Showing posts with label 1988. Show all posts
Showing posts with label 1988. Show all posts

Thursday, October 21, 2021

Various Artists - Elvira Presents...

With October 31st just around the corner, and longtime horror hostess Elvira (or more specifically Cassandra Peterson, the actress who plays Elvira) in the news recently due to the revelations in her recently published autobiography Yours Cruelly, Elvira: Memoirs of the Mistress of the Dark, I thought I might post a couple of her Halloween-related compilations.

The first Elvira music compilation came out in 1983, a couple of years after Peterson auditioned for and won the job of presenter for a revival of a popular Los Angeles-area weekend horror show featuring old scary movies called Fright Night. The program (renamed Elvira's Movie Macabre) featured her now-iconic character Elvira, Mistress Of The Dark, a saucy, sarcastic, 'Valley Girl'-type tricked out in heavily-applied horror-film makeup, a huge black beehive wig and a tight-fitting, low-cut black gown which displayed Peterson's ample chest.  Elvira not only introduced the decidedly Grade-B, -C and -Z films, she would often interrupt the flicks during the program to poke fun of their overall crappiness, in addition to making racy double entendres and jokes about her boobs. She quickly gained notoriety and popularity in the region, and parlayed that success to appearances on Johnny Carson's Tonight Show and other programs (like CHiPs and The Fall Guy) which brought her nationwide fame.

Her first release, Elvira Presents Vinyl Macabre - Oldies But Ghoulies (Vol. 1), was a quickie collection of Halloween/horror-related rock and pop hits and standards by the likes of Bobby "Boris" Pickett and Sheb Wooley, slapped together by Rhino Records in the early years of that label's existence. As such, Peterson/Elvira had little to do with or on the album, other than record a couple of intros/outros and appear on the cover in all her glory. Despite its relative generic October music presentation, today this disc commands high prices, probably because the record was never rereleased on cassette or CD.

The follow-up to this initial release was Elvira Presents Haunted Hits, put out in 1988. Actually, in some ways, this album serves as sort-of rerelease of Vinyl Macabre, as it reprises a number of songs that were on the first compilation (like "Monster Mash", "Purple People Eater" and "Haunted House"), while adding a substantial number of other holiday-related tunes, some rather popular and renowned. In case you're interested, here's the lineup:

  1. Monster Mash - Bobby 'Boris' Pickett & The Crypt-Kickers
  2. Haunted House - Jumpin' Gene Simmons
  3. Ghostbusters - Ray Parker Jr.
  4. Out OF Limits - The Marketts
  5. The Blob - The Five Blobs
  6. The Creature From The Black Lagoon - Dave Edmunds
  7. The Purple People Eater - Sheb Wooley
  8. The Addams Family (Main Title) - Victor Mizzy
  9. Twilight Zone - Neil Norman & His Cosmic Orchestra
  10. Welcome To My Nightmare - Alice Cooper
  11. End Of Side One - Elvira
  12. Beginning Of Side Two - Elvira
  13. Halloween Spooks - Lambert, Hendricks & Ross
  14. Dead Man's Party - Oingo Boingo
  15. Little Demon - Screamin' Jay Hawkins
  16. Horror Movie - The Skyhooks
  17. I Put A Spell On You - Screamin' Jay Hawkins
  18. King Kong - Big T. Tyler
  19. Attack OF The 50-Foot Woman - The Tubes
  20. I Was A Teenage Werewolf - The Cramps
  21. Voodoo Voodoo - LaVern Baker
  22. The Creature (From Outer Space) - The Jayhawks
  23. Full Moon - Elvira
  24. Martian Hop - The Ran-Dells
  25. Attack Of The Killer Tomatoes - Lee Lewis
  26. Elvira's Outro - Elvira

Elvira was a little more involved on this album; in addition to her commentary, she's even provided a full song to sing, "Full Moon" - a lightweight, synth-poppy confection that doesn't hold up well next to the other classics included here. But all in all, in my opinion, this is probably the best of the compilations released under her name, due to the breadth, scope and volume of fun Halloween music offered here. It was a bestseller for the label when it was released, and remains a perennially popular disc.

But the success of the ...Haunted Hits album seemed to lead to some unfortunate decisions/choices for the next Elvira compilation, Elvira Presents Monster Hits, released six years later. It appears that someone (either Peterson herself or the producers) believed that the big selling point for the earlier set was the increase in Elvira's voice and presence. So for this new one, the decision was made to ratchet up the "Elvira factor" - more than one-third of this short (28 minute long) album is centered on her. This includes two original songs, "Monsta' Rap" and "Here Comes The Bride (The Bride Of Frankenstein)" - both generally bland, worthless songs that do little more than take up space that could have been better utilized by including more classic and well-known Halloween songs.  The track list for this brief release is as follows:

  1. Introduction - Elvira
  2. Monsta' Rap - Elvira
  3. Little Demon - Screamin' Jay Hawkins
  4. Feed My Frankenstein - Alice Cooper
  5. Monster Mash - Bobby 'Boris' Pickett
  6. Nightmare On My Street - DJ Jazzy Jeff & The Fresh Prince
  7. The Addams Family - Joey Gaynor
  8. Here Comes The Bride (The Bride Of Frankenstein) - Elvira
  9. Outro - Elvira

Also note that this comp includes several repeats from Elvira's previous releases, making the existence of this one somewhat redundant.

In years to come, Rhino would release a couple more Halloween compilations under Elvira's name, all to gradually diminishing returns: Revenge Of The Monster Hits in 1995 and Elvira's Gravest Hits (an 'best of' (*eye roll*) album devoted almost solely to tunes crooned by her) in 2010, along with Heavy Metal Halloween in 2009. But these have done little to decrease the fame of Peterson's signature character; Elvira remains popular and active to this day.

Anyway, here for your spook-tacular pleasure are two discs to make your haunted holiday complete:

  • Elvira Presents Haunted Hits, released in 1988; and
  • Elvira Presents Monster Hits, released in 1994

Both were put out by Rhino Records.

Enjoy, and have a wonderful, safe and happy Halloween! And as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Various Artists - Elvira Presents Haunted Hits: Send Email
Various Artists - Elvira Presents Monster Hits: Send Email

Saturday, July 31, 2021

Various Artists - A Reference Of Female-Fronted Punk Rock 1977-89 (12 Discs)


[I began putting this one together back in mid-2018... but discovered some problems with the discs that took a while to sort out, and by the time I did so, I'd moved on to other write-ups. Guess I'll finish this one up now...]

I found this rarity available for download a couple of months ago [ed. note - early 2018], from an obscure music website, Kangnave (which appears to have been actively added to for a couple of years in the mid-2010s, but hasn't seen a new posting since 2015). Here's the description the blog moderator put up regarding this:

This is a pretty insane project put together by my pal Vince B. from San Francisco a few years back. As the title indicates, this is a homemade 12 x CD-R (!) compilation of punk bands fronted by female vocalists from 1977 to 1989. More like a giant mixtape than a compilation, as he only made 36 copies which he sent to friends and people who submitted material. You may notice that some of the bands didn’t have a steady female vocalist (The Lewd, etc.) but he still included songs that were sung by another member of the band. This is as international as it gets, with stuff ranging from world famous Blondie or Crass to the most obscure Eastern European cassette compilation veterans. The boxset came packaged in a handnumbered fancy translucent lunchbox enclosing all 12 CD-Rs, a stack of full-colored cards featuring comprehensive tracklist and artwork/info, as well as a manga pin-up figure! Talk about a labor of love.

