only one more single from the end. 'Turn Away Again' is released and nothing happens. So it's time to call it a day as they say.
Usual excuses are given for the band breaking up i.e. 'not flavour of the month anymore', 'they're just a bunch of Mods aren't they?', and 'no manager to help keep them together'. Buddy and Chris start 'Agent Orange', Martin stops playing and goes back to normality. Billy is in the world somewhere (Ireland I think) and Kip, well I don't know what happened to Kip.

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REFERENCES - http://www.thechords.co.uk/

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POLYDOR RECORDS 1980

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1. IN MY STREET

2. I'LL KEEP HOLDING ON

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***DOWNLOAD***

THE LATIN DOGS (WARNING)

Here is another band that I couldn't find much about. They seem to hail from Battle Creek, Michigan and other than that . I couldn't find much else on them. Musically This is an amateurish sounding record with over the top fuzzy sounding guitars . But that is what makes it great !! tons of snot . killed in jail has been comped numerous times . If you have any info or would like to ad to this post please feel free.

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SELF RELEASED 1982

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1. KILLED IN JAIL

2. WORLD POWERS

3. WHATS WRONG

4. ROAD KILLS

5. DEATH TO TYRANTS

6. GO TO THE WINDOW

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***DOWNLOAD***

THE CLOROX GIRLS (THIS DIMENSION SINGLE)

I believe this is a third pressing of this single . It's a square record on red vinyl and the backside of the record has spray paint on it . If your not careful when you put the needle down, It could jump out to the square edge and take your needle right off . I think this dimension is on their second album, but it's a different version . Cool punk record go check them out and buy their stuff . The Clorox Girls were formed in 2003 in Oakland, CA, when guitarist and singer Justin Maurer met drummer Clay Silva while both were both living in a punk rock squat mostly populated by doom-struck crust punks. Tired of the gloomy and abrasive music they were hearing day and night, Justin and Clay decided to form a band that paid homage to their love of poppy old-school punk (they took their name from a tune on Redd Kross' first EP, when they were still known as Red Cross), first-generation rock & roll, and smart '60s pop from England and France. Justin's girlfriend Jennique was recruited to play bass, and the Clorox Girls started playing Bay Area clubs. After a short tour up and down the West Coast, Jonny Cat Records released the band's first record, a four-song vinyl 7"; by the time the record hit stores, Jennique was out of the band, and a guy named Morgan stepped in to take over on bass, only to be quickly replaced by Zack Lewis. The Clorox Girls also pulled up stakes, making Portland, OR, their new base of operations.

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REFERENCES - http://www.answers.com/topic/clorox-girls

MYSPACE - http://www.myspace.com/cloroxgirls

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JONNY CAT RECORDS 2005

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1. THIS DIMENSION

2. ANIMAL EYES (DEFENDERS)

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THE CHEETAHS (RADIO ACTIVE)

Couldn't find any info on these guys . So this is what I know . from what I gather they were from Edingburgh Scotland and this was their only single. pity cause it's a good one. It's on the Zoom label that also put out the Valves , the Zones , and that's all I can think of at the moment. If you have any more info please feel free to share it with us.

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ZOOM RECORDS 1979

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1. RADIO ACTIVE

2. THE ONLY ONE

3. MINEFIELD

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THE PHOBES THE BEGINNING OR THE END

Hello it's time for another bunch of records, I recently had one of my post's taken down by Blogger. I must have infringed on the copyright's of the Ramones . I guess who ever has the rights to their stuff isn't done sucking the marrow out of their bones yet . Oh well , I like everything that I own from this band . At times they kind of remind me of the Imsomniacs . The standouts for me are come a little closer , greenwood park , and she's into . I'm sure you can still find their stuff cheap . The Phobes were a rock'n'roll band based in Washington DC, USA from 1997 - 2005. Mixing British mod sounds, American garage-punk, and a dose of power-pop and punk-rock, The Phobes entertained the masses at home and abroad with wild stage antics, loud guitars and stylish threads.The Phobes released three full-length albums; Poverty Jetset, The Beginning or The End, and Fine Tune as well as a slew of limited edition colored vinyl singles. Highlight performances (for the band) include the Millenium Ball at the famed El Mocambo in Toronto, a headlining slot at the mighty Purple Weekend in Leon, Spain, backing up John Sinclair and his 'blues rants' at Signal 66 art-space in Washington DC, the 24 Hour Psycho exhibit at the Hirshhorn Museum on the Mall in Washington DC, all of the Immediate! gigs at Silk City in Philadelphia, the 'Dance to Keep from Crying' Allnighter in Montreal, and that Atlantic City gig with adopted Spanish brothers Art School, to name a few.Although The Phobes' powerful catalogue of hook-filled rockers, literate pop songs and soulful ballads showcased their intelligently crafted song writing, The Phobes also had a strong affinity for drinking, which cost them some valuable career opportunities including an honest attempt by one Ryan Gentles (of Strokes fame) to showcase both bands together for Rough Trade Records (the very night The Strokes were signed), a brief courting by Virgin Records, and a few similiar opportunities by outright not even showing up.Though The Phobes could've been considered a lazy band, when they did show up to perform, they could not be matched. Each gig usually included the band performing in the crowd, on tables, or marching down the bar kicking drinks over. The Phobes managed to get signed to a New York indie-label, with support from punk-rocker Dave Smalley (Dag Nasty), only to pillage the company of wads of cash and all the product they could sneak into the elevator while keeping the suits busy in the meeting room. Then breaking from the label on a technicality, The Phobes set up their own label, Beat Neat-O Records, and did everything on their own terms while answering to noone. They chronicled their tour stories through their hilarious Phobes' Comix and for their final album, they autographed every copy that was manufactured.In 2005, The Phobes decided to call it quits while they were still in their prime; no need to drag it out like so many other solid groups that become only a shadow of their former glory.Singer/guitarist Grumbles went on to form The R.I.P.S in Philadelphia, PA, USA, Bassist Mumbles chose to permanently remain in Spain, and drummer Wobbles remains in Washington, DC painting his large scale expressionist

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REFERENCES - http://www.myspace.com/thephobes

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FASTMUSIC 2000

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