Wednesday, May 30, 2007

Naz Nomad & The Nightmares - Give Daddy The Knife Cindy ( Dionysus Records 1984 )

Naz Nomad and The Nighmares was a one-off project featuring the members of British punk band The damned.Naz Nomad and The Nightmares released one album entitled "Give Daddy The Knife, Cindy" in 1984. The album was packaged to look like the re-issue of a 1967 soundtrack album to a (ficticious) low budget American horror film. A copyright notice on the front cover claims the film was "Copyright 1967 American Screen Destiny Pictures", and credits are given for the film's stars, director and producer.
The album itself features covers of songs by garage rock and psychedelic acts who had influenced the Damned, plus two original numbers in the same style. Each member of the band took on pseudonyms different from those used in The Damned for the project.

"Nobody But Me" - (the human beinz cover)
"Action Woman" - (The Litter cover)
"The Wind Blows Your Hair" - (the seeds cover)
"Kicks" - (paul revere and the raiders cover)
"Cold Turkey" - (big boy pete cover)
"She Lied" - (the bittersweett cover)
"I Had Too Much To Dream (Last Night)" - (the electric prunes cover)
"The Trip" - (kim fowley cover)
"I Can't Stand This Love, Goodbye" - (Others cover)
"I Can Only Give You Everything" - (Them cover)
"(Do You Know) I Know"
"Just Call Me Sky"

Tuesday, May 29, 2007

Buff Medways - 1914 ( Transcopic records 2003 )

Third LP For The Medways And The primitiveness Master, Her majesty Wild Billy Childish!!!
And As Billy proudly proclaims "there's no progression at all from the last record" !!
Fuckin Genious!!!
The Link:
The Facts:

Friday, May 25, 2007

Dee Rangers - So Far Out So Good ( White Jazz 2002 )

This Is The debut LP Of The Garage Punk Giants From The Land Of Fuzz Sweden, The Dee Rangers! A Proper Garage Punk Killer Bomb! The Stones The Kinks And The Sonics All Rolled In One! Enjoy!!!
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Thursday, May 24, 2007

Tuesday, May 22, 2007

The Morlocks - Emerge ( Midnight 1985 )

Unbeknownst to H.G. Wells (author of The Time Machine), Morlocks are not only "carniverous beasts" who dwell underground, but they're also time travelers of the New Age. Open up your mind to the rhythmic, pulsating, enthralling sound of The Morlocks and you too will travel through time... to the past; when '60s GO GO clubs in London's Carnaby Street and psychedelic discotheques of San Francisco's Haight-Ashbury district were the place to be... To the future; envision places and people unwitnessed by time and seen by a select few... where motion, sight and sound over-ride all of one's senses and catapults the conscious mind into the dream world of the unconscious self.
The Morlocks' unique synthesis of outward teen innocence and inward spiritual/mystical vision results in multi-dimensional musical composition and explosive live performances. Feel the tempestuous magnetism of The Morlocks as they emerge from their underground habitat, expose the sights and sounds that will send your mind freely reeling to places it's never seen before, or has long since forgotten.
The Morlocks were conceived in late August 1984 when bassist Jeff Lucas, guitarist Tom Clarke and drummer Mark Mullen succeeded in recruiting vocalist Leighton Koizumi and guitarist Ted Friedman (both former members of Voxx recording artists The Gravedigger Five) to form a raving band influenced by '60s punk and psychedelia. The group immediately embarked on an intense and ambitious rehearsal schedule; within weeks they were ready to rant 'n rave live on stage. The Morlocks played their first club gig in September at The Rave-Up in Los Angeles; they received two recording offers the same night, and shortly thereafter signed a deal with Midnight Records of New York City. Their debut mini-LP Emerge was recorded in December of that year, to be released in the spring of 1985."
(From Bomp records Site)
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Friday, May 18, 2007

The Sid Presley Experience - Cold Turkey ( SPE Records 1984 )/ Public Enemy No1 ( ID 1984 )

The Sid Presley Experience was the dominating precursor of the Godfathers. SPE lasted from 1984 (maybe even before) thru 1985, and released two EPs before the band imploded from its own power. A four piece, the band consisted of Peter and Chris Coyne, Del Bartle on guitar, and Kev Murphy on drums. After the breakup Del and Kev formed the Unholy Trinity, which had a 1985 release. They came To Save English Rock n Roll From Boredom back In The Mid 80s. They Did Not Do The Miracle But They Offered Some Great Moments In An Original British Rock n Roll Style And Sound Both As SPE And Godfathers Afterwards.
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Thursday, May 17, 2007

The Bloody Hollies - Got It Where It Counts ( Garage Pop 2002 )