Like the guy above said, this is a pretty incredible worldwide collection of decent to excellent punk vocalized by women - here's the lineup for all twelve discs:

Disc 1:

1. Blutsturz – Schweigen (Demo) (Germany, 198?)
2. Penetration – Money Talks (England, 1977)
3. Pyhäkoulu – Painajainen (Finland, 1986)
4. VulpeSS – Me Gusta Ser Una Zorra (Spain, 1983)
5. The Comes – Panic (Japan, 1984)
6. Suicide Squad – New Kids Army (Australia, 1980)
7. Rivolta Dell’Odio – Altari Del Terrore (Italy, 1984)
8. Sick Things – Anti-Social Disease (England, 1977)
9. Accident (a.k.a Accidents) – True Detective (USA, 1979)
10. Dishrags – I Don’t Love You (Canada, 1979)
11. Último Resorte – Hogar, Dulce Hogar (Demo) (Spain, 1981)
12. The Fastbacks – Someone Else’s Room (USA, 1981)
13. Anorexia – Rapist In The Park (England, 1980)
14. Phobia – Pretend You’re Not Crazy (USA, 1978)
15. Androids Of Mu – Bored Housewives (England, 1981)
16. Sort Sol (With Lydia Lunch) – Boy-Girl (Denmark/USA, 1983)
17. Tappi Tikarrass – Skrid (Iceland, 1984)
18. Flowers – After Dark (Scotland, 1979)
19. The Rentals – I Got A Crush On You (USA, 1979)
20. Pariapunk – Double Face (France, 1987)
21. Amsterdamned – Traditie Amme Balle (Netherlands, 1982)
22. Dr. Zeke – Vild I Skogen (Sweden, 1979)
23. The Lewd – Magnetic Heart (USA, 1982)
24. Au Pairs – Kerb Crawler (England, 1980)
25. Mo-Dettes – White Mice (USA/Switzerland/England, 1979)
26. Stripes – Weekend Love (Germany, 1980)
27. Violators – The Fugitive (England, 1980)

Disc 2:

1. Schund – Schund (Austria, 1982)
2. Wunderbach – Raya (France, 1982)
3. Total Muzak – Någonstans I Sta’n (Sweden, 1980)
4. Liliput – Hitch-Hike (Switzerland, 1980)
5. NJF – Sitting!! Pretty (Canada, 1984)
6. S.I.B. – Listless (Italy, 1981)
7. Manisch Depressiv – Zeitmaschine 1 (Switzerland, 1983)
8. Sheena & The Rokkets – Omae Ga Hoshii (One More Time) (Japan, 1979)
9. Rezillos – Flying Saucer Attack (Scotland, 1978)
10. Sado-Nation – Messed Up Mixed Up (USA, 1982)
11. Lucrate Milk – Fucking Pacifist (France, 1983)
12. Dan – Lust Is Greed (England, 1987)
13. Nasty Facts – Drive My Car (USA, 1981)
14. Life Cycle – Indifference (Wales, 1988)
15. Livin’ Sacrifice – Mentalsjuk (Sweden, 1981)
16. The Brat – Attitudes (USA, 1980)
17. Non Band – Ducan Dancin’ (Japan, 1982)
18. Bizkids – VIPs (Netherlands, 1980)
19. Minus Cway – Gdje Me Vjetar Odnese (Yugolsavia, 1982-88)
20. The Rats – Broken Wire Telephone (USA, 1983)
21. Anouschka & Les Privés – Contrôle (France, 1980)
22. Slits – Vindictive (England, 1977)
23. ICA – Untitled (Netherlands, 1981)
24. Trash – Peace Of What (USA, 1984)
25. Boys Boys – Monley Monkey (Japan, 1980)
26. Honey Bane – Girl On The Run (England, 1979)
27. TNT – Razzia (Switzerland, 1981)
28. Nuns – Wild (USA, 1980)
29. Electric Deads – 30 Years (Denmark, 1982)
30. Conflict – Who Will (USA, 1984)
31. Atims – Women (Netherlands, 1982)

Disc 3:

1. Hans-A-Plast – Polizeiknüppel (Germany, 1979)
2. Usch – LTO (Sweden, 1979)
3. Desechables – El Asesino (Spain, 1984)
4. Ici Paris – Le Centre Du Monde (France, 1980)
5. Action Pact – Suicide Bag (England, 1982)
6. Invaders – Backstreet Romeo (England, 1980)
7. Lepers – Flipout (USA, 1979)
8. Franti – Vento Rosso (Italy, 1983)
9. Out On Blue 6 – Examples (England, 1981)
10. Mr. Kite – Exit B9 (Japan, 1978)
11. De Zweetkutten – Atoomgeweld (Netherlands, 1981)
12. Ideal – Berlin (Germany, 1980)
13. Holly And The Italians – I Wanna Go Home (USA, 1981)
14. Modesty – Kad Srce Radi Bi Bam (Yugoslavia, 1982-88)
15. Delta 5 – Anticipation (England, 1980)
16. Beex – He Obliterates Me (USA, 1981)
17. Kaltwetterfront – Revolverheld (Germany, 1982)
18. Hydra – Ombre (Italy, 1985)
19. Vacum – Är Ungdomar Människor? (Sweden, 1980)
20. Nixe – Man Under My Bed (Netherlands, 1981)
21. Alternative – Seen Through Tear-Filled Eyes (Scotland, 1984)
22. Schematix – Nothing Special (USA, 1980)
23. Eyes – Don’t Talk To Me (USA, 1978)
24. Russians – Anything She Wants (England, 1980)
25. Kontrola W. – Manekiny (Poland, 1982/1998)

Disc 4:

1. Kizza Ping – Den Nya (Sweden, 1982)
2. Strapaze – Tage (Germany, 1983)
3. Glueams – 365 (Switzerland, 1979)
4. Kleenex Aktiv – Hilfe (Germany, 1985)
5. XL Capris – My City Of Sydney (Australia, 1980)
6. Josie Cotton – Johnny, Are You Queer? (USA, 1981)
7. Rakketax – Van Agt (Netherlands, 1980)
8. A-Heads – No Rule (England, 1982)
9. Drustvo Prisjecavalaca Boljih Dana – Sexualna Ovisnost (Yugoslavia, 1982-88)
10. Pink Champagne – Söndagsskolehyckel (Sweden, 1980)
11. Curse – Killer Bees (Canada, 1978)
12. Flirt – Don’t Push Me (USA, 1978)
13. 水玉消防団 (Mizutama Shouboudan) – 真空パック・トラベル (Japan, 1981)
14. Bizon Kidz – Godsdienstwaanzin (Netherlands, 1981)
15. X-Ray Spex – I Live Off You (England, 1978)
16. Reactors – World War Four (USA, 1980)
17. Klasse Kriminale – Construito In Italia (Italy, 1988)
18. Debils – Maso (Switzerland, 1981)
19. Plastix – Geschlechtsverkehr (Austria, 1981)
20. Avengers – Teenage Rebel (USA, 1978)
21. Hagar The Womb – Idolization (England, 1983)
22. Blitzkrieg – Szene (Germany, 1989)
23. DIRT – Hiroshima (England, 1981)
24. Disturbers – KZ Syndroom (Netherlands, 1980)
25. Andreas Dorau Und Die Marinas – Fred Vom Jupiter (Germany, 1981)
26. Pandoras – That’s Your Way Out (USA, 1984)
27. Lost Cherrees – Living In A Coffin (England, 1982)
28. Learned Helplessness – Vegis (USA, 1982)
29. A-Gen-53 – Stalingrad-Stumpfsinn (Austria, 1981)

Disc 5:

1. Crass – Where Next Columbus? (England, 1981)
2. A.P.P.L.E. – If In Heaven (USA, 1985)
3. Sleeping Dogs – (I Got My Tan In) El Salvador (USA/England, 1982)
4. Asbest – Family Care (Netherlands, 1982)
5. FFF – Arbeit Macht Dumm (Germany, 1986)
6. Gas – World Peace (Japan, 1985)
7. Les Calamités – Toutes Les Nuits (France, 1984)
8. Mother’s Ruin – Godzilla (Switzerland, 1979)
9. Toxic Waste – Traditionally Yours (Northern Ireland, 1985)
10. The Ex – Lied Der Steinklopfer (Netherlands, 1989)
11. NBJ – Dead Porker (USA, 1982)
12. Doll – Trash (England, 1978)
13. ST-37 – Unknown Soldier (Germany, 1985)
14. Jetset – Tot Hier En Niet Verder (Netherlands, 1982)
15. Fega Påhopp – Hålla Masken (Sweden, 1980)
16. Alma Y Los Cadáveres – Confidencias de Nutrexpa (Spain, 1982)
17. Da Stupids – Alien (USA, 198?)
18. Essential Logic – Quality Crayon Wax OK (England, 1979)
19. Beardsley – Summer Holiday (Japan, 1986)
20. Lärm – Pigeon (Netherlands, 1982)
21. Fatal Microbes – Violence Grows (England, 1978)
22. Sin 34 – Not (USA, 1983)
23. Vice Squad – Latex Love (England, 1980)
24. Lord Eva Braun – Week-End à Blois (France, 1989)
25. Ätztussis – Bullen (Germany, 1980)
26. Falange – Falange Suburbana (Brazil, 1988)
27. Bags – Survive (USA, 1978)

Disc 6:

1. Conflict – The Guilt And The Glory (England, 1982)
2. Putrid Girls – 1234 (USA, 1983)
3. Nog Watt – Going On (Netherlands, 1984)
4. Suburban Reptiles – 45 Single (New Zealand, 1978)
5. Lost Kids – Alle Taler (Denmark, 1979)
6. Edith Nylon – Edith Nylon (France, 1979)
7. Expelled – No Life, No Future (England, 1982)
8. Tollwut – Seuchen (Germany, 1981)
9. Blondie – Youth Nabbed As Sniper (USA, 1977)
10. Wartburgs Für Walter – More More Anymore (East Germany, 1989)
11. Ref – Soda Bikarbona (Yugoslavia, 1982-86)
12. Chumbawamba – beginning To Take It Back (England, 1986)
13. Mizz Nobody – Smittad (Sweden, 1978)
14. Platzangst – It’s A Light (Germany, 1983)
15. The Pogues – I’m A Man You Don’t Meet Every Day (Ireland, 1985)
16. St. Vitus Dancers – The Survivor (England, 1982)
17. Mary Monday & The Bitches – I Gave My Punk Jacket To Rickie (USA, 1977)
18. DZK – Juventude (Brazil, 1988)
19. Cocadictos – Juan Pablo II Y Amigos (Spain, 1983-84)
20. K.U.K.L. – Dismembered (Iceland, 1984)
21. Petticoats – Allergy (England, 1980)
22. Kalashnikov – Ødelæg Og Hærg (Denmark, 1984)
23. No Thanks – Fuck Everything (USA, 1983)
24. Indirekt – Shell Helpt (Netherlands, 1985)
25. Namenlos – Nazis (East Germany, 1984)
26. UXA – No Time (USA, 1980)
27. Peggy Luxbeurk – Sueur Froide (France, 1982)
28. Flere Døde Pansere – Midedød (Denmark, 1983)

Disc 7:

1. Toxic Shock – Remote Control (England, 1984)
2. Toxic Shock – Riot Riot Riot (USA, 1982)
3. Zelda – [Japanese Title] (Japan, 1981)
4. Total Chaoz – Oh Beatrix (Netherlands, 1981)
5. ZOI – Psaulme 1 (France, 1986)
6. Tozibabe – Moja Praznina (Yugoslavia, 1985)
7. Xmal Deutschland – Qual (Germany, 1983)
8. Ghost Walks – Fallen Angel (USA, 1985)
9. Life In The Fridge Exists – Have You Checked The Children? (New Zealand, 1980)
10. X – Nausea (USA, 1980)
11. Sacrilege – Dig Your Own Grave (England, 1985)
12. Combat Not Conform – Keep Your Head (Germany, 1985)
13. Typhus – ノータッチ (Japan, 1980)
14. Foreign Legion – Trenchline (Wales, 1986)
15. Rough Cut – Danger Boy (USA, 1981)
16. Ludus – Mother’s Hour (England, 1981)
17. The Bastards – Impossibilities (Switzerland, 1978)
18. Rutto – Paha, Kuolema (Finland, 1983)
19. Nikki Corvette – Young & Crazy (USA, 1977)
20. Photos – Skateboard (England, 1980)
21. Last Few – Suicide Commando (Netherlands, 1983)
22. Tyranna – Back Off Baby (Canada, 1980)
23. Screaming Sneakers – Violent Days (USA, 1982)
24. Poison Girls – Statement (England, 1982)
25. Verdun – Günther (France, 1988)
26. Noh Mercy – Caucasian Guilt (USA, 1979)
27. Bow Wow Wow – C30, C60, C90, Go (England, 1980)
28. Götterflies – Empty (Netherlands, 1981)

Disc 8:

1. Post Mortem – The Casualty (England, 1985)
2. Antischism – Evil God (demo) (USA, 1989)
3. Wrong Kind Of Stone Age – Run Amok (Australia, 1984)
4. The Puke – Happy Family (Netherlands, 1981)
5. Teddy & The Frat Girls – Clubnite (USA, 1980)
6. Questions – Take A Ride (France, 1980)
7. 無理心中 (Muri Shinjuu) – 子宮 (Live) (Japan, 1980-82)
8. Rubella Ballet – Something To Give (England, 1982)
9. Die Tödliche Doris – Kavaliere (Germany, 1982)
10. Los Microwaves – Time To Get Up (USA, 1981)
11. Extrém Exém – Eget Liv (Sweden, 1982)
12. Icon A.D. – Fight For Peace (England, 1982)
13. Dago Wops – Big Mac (Germany, 1981)
14. 8-Eyed Spy – Diddy Wah Diddy (USA, 1980)
15. Indian Dream – Insult To Injury (England, 1985)
16. Destroy All Monsters – Bored (USA, 1978)
17. Bluttat – Flying Into Heaven’s Door (Germany, 1985)
18. Raincoats – Adventures Close To Home (England, 1979)
19. Afrika Korps – Buzz Stomp (USA, 1977)
20. M’n’M’s – I’m Tired (USA, 1980)
21. キャ→ (Kyah!) – Slapdash (Japan, 1985)
22. Teenage Jesus & The Jerks – Less Of Me (USA, 1978)
23. Dog Faced Hermans – Balloon Girl (Scotland/Netherlands, 1987)
24. Mydolls – Soldiers Of A Pure War (USA, 1983)
25. Gash – Gash Trash (Australia, 1986)

Disc 9:

1. Berlin – The Metro (USA, 1982)
2. Poles – C.N. Tower (Canada, 1977)
3. Kuolleet Kukat – Vihollinen On Systeemi (Finland, 1984)
4. Joyce McKinney Experience – Armchair Critic (England, 1989)
5. VKTMS – Hard Case (USA, 1979)
6. ゴメス (Gomess) – 地獄へ (Japan, 1986)
7. Charol – Sin Dinero (Spain, 1980)
8. Tragics (a.k.a Misfits) – Mommi I’m A Misfit (USA, 1981)
9. Kandeggina Gang – Sono Cattiva (Italy, 1980)
10. Jingo De Lunch – What You See (Germany, 1987)
11. Vermilion – Angry Young Women (England, 1978)
12. The Maggots – (Let’s Get, Let’s Get) Tammy Wynette (USA, 1979)
13. Brain Death – Personal Affair (Japan, 1987)
14. Squits – Porno Pirate (Netherlands, 1982)
15. Siouxsie And The Banshees – The Staircase (Mystery) (England, 1979)
16. Unwarranted Trust – Honour’s Calling (Canada, 1984)
17. Bulimia Banquet – Scientology Sucks (USA, 1988)
18. Nurse – ナ-ス (Japan, 1983)
19. Secta Suicida Siglo 20 – Virginidad Sacudida (Mexico, 1989)
20. Castration Squad – The X Girlfriend (USA, 1979)
21. Jo Squillo Eletrix – Skizzo Skizzo (Italy, 1981)
22. A5 – Reeperbahn (Germany, 1980)
23. Manufactured Romance – You (England, 1980)
24. Frigidettes – Turmoil (USA, 1982)
25. Capitalist Alienation – Nuclear Trash (Canada, 1987)
26. Sperma – Please Love Me Tonight (Japan, 1985)
27. Mystery Girls – Ego (USA, 1983)
28. Exeroica – Del Apocalipsis (Argentina, 1988)
29. Partners In Crime – I Wanna Drive You (USA, 1984)
30. Dawn Patrol – What My Gonna Do (With Me) (England, 1981)
31. Maps – My Eyes Are Burning (USA, 1979)

Disc 10:

1. Neo Boys – Never Comes Down (USA, 1980)
2. New Walls – No Creation!? (Japan, 1985)
3. Gymslips – Miss Nunsweeta (England, 1982)
4. Loud Warning – Loud Warning (Netherlands, 1986)
5. Vs. – Magnetic Hearts (USA, 1980)
6. Turncoats – Waste Of Time (England, 1987)
7. Agonia – [Unknown title] (Italy, 1985)
8. Demented – Back To The Bed (USA, 1982)
9. PVC – Galehus (Norway, 1980)
10. Girls At Our Best! – Warm Girls (England, 1980)
11. Wilma & The Wilbers – Chronic Alkie (USA, 1980)
12. Cringe – Secretary Spread (USA, 1981)
13. Detectors – La Ciutat No Es Per Mi (Spain, 1987)
14. Suburban Lawns – Gidget Goes To Hell (USA, 1979)
15. Red Scare – Streetlife (USA, 1982)
16. Sofa Head – Invitation To Dinner (England, 1989)
17. 45 Grave – Black Cross (USA, 1980)
18. Plasmatics – Dream Lover (USA, 1979)
19. Not Moving – Behind Your Pale Face (Italy, 1983)
20. Enemy – Want Me (USA, 1978)
21. Potential Threat – Animal Abuse (England, 1982)
22. Anti-Scrunti Faction – Slave To My Estrogen (USA, 1985)
23. Legal Weapon – Hostility (USA, 1981)
24. OXZ – Be Run Down (Japan, 1984)
25. Shivvers – Teen Line (USA, 1980)
26. Donkeys – Wacky Acky I Aye (England, 1978-82)
27. Wrecks – Punk Is An Attitude (USA, 1982)
28. La Souris Déglinguée – Marie France (France, 1983)
29. SST – Autistic (USA, 1977)
30. Anti/Dogmatikss – Estado De Caos (demo) (Spain, 1983)

Disc 11:

1. Abwärts – Bel Ami (Germany, 1980)
2. Even Worse – Illusion Won Again (USA, 1981)
3. F.U.A.L. – Freedom Under Animal Liberation (Northern Ireland, 1989)
4. Nena – Nur Geträumt (Germany, 1983)
5. Gruftrosen – Mörder Von Gestern (Austria, 1985)
6. Sledgehammer – Paramilitary Recruits (Northern Ireland, 1988-ish)
7. Deutscher Abschaum – The German Superman (Germany, 1984)
8. Family Fodder – Debbie Harry (England, 1980)
9. Pink Turds In Space – Eastenders (Northern Ireland, 1988)
10. Die Mimmi’s – Mc Donald (Germany, 1984)
11. No-Song Kutkotz – Telegram (Netherlands, 1984)
12. Ratos De Porão – Nao Me Importo (live) (Brazil, 1985)
13. Martina + Part Time Punx – Mehr Von Dir (Germany, 1987)
14. Frightwig – Only You (USA, 1984)
15. Big In Japan – Big In Japan (England, 1977)
16. Bärchen Und Die Milchbubis – Jung Kaputt Spart Alterscheime (Germany, 1980)
17. Mood Of Defiance – American Love Song (USA, 1983)
18. Virgin Rocks – Get Along With You (Japan, 1987)
19. Ana Hausen – Professionals (England, 1981)
20. Métal Boys – New Malden (France, 1980)
21. Red Cross – Standing In Front Of Poseur (USA, 1980)
22. Dolly Mixture – Been Teen (England, 1981)
23. Morbid Opera – White Flag (USA, 1983)
24. Chin-Chin – We Don’t Wanna Be Prisoners (Switzerland, 1984)
25. Lovedolls – Now That I’ve Tasted Blood (USA, 1986)
26. Compos Mentis – Confused (New Zealand, 1985-ish)
27. Hysteria – Silent Hate (England, 1984)

Disc 12:

1. Pervers – Asozial (Germany, 1984)
2. Hugh Beaumont Experience – Moo (USA, 1983)
3. Inocentes with Meire – Ri Dos Hippies (Brazil, 1984)
4. Ruggedy Annes – Hollow Heroes (Canada, 1985)
5. Blowdriers – Berkeley Farms (USA, 1979)
6. Rap – Accident (Japan, 1985)
7. Decadent – Opposition Proposition (USA, 1982)
8. Warriors – Born To Ride (Japan, 1987)
9. Bambix – Little Miss Sunshine (Netherlands, 1989)
10. Super Heroines – Death On The Elevator (USA, 1981)
11. Cherry Vanilla – The Punk (England, 1977)
12. Hari-Kari – Prey For Peace (USA, 1983)
13. Kleenex – Ü (Switzerland, 1979)
14. Chute De Esperma – No Keremos (Spain, 1984)
15. Revo – Fuck The School (Netherlands, 1980)
16. The Fall – Hotel Blôedel (England, 1983)
17. Der Riß – Images (Germany, 1985)

As the compiler mentioned above, in some ways, the title of this set is a misnomer... although many of the bands featured in this compilation (such as The Raincoats, Kleenex, The Slits, Hans-A-Plast, etc.) are indeed all-woman groups, a good proportion of the songs being offered here are by unisex bands that just happened to have a woman as a lead singer (like X, Teenage Jesus & The Jerks, Chumbawumba and X-Ray Spex) or groups that let one of the female members sing a song or two  (like The Fall, 45 Grave, The Rezillos, and the like).  Perhaps a better name for this would have been A Reference of Female Voices in Punk Rock 1977-89... but maybe I'm just nitpicking. All in all, the selection here is superb...

Unfortunately, the initial set of downloads burned from this blogger's copies were NOT superb. I had a heck of a lot of issues with some of the song files, especially in the last five or six discs - some files were incomplete, others hopelessly corrupted.  So I made the time and took the extra effort to cull out the crap and find replacement files for some of these bands from other sources. Considering the level of obscurity of some of the tunes provided in this set, it goes without saying that it took a while for me to track everything down.   But in the end, I think I did.  So the set I'm offering here is a clean and uncorrupted as you're going to find out there for the time being.

Apparently, this set was featured on the Dangerous Minds website a few years ago - but still linked back to the Kangnave page, with its wonky files. Here for your listening pleasure is my repaired version of A Reference Of Female-Fronted Punk Rock 1977-89, a fan-compiled boot of twelve discs containing over 300 slices of quality punk and post-punk from the heyday of this music.  Enjoy, and as always, let me know what you think.