Back In The Dirt Again With The Debut Of The Mighty Mighty Bloody Hollies!! Raw, Fast And Straight No Brains Punk And Wild Rockabilly Madness To The Bone!!!
Take It In Full:

Wednesday, May 16, 2007

The Posies - Frosting On The Beater ( Geffen 1993 )

Bucking Seattle's prevailing grunge-noise-metal-punk trends in the late '80s, singing guitarists Jon Auer and Kenneth Stringfellow devoted themselves to '60s-influenced Anglo-pop and the music's primary American interpretation by Big Star. The duo's fine first album (originally self- released on cassette) would have been just another skillful neo-merseybeat retread (albeit with odd daily-life lyrics about such things as waiting in line and scheduling household chores) were it not for the magic that occurs when the two Posies harmonize, a blend that is remarkably similar to the joyous sound of Allan Clarke and Graham Nash in the original Hollies. Despite a few notable missteps, Failure is quite a successful debut.
Having moved to a major label, enlisted a rhythm section and gotten English auteur John Leckie in to produce, the Posies confidently play to their Holliesque strengths while also consciously working against type on the marvelous Dear 23. Sticking offbeat lyrics into irresistible melodic power, "My Big Mouth" opens the record in a crisp wash of acoustic strums and a jazzy falsetto chorus; "Golden Blunders" puts a strong rhythmic charge under a cautionary bit of advice about adulthood. While the vintage-sounding "Apology" and "Any Other Way" can only offer illusions of familiarity, the heavy harmony rock of "Help Yourself" and the epic "Flood of Sunshine" (which winds in an awesome spiraling guitar solo) underscore the Posies' thoroughly modern versatility.
Teethmarks of sonic aggression are all over Frosting on the Beater, a Don Fleming-produced escape from tweeness that suspends the Posies' innate tunefulness in a stronger solution. Although making the music louder and rougher undercuts the band's distinctiveness (one Matthew Sweet is plenty, thanks), it doesn't affect the Posies' vocals other than to obscure their Holliesque aspect. But neither does it especially benefit them: the record's allure owes little to the resulting contrast and everything to the sturdy melodies of the songwriting. Wisely declining the temptations of shoegazing, psychedelia and other trendy designs, the Posies crank up their pure pop without changing its basic attributes. No wonder it tastes so good.
Auer and Stringfellow then joined Alex Chilton and Jody Stephens in restarting Big Star in 1993. After that adventure, the Posies made the surprisingly sour but still delicious Amazing Disgrace. Whoever puked on their breakfast cereal ("Everybody Is a Fucking Liar," "Hate Song," "Broken Record," "Daily Mutilation," the "who gives a shit?" refrain of "Ontario") sure didn't spoil the Posies' dedication to joyous pop uplift: the album's sound strikes a relentlessly positive mix of the roaring enthusiasms of Frosting on the Beater, the retro propriety of Dear 23, adding such new/old elements as the '80s punk rush of "Grant Hart" and the '80s rock clout of Cheap Trick (two members of which guest on "Hate Song"). Great.
(Trouzers Press)
The Link:

Tuesday, May 15, 2007

Wipers - Is This Real ? ( Park Avenue 1979 )

Misunderstood, mistreated, underrated, and/or just plain unknown, Greg Sage should be mentioned in the first breaths about trailblazing guitarists and U.S. independent music of the '80s and '90s. Since forming his band, Wipers, in Portland, OR, in the late '70s, Sage has been put through the ringer more than enough to justify his hermetic operating methods and attitude. While most of his devout fans consider it a travesty that his name isn't as known as a contemporary like Bob Mould or even an unabashed fan-boy turned legend like Kurt Cobain, Sage would likely retort that it's not for the notoriety that he began making music. Unlike most other musicians who gain inspiration and motivation from watching their favorite stars revel in popularity and idol worship, Sage's inspiration stemmed more from the joy he got from cutting records on his own lathe. He has been more than content to remain in the underground, retaining optimum control over his own career while lending production help and support to younger bands that look to him for his guidance. Throughout his lengthy and prolific career, he has downplayed or shunned any attention or recognition given to him, preferring to let the music speak for itself.Initialized with the intent of being a recording project and not a band in the truest sense, Sage formed Wipers in 1977 with drummer Sam henry and bassist Doug Koupal. Sage's original goal was to release 15 records in ten years, free of traditional band aspects like touring and photo shoots. However, he found out early on that being involved with independent labels involved plenty of compromise — and that independent labels took a great deal of independence away from him, rather than empowering him. After a debut 7" on Sage's Trap label (an outlet that Sage also used to release a pair of Portland scene compilations), Wipers recorded Is This Real? on a four-track recorder (free of overdubs) in their rehearsal space. Park Avenue Records was willing to release it, but they insisted that Sage and company re-record everything in a professional studio. Despite the relatively polished outcome, Is This Real? remained the group's rawest and most direct outing. It was full of Sage's raging but agile guitars and what would become his trademark songwriting style, dealing with extreme isolation, confusion, and frustration with an agitated sense of melody. 14 years after its release, Sub Pop picked up the record and reissued it without any involvement from Sage.
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Monday, May 14, 2007