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Thursday, August 6, 2020

House Of Schock - House Of Schock


For the past couple of weeks, they've been hyping the new Showtime documentary airing this past weekend, detailing the rise and fall of the classic early '80s New Wave group The Go-Go's, "the first all-woman group to write their own songs, play their own instruments and have a #1 hit" (as we've been reminded over and over again in recent days...).  Here's the official trailer for the program:


As I've mentioned here before and just recently, I used to be a pretty big Go-Go's fan. I was speaking with my buddy Camob just last week, and he reminded me of when he and I went to see them at Merriweather Post Pavilion near Baltimore during a break we had in U.S. Naval Academy summer training in July of '84, just before they broke up (INXS opened for them). Heck... I'd forgotten most of the details regarding that show, other than the fact we went (I do recall that tickets were something like $14-15...). As I recall, Jane Wiedlin quit the band shortly afterwards, in the fall of 1984, and after a half-hearted attempt to replace her (moving Charlotte Caffey to rhythm guitar and recruiting Giant Sand's Paul Jean Brown as the new bassist), the group had completely fallen apart by the following spring.

After this initial breakup, the band members scattered. I've already detailed in a previous post the careers of both Belinda Carlisle and Jane Wiedlin in the immediate aftermath.  Charlotte Caffey stayed connected to Carlisle, writing songs for Belinda's subsequent successful albums, and formed a band of her own called The Graces (with future star Meredith Brooks); their sole album, 1989's Perfect View, was critically acclaimed but sold poorly. Kathy Valentine sort of drifted around the fringes of the music world for several years, becoming a member of many short-lived, forgotten bands, before forming the blues rock collaboration The Bluebonnets with bassist Dominique Davalos. This group eventually evolved into The Delphines, and released two albums, a self-titled album in 1996 and Cosmic Speed in 2001.

This leaves drummer Gina Schock.  Like Valentine, Schock had long-term professional experience on and competence in her instrument of choice well prior to joining The Go-Go's; also similar to Valentine, Gina had trouble catching on to another band after The Go-Go's broke up in 1985 - which is sort of odd. In any event, Gina noodled around as a drummer for a couple of years for various obscure mid-Eighties now-forgotten bands, at the same time honing her own singing and songwriting skills. By 1987, she was ready to blaze her own trail. She formed a new band called House of Schock and recruited as its first member a transplanted L.A. by way of LA (as in Louisiana) native on bass named Vance DeGeneres.
Vance DeGeneres was/is a very interesting guy. A former Marine in the 1970s, he returned from his military hitch and settled in New Orleans. A local buddy of his, Walter Williams, was creating stop-motion Claymation comedy shorts on Super 8 film in 1974-75, featuring a character
he called "Mr. Bill", and showing them around town; at William's request, Vance stepped in to assist and began playing a character called "Mr. Hands" in some of the films. It was all just a local thing until late 1975, when the new NBC network comedy show
Saturday Night Live sent out a request for viewers to send in their own home movies, and Williams' were selected. More than twenty episodes of "The Mr. Bill Show" were produced for SNL, and the character became extremely popular nationwide, generating millions of dollars in merchandising sales annually.

In 1979, DeGeneres (who by then had moved on to a gig hosting a punk/New Wave radio show in New Orleans) filed suit against Mr. Bill copyright holder Williams in federal court for payment from the shows and merchandise sales, claiming that he too was a co-creator of the character and was entitled to fifty percent of the proceeds. After a year and a half of litigation, the courts awarded Williams total control over Mr. Bill and related characters (his dog Spot, Sluggo and Mr. Hands). The settlement said Williams was responsible for 'the basic idea in concept' of the characters in the Mr. Bill show, but added that DeGeneres 'participated in bringing that idea' into being.  As a result, the judgment said Williams would have to refile copyrights on the four characters so that they bear DeGeneres' name as co-creator. The judgment also said DeGeneres would receive 25 percent of all net proceeds of articles produced around the four categories. In exchange, DeGeneres relinquished all claims to copyright and trademark to the characters.

During this period of litigation and radio program hosting, DeGeneres honed a comedy act that appeared in area clubs, and also played bass for a beloved local Bayou New Wave band called The Cold, which performed in and around the Southern Louisiana region until the mid-80s before their breakup. With the radio show also ending around that time, Vance moved west to Los Angeles to try his luck out there in the entertainment field.

Oh, and one more thing I should mention - Vance DeGeneres is Ellen DeGeneres' older brother - yes, that Ellen DeGeneres.
Anyway, Schock gathered up a couple more members for her new band (Chrissy Shefts on guitar, and Steven Fisher on drums, since Gina planned on fronting the band and limiting her time behind the skins), and signed a deal with Capitol Records; the label was undoubtedly happy to add an ex-Go-Go to its roster, to hopefully emulate/rival the success Gina's former band mate Belinda Carlisle was having in her solo career with MCA Records. They even teamed her up again with Richard Gottehrer, the veteran producer behind The Go-Go's multi-platinum debut album Beauty And The Beat (along with other classics like most of Blondie's early albums, The Fleshtones' American Beat '84 and Richard Hell & The Voidoids' Blank Generation... at the time, however, it seemed to have been conveniently forgotten that Gottehrer had sort of dropped the ball a couple of years earlier with The Go-Go's follow-up album, 1982's Vacation...).  Ten of the songs Gina had written over the previous two years were released by the band on a self-titled album in early 1988.

I hadn't played or thought about this album in a while, so I went online to do a little research before I wrote this piece. The very first review I read, on Allmusic.com, was so spot-on it made me laugh out loud: "This album has "record company interference" written all over it..." Yes, it does. It suffers from the same sort of malady that affected Jane Wiedlin's solo debut, which I wrote about earlier this year - it's WAY overproduced, laden with the by-then cliched '80s shimmering, slick-as-grease pop music effects to make the songs ostensibly more "radio friendly"... which is a shame, because buried beneath the gloss and reverb are some decent little tunes.  The opener and debut single, "Middle Of Nowhere", is actually a great song, well suited for Schock's voice.  Here - have a listen:
 
 
Of course, it sounds dated and "Eighties-y" now. However, the tune was a hit in Australia, and could have done well in America as well. But Capitol Records almost immediately disowned this album, putting nary a nickel of money or a line of publicity into sales or promotion, and it sank like a stone, not even charting here in the States. This ended up being House Of Schock's only LP release.

Since that time, Gina Schock has turned her musical efforts more towards songwriting, penning tunes for the likes of Miley Cyrus and Selena Gomez, and for various movie and TV show soundtracks. Except for the various Go-Go's reunion tours over the years (the first one was in 1990), she had largely retired from live performance. Vance DeGeneres has moved on to bigger and better things in the comedy realm (he was a writer for various shows, including his sister's first network show on ABC, and later served as a correspondent on Comedy Central's The Daily Show for a number of years) and in production (developing and co-producing some of Steve Carell's recent films), among other pursuits.

Here's House Of Schock, by the band of the same name, released on Capitol Records in 1988. This album isn't by any means a deathless addition to the overall Go-Go's canon, but it's still worth listening to if you can get past the whizz-bangs it was laden with. Plus, it's kind of hard to track down nowadays... so here you go - put this one in your ears, and as always, let me know what you think.

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Friday, February 21, 2014

Sonic Youth - 4 Tunna Brix EP


Here's an odd little release of covers of songs originally done by my all-time favorite band . . .

In October 1988, Sonic Youth went into the studios of BBC Radio 1 in London to record a session with legendary DJ John Peel (the first of five sessions the band would record with Peel over the next dozen years). Their critically-acclaimed breakthrough album Daydream Nation has just been released earlier that month, so it should have been expected that the group would play selected cuts off of that disc on Peel's show. Instead, Sonic Youth went in an entirely different direction, spending their entire session playing four covers as an homage of sorts to the English band The Fall - who, incidentally, were one of Peel's favorite groups.

The Fall tracks SY covered were as follows:
1. Rowche Rumble
2. My New House
3. Victoria (yes, I know that this is a Kinks original, but The Fall released their own take of this song earlier that year on their album The Frenz Experiment . . . so essentially Sonic Youth did a cover version of a cover version)
4. Psycho Mafia
The results were . . . strange, to say the least. The tunes sound exactly like you would expect them to sound - a combination of The Fall thrown into Sonic Youth's guitar/feedback/sludge rock buzzsaw. It's all a bit ramshackle and tongue-in-cheek, but overall not bad.

Upon broadcast, the reaction to the session was fairly positive in most quarters, with one crucial exception - when Fall majordomo Mark E. Smith found out about Sonic Youth 'meddling' with his songs, he was (predictably) more than a bit ticked off. He was so upset about it that he refused to sanction the session's commercial release - not that that particularly mattered; this Peel session was quickly bootlegged in England in the following month (on yellow vinyl!) on a 7" EP entitled All Fall Down. Only three songs were on this EP; the "Victoria" cover was left off.

A year and a half later, an outfit called Goofin' Records put out their own vinyl "bootleg" of this session, now including all four songs. I say "bootleg" in quotes, because the sound of this disc is suspiciously pristine, as though it were produced from the original master tapes . . . Nowadays, it's generally acknowledged that Sonic Youth themselves put together the Goofin' release, probably as a way to get back at Smith for being such a dick about the whole thing. For his part, for the past two decades Smith has never missed an opportunity to disparage Sonic Youth, a few years back telling a London Times reporter that Thurston Moore, SY's lead singer, should "have his rock license revoked" (then again, Mark E. Smith slags off pretty much every group and musician nowadays, so it's hard to take his criticism of Sonic Youth seriously).

I recall reading about this disc back in the mid-1990s, and of course being a big Fall fan, I HAD to have a copy. However, it took me quite a while to find this one; I finally tracked one down on eBay about fifteen years ago, being sold by a guy in South Carolina. I enjoy pretty much every song on the EP, although in my opinion the band's version of "Victoria" sounds like an English football chant. Anyway, the music I'm presenting here was burned off of my own copy.

So here you go - here's the four-song 'official bootleg' 4 Tunna Brix EP from Sonic Youth, originally recorded as a John Peel Session on October 19th, 1988, and released on the band's own Goofin' Records label in 1990. Enjoy and as always, let me know what you think of it.

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Thursday, March 21, 2013

The Pixies - Surfer Rosa (RS500 - #315)


I was driving home from work today and listening to WBRU, when the DJ made a statement that made me feel very, very old:

The Pixies' Surfer Rosa was released 25 years ago today.

Twenty-five years . . . jeez.  It doesn't seem that long ago - and yet . . .   To put it in perspective, Surfer Rosa itself was released exactly 25 years to the day after the release of another historic record, Please Please Me, the Beatles' debut album.  Now, think about the progression, change and development of popular music in that quarter century between the Beatles and the Pixies' first albums - through bubblegum, progressive, glam, metal, punk, post-punk, New Wave, No Wave, New Romantic, etc.  The spark the Fab Four lit in 1963 ignited an explosion in popular music that is still being felt today.  The arrival of the Pixies should have signaled the start of another 25-year rock music renaissance.  And it did, sort of, for a while - but it didn't last nearly as long as what followed in the Beatles' wake.

As 'switched on' musically as I claim to be, I have to say that Surfer Rosa didn't come across my radar for quite a while.  In the first place, it was released overseas on England's 4AD, and its U.S. distribution (handled by Rough Trade) was somewhat limited.  Secondly, in 1988 I wasn't in one place long enough to pause and get a broader overview as to what was going on musically - around the time this album was released, I was moving from Georgia to Virginia to begin my military career, and shortly after I arrived in Norfolk, I departed with my ship on a long European deployment that keep me out of the States until just before Christmas.  Outside of the Boston area (the band's home base) and more musically 'with-it' locales (of which Norfolk was not one), the Pixies didn't make much of an impression on the overall U.S. music scene in 1988.

It was the release in the following year of their second album, Doolittle, that got me into the Pixies.  Doolittle was the band's first widely-distributed international release (Elektra took over the U.S. rights from Rough Trade), and as such it seemed to everywhere all at once.  Like practically everyone else who 'discovered' the Pixies that year, the gateway song for me was "Monkey Gone To Heaven", which I first heard one evening on the short-lived Hampton Roads alternative radio station (call letters long forgotten) while I was driving home to Virginia Beach down I-64 after a hard day's work at the Norfolk Naval Base.  By the time Black Francis was screaming ". . . And GOD is SEVEN!  And GOD is SEVEN!  And GOD is SEVEN!", I was already making a swerving detour onto I-264 towards the mall to buy this album as fast as I could.  I picked up a cassette copy at Big Daddy's Records & Tapes store at Military Circle Mall (that store's big claim to fame was its "lifetime guarantee" - if any tape or CD ever broke or went bad on you, they vowed that they would replace it for free, no questions asked.  Needless to say, the place no longer exists . . . ).  

Later that spring, my ship entered Norfolk Naval Shipyard to get a new fire control system installed.  With no overseas deployment scheduled for that year, I spent the warm spring and summer days and weekends In the Norfolk/Virginia Beach area, going to the beach and hitting the clubs with my friends, with Doolittle blasting through my open car windows the entire time.  I absolutely loved this album, so much so that I quickly began looking for additional Pixies releases.  I found a cassette copy of Surfer Rosa up in DC at my old standby, the George Washington University branch of Tower Records. 

I thought that nothing could top the brilliance of Doolittle . . . until I heard Surfer Rosa.  EVERY song on this album was a winner, including my personal favorites "Brick Is Red", "Cactus" and "Break My Body".


Big Black's Steve Albini, who produced the album, was openly contemptuous of the Pixies during the sessions, and soon afterwards said several disparaging things about the band and their music, admitting in interviews that many of the seemingly innovative recording techniques he used on Surfer Rosa (having band members sing in an echo-ey concrete restroom, running vocals through guitar amps, or including extended studio banter on the record) were done basically to amuse himself, and not necessarily to benefit the band (yes, he's (or at least was) an asshole . . . but he later apologized for his remarks and attitude, heaping praise on the group).  But despite Albini's personal feelings at the time and however you feel about him, whatever he did on Surfer Rosa worked.  He and the band created a unique, groundbreaking, classic album.

Looking back, you would have thought that the release of Surfer Rosa and the rise of the Pixies in the late '80s/early '90s would have led to the same sort of long-term, lasting emergence of musical innovation and variety that occurred in the wake of Please Please Me twenty-five years earlier.  And for a while, that was the case - I think that that five-six year window after the Pixies' debut album came out was not only the Golden Age of alternative music, but really the last time when great music not only seemed to be coming out of everywhere, but was being duly acknowledged as 'great music' in its present period, not long afterwards by music critics of the future.

[Now, I'm not saying that the Pixies were the direct cause of all of this happening; Lord knows that there were many other influential bands around during and before this time also serving as groundbreakers and catalysts.  But the band and this album serves as a convenient touch-point, a place to point at and say "See?  Here's where the floodgates began opening" and fantastic tunes began flowing in from seemingly every corner.]