Guadalcanal Diary - Walking In The Shadow Of The Big Man ( DB Records 1984 )

The Debut LP Of One Of The Most Underestimated American Rock n Roll bands, The Guadalcanal Diary. Check This Out For Some Of The Most Beautiful Songs Ever Written Like "Trail Of Tears" And The Garage n Roll Materpiece "Watusi Rodeo"!!
While frequently lumped in with such Southern alternative pop bands as REM and Lets Active, Guadalcanal Diary was distinctly different from its peers, with a sound that was at once melodic and rhythmically aggressive, and a decidedly literary and spiritual bent to the group's lyrics. And at a time when Athens, GA, was being hailed as the new center of the smart-pop universe, Guadalcanal Diary hailed from Marietta, GA, an Atlanta suburb where the band formulated its sound with little input or influence from the local rock scene. Guadalcanal Diary was formed in 1981 by guitarist and singer Murray Attaway and lead guitarist Jeff Walls, who'd first met in 1977 when they both joined a punk band called Strictly American. Rhett Crowe, who was sharing a house with Attaway at the time and was learning to play bass guitar, joined the new band's lineup, and shortly before the new group's first show, John Poe, a former bassist who has worked with Walls, was recruited to play drums when their original timekeeper quit at the last minute. Attaway chose the name Guadalcanal Diary from a book by Richard Tregaski about the U.S. campaign against Japan during World War II, enamored of the name's surface ambiguities and undertones of patriotism and warfare. After developing a reputation on the Georgia music scene thanks to frequent gigging in Atlanta and Athens, Guadalcanal Diary cut its first record, a four-song EP called Watusi Rodeo, in 1983 for the Athens-based DB Records label. A year later, DB and the band followed it up with a full-length album, Waling In The Shadow Of A Big Man, produced by Don Dixon. Filled with rich but moody songs about faith, doubt, and the legacy of life in the Deep South, and driven by thundering drums and the clarion call of electric guitars, Walking In The Shadow Of A Big Man quickly won an enthusiastic reception from critics and college radio programmers, and in 1985 Elektra Records signed Guadalcanal Diary and reissued the album. More touring followed, as did a cameo appearance in a best-forgotten youth comedy called Rockin' Road Trip.
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Thursday, May 10, 2007

The Wicked Thing Mixtape #1

Thats The First Mixtape Of Some Things Wicked To Listen And Enjoy To!! C U At The Drive Gig Folks!!!

The Cynics - Blue Train Station ( Get Hip 1986 )

Pittsburgh Finest The Cynics In Their Outstanding Original Garage Punk Debut, Blue Train Station On Get Hip Records!!!
You'll have to excuse Cynics founder/guitarist Gregg Kostelich if he takes a somewhat, um, cynical view of the current garage-rock boom. After all, the Cynics have been keeping the garage torch burning since 1983, when they formed in Pittsburgh. As with other kindred spirits from that time (the Lyres and the Chesterfield Kings spring to mind), the Cynics, God bless them, place a premium on staying true to the sound and vibe of their fave '60s rockers. The echo of the Chocolate Watchband, the Sonics, the Standells, and others -- whose legacies live on in Little Steven's syndicated Underground Garage radio show and on Rhino Records' 1998 and 2001 Nuggets boxed sets -- comes through like a rude blast of fuzz-tone guitar.
The Cynics' first album was 1986's ripsnorting Blue Train Station, which was followed by Twelve Flights Up, Rock 'N' Roll, Learn to Lose, and Get Our Way (a new CD, Living Is the Best Revenge, is due Nov. 1); all are regarded by connoisseurs as the real deal: gnarly, sweaty, raucous, and brimming with snotty attitude (courtesy of singer Michael Kastelic).
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Tuesday, May 08, 2007

(e-book) The Knights Of Fuzz By Timothy Gassen ( The Garage & Psychedelic Music Explosion 1980-1995)
An Excellent Piece Of Work On The Story Of The Revival Garage Punk Movement From The Ultimate Inside Man And Marshmallow Overcoat mainman, Tim Gassen. The facts, The Bands And The Style Rolled In One Book. Great!!!