During that time period, bands that a few years earlier were and might have been little-known, little-heard 'cult' bands - Ween, Sonic Youth, They Might Be Giants, Nitzer Ebb, The Sundays, Pavement, PJ Harvey, Stereolab, Cocteau Twins . . . (I could go on and on) - became widely recognized, popular and commercially successful groups.  It was the heyday of independent and college radio stations, which were widespread across the country and had the courage to buck the mainstream and play 'non-commercial' music.  Alternative music morphed into several subgenres - indie, jangle pop, Madchester, riot grrl, ska-punk, and of course grunge, to name a few - all of which thrived, at least for a while.  But this "golden age" was relatively short-lived, and by the mid-1990s it definitely felt as though an era had passed, and the apparent willingness of the media to continue exposing and championing new bands and cool sounds had come to an end.  

You can't quite put a definitive date on when music started turning to shit in the 1990s, but the breakup of the Pixies in early 1993 is a pretty good point to mark the beginning of the end.  I remember following the various rumors and bulletins related to their demise during the winter of 1992-93, first with disbelief and shock, then with sadness and resignation.  It was heartbreaking, witnessing their acrimonious end; in a way, the Pixies had become more than just a band, to myself and many others.  I don't think I'm overstating the feeling that lots of us shared back then - the Pixies and their music represented more than just a genre (alternative) or a style (LOUDquietLOUD) or a location (the fabled 'Boston Scene').  They represented an entire era, when the unfamiliar and experimental and exceptional, for a while, became the norm - an era that with the band's passing would never again come to pass . . . sort of like the Beatles, in a way.

OK . . . I guess I've said more than enough about this group and this disc.  Music is what you're here for, and music is what you're gonna get!  Here, for your listening pleasure, is Surfer Rosa, the Pixies' first full-length album, released March 21st, 1988 on 4AD (what I'm offering here is actually the Surfer Rosa/Come On Pilgrim compilation, which I picked up on CD a couple of years after my cassette purchase).  Enjoy this album as you think back over the past twenty-five years of so of YOUR life (assuming you're that old) . . . and as always, let me know what you think.

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Friday, May 18, 2012

Renegade Soundwave - Biting My Nails 12"


I used to love "Biting My Nails"!


I'm pretty sure I first heard this song in the spring of 1988 at the old Fifth Column nightclub on F Street in DC, back in the day when that dance club was the undisputed leader and center of DC's nightlife in that part of town.
Back twenty/twenty-five years ago, downtown DC used to have a PUMPING bar/club scene - with Fifth Column and its next-door neighbor, The Vault, anchoring the F Street dance circuit (the old 9:30 Club was right across the street, along with a really good multi-story club whose name currently escapes me that ran through the entire block from E to F St. - one section was an old-school R&B dance club, one section was a quiet live jazz lounge, another featured house music, etc.). The 80's-themed dance club Polly Esther's was just half a block away. A few blocks northwest, close to the Treasury building between 14th and 15th Streets, was Zei Alley, home to Club Zei and its cross-alley dance club companion, the Spy Club. In the scary, dangerous, decrepit neighborhood over by the Navy Yard was the legendary Capital Ballroom/Nation and the nearby Tracks, a gay dance club that nonetheless drew a mixed crowd due to its great music. There was Anastasia's (New Romantic) and Poseur's (New Wave) in Georgetown; reggae clubs on U Street and 18th Street (near the current 18th Street Lounge); samba and live jazz in Adams-Morgan - frankly, there were great places all over town, and you could strike sparks wherever you went for whatever sort of music you were in the mood for. Things have definitely changed in Washington nowadays - most of those clubs have long gone, and with them a major chunk of the city's great nightlife that once made the place so special.

But I digress . . .
Like I said, I probably initially encountered this during one of my forays into DC, and I recall purchasing the EP at 12" Dance Records on P Street, close by Dupont Circle, and transferring it to cassette shortly before leaving the States on my six-month European cruise later that year.

Renegade Soundwave was formed in 1986 by three musically like-minded London friends, Carl Bonnie, Gary Asquith and Danny Briottet. The sound that Renegade Soundwave championed, a dancable sort of industrial/electronic music, was somewhat outside of what was happening musically in Britain and Europe during that time - namely the rise of house music in the late 80s and the advent of Madchester at the beginning of the 90s. To put it kindly, RSW was a bit 'retro' for that period; to put it harshly, they were old fashioned, and more than a step outside of the times. As such, their time window for mainstream acceptability and success was very small indeed - although Lord knows they tried.

The band released their Kray Twins single on Rhythm King Records in mid-1987, followed by the Biting My Nails single the following year. I didn't know it at the time, but the latter song was actually a cover version. The original "Biting My Nails" was done by Genevieve Waite, a South African singer/actress of limited ability who had the foresight/good fortune to marry John Phillips (of The Mamas & The Papas) in the early 70s. Her new husband produced her only album, 1973's Romance Is On The Rise. On it, Ms. Waite wraps her annoyingly high-pitched, Betty Boop-esque vocals around a set of songs that both obliquely and blatantly referred to the early 70s cocaine-and-decadence scene (that I assume she knew of first-hand, being married to an allegedly big-time drug-gobbler and notorious sex fiend like Phillips). I mean, just have a look at the lyrics for "Biting My Nails" in particular:
"Catch you later, baby - I've gotta split
I've got a habit I've just can't quit . . ."
or . . .
"A flake of snow on a silver spoon . . ."
and . . .
"I've got a habit, and it's all mine!"
Sheesh - doesn't leave much to the imagination, eh?

As bad as this album was, in its day it still earned some rather over-the-top acclaim from some quarters - in 1977, one critic even ranked it as one of the top 200 albums of all time (he must have fried his brain being part of that cocaine crowd himself . . .). You would think that a Seventies disco drug anthem would be an odd choice for an electro-industrial band to cover nearly two decades later . . . but Renegade Soundwave pulls it off, and in doing so they created their first big UK hit.

The group moved to Mute Records in 1988 and spent most of the next two years putting together content for a long-player; in the end, they released two - Soundclash in late 1989 and In Dub six months later. The former performed very respectably on the national charts, reaching #74 and spawning a UK Top Forty hit, "Probably A Robbery". But soon after that success, the band began falling apart. Bonnie left the band shortly after the release of In Dub, leaving Renegade Soundwave as a duo. The two remaining members released a couple more albums of limited appeal, 1994's Howyoudoin'? and The Next Chapter In Dub in 1995, before disbanding at the end of 1995.

I can't say I've spent a lot of time contemplating this band or their music since the late '80s - like I said, their sound was of a certain time and place, and it really doesn't do much for me now. But I do have a warm place in my heart for this record - else I wouldn't have kept it for all of these years!

So here you are, burned off of my original vinyl disc, Renegade Soundwave's Biting My Nails 12", the original and instrumental mix, released by Mute Records in 1988. Enjoy, and as always, let me know what you think.

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Thursday, August 18, 2011

New Order - Fine Time 12"


"Fine Time" was the lead single and (in my opinion) best song on what I consider to be New Order's last decent album, 1989's Technique. The album came out shortly after I returned from six months in Europe, where I became a big fan of acid house music. I was stunned and happily surprised when I first heard Technique and found that New Order had heavily coopted that sound. What I learned much later (partly through Michael
Winterbottom's 2002 film 24 Hour Party People - a great movie about the Factory Records/Manchester scene, by the way) was that soon after recording 1986's Brotherhood, the band went on vacation to the Mediterranean island of Ibiza, off the coast of Spain, a renowned European club and party zone. While there, they first came in contact with the rising acid house sound and with Balearic beat, a style of electronic dance music pioneered on the islands. The band fully immersed themselves into the music of Ibiza, and came away from their trip committed fans of that sound. They were determined to have their next album reflect this new musical sensibility.

New Order took a longer-that-usual amount of time to record Technique - almost three years, much to their label's chagrin. By the mid-80s, Factory Records was bleeding money all over the place, but especially through the Hacienda, the Manchester nightclub and music venue jointly financed and built by Factory and New Order. Although popular, the majority of the Hacienda's patrons preferred taking ecstacy and other drugs to buying drinks at the bar. This, coupled with generally low admission prices, led to spiraling debts at the club. These debts were usually covered through revenues from New Order's record sales. By 1987, the Hacienda was costing Factory (or more specifically, New Order) nearly a quarter million dollars a year. So a quick turnaround on a new New Order record was necessary not just for the band, but more importantly for the label in keeping its various enterprises afloat. But New Order would not be rushed, and Factory was in no position to force the issue (especially since the band, not the label, owned all of their music). So all Factory could do was sit and stew as New Order flew back and forth to Ibiza month after month, tinkering with their new sound.

The long wait was justified when Technique was released in January 1989 and became an immediate hit, the band's first UK #1 album and their first non-compilation disc to go gold in the US (the Substance compilation went platinum in 1987), reaching #32 on the US album charts. Two album singles, "Fine Time" and "Round and Round", made the UK Top Twenty, but had even greater success in America, with both songs reaching the top five on the national dance and modern rock charts.

Being a long-time New Order fan, I bought Technique on cassette practically the instant it came out, and played it to death while driving around Virginia that winter. I especially liked "Fine Time", so much so that when I spotted a 12" disc of remixes available at the George Washington University branch of Tower Records that March, I immediately snapped it up. It's such a well-constructed song, that it can withstand the manipulation of several different mixes and still sound fresh and exciting each time.


So here you are, burned off of my still-mint condition vinyl copy - New Order's Fine Time 12", released by Factory Records in 1988 and distributed in the U.S. by Quincy Jones' Qwest Records (BTW - out of the 37(!) different versions of this record available internationally, this one is one of the few that have all five remixes available, along with the b-side "Don't Do It"). I think the quality of this burn is exceptionally good - if you feel otherwise, let me know and I'll rescorch it. Either way, let me know what you think:  

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Friday, August 5, 2011

Hetch Hetchy - Make Djibouti EP


Oh-OK is one of the great forgotten bands from the early days of the Athens, Georgia music explosion, the movement that brought the B-52s and R.E.M. onto the world stage. The band formed in the spring of 1981, and originally consisted of David Pierce on drums, Linda Hopper on vocals and Lynda Stipe on bass. If you're thinking "Stipe, Stipe - now WHERE have I heard that name?" - the answer is "yes"; Lynda was/is Michael Stipe's younger sister.

Oh-OK's star rose and fell very quickly. Within two years of forming, the group had toured with Pylon, released an EP and full album, added (and lost) new members (including a pre-solo Matthew Sweet) and broke up by the end of 1983. At that point, the band members scattered. I got into Oh-OK long after their breakup, when I lived in Athens during during the late 1980s. They, like Pylon, were (and still are) revered in that town, sort of as the pioneers who fell off the trail. I was interested enough to track down bits and pieces of their music while I was there, and the little I heard was enough to make me a fan.

But unlike Pylon, who remained in Athens after their heyday and were still somewhat semi-visible, a lot of ex-Oh-OK members disappeared for a time - except for Matthew Sweet, of course. Linda Hopper quickly moved on to Holiday, which released an obscure EP in 1987, then formed the more successful Magnapop, which is still performing and putting out records (the latest being 2005's Mouthfeel). Lynda Stipe fell off the musical radar for a couple of years. But she resurfaced in the late 1980s fronting a new band, Hetch Hetchy, and sporting a new name, Lynda K. Limner. The band's first release was the Make Djibouti EP, produced by Lynda's brother (hmm - I guess there ARE benefits to having a sibling in R.E.M.) and put out by Texas Hotel Records in 1988.

I honestly don't know what to make of this disc. I purchased it because of the fond memories I had of Oh-OK, and seeing Michael's name in the credits didn't hurt either. But its sound is far different from the simple, almost-childlike melodies of Lynda's previous band (or anything related to R.E.M., for that matter). The six songs on this EP are heavy - and I mean HEAVY; even what could be considered to be the lighter, poppier attempts on this disc (such as "Present" and "Hard On Lynda") just feel wrong, dragged down by the weight of too much instrumentation. And the slower ones (like "Retarded Camel" and "Sad Song") are even more leaden, with plodding rhythms supported by a thudding bass drum. in addition, it sounds as though Hetch Hetchy hired the old keyboard player from Berlin to sit in on this session - every song seems to contain some version of that weird "doo-doo wah-wah" synthesizer riff from "The Metro" - which is NOT a good thing, especially in 1988.

All in all, the Make Djibouti EP was not a promising start for Hetch Hetchy. As for who to blame for the weakness of their debut, well . . . far be it from me to point fingers, especially more than twenty years down the road. I'll hold my peace. But I
will note that prior to recording their first full album, 1990's Swollen, Lynda got rid of most of the original band, and instead of using her brother again, enlisted the production services of former Hugo Largo bassist Tim Sommer. The resulting album was a lot better than the EP, but that didn't save the band - Hetch Hetchy broke up in 1991. Since then, Lynda has been part of a few obscure bands, like Flash To Bang Time, and is still involved in the Athens arts scene.

I guess in hindsight, I should be writing about and posting Hetch Hetchy's more superior Swollen, rather than gassing about this thing. Screw it - I'm almost done writing this, and don't feel like starting over. So what the hell. Maybe I'll post the other album sometime later. Until then, have a listen to the EP, and as always, let me know what you think.

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Tuesday, July 26, 2011

D-Mob (feat. Gary Haisman) - We Call It Acieed/Trance Dance 12"


In the summer of 1988, six weeks after I arrived on board my ship in Norfolk, VA, I began my first long deployment as a young Naval officer. We headed over to Europe for a six-month stint as the American participant in NATO's Standing Naval Force, Atlantic (otherwise known by its abbreviated name, STANAVFORLANT). STANAVFORLANT (now known as "Standing NATO Maritime Group 1") was established in 1968, at the height of the Cold War, as an immediate reaction force. Just in case the Warsaw Pact countries decided to get a little frisky, our force was designed to be the "first responders", in the forefront of protecting and defending Europe from attack by sea. The force was (is) made up of frigates, destroyers and cruisers from the NATO countries, with the US, Canada, the UK, Germany and the Netherlands always having at least one ship in the fleet, and the smaller NATO countries (such as Belgium, Norway and Denmark) contributing a ship periodically.

Now, while being part of this first-reaction force may sound a bit hairy and Dr. Strangelove-esque to you, by 1988 glasnost and perestroika were in full swing in the Soviet Union. While the Western countries and Eastern Bloc weren't exactly bosom pals yet, the competitive tensions between the free and Communist worlds were considerably toned down. And accordingly, the formerly deadly serious nature of STANAVFORLANT was also ratcheted down. That is not to say that there wasn't serious work to do or a sense of purpose present during that deployment. There were still a lot of joint training exercises between the NATO participants, and on occasion we shadowed (or were shadowed by) Soviet ships coming out of the Baltic and traveling through the North Sea. And at one point early in the cruise, the group was diverted from its planned route to assist in the immediate aftermath of the Piper Alpha oil rig explosion, a horrific disaster that claimed 168 lives.

But for the most part, the deployment was pretty cruisey (so to speak). The ship I was on was the last one built in her destroyer class, relatively brand-spanking new, and as such it sort of served as a "showboat" for the US Navy with this group, showing the European countries what was then considered our maritime best. While the work at sea was intense, the frequent port visits were great, as the hosting port cities and the participating ships tried to outdo one another with the parties, dinners and functions (official and otherwise) they organized.
[Quick aside: Our ship was the only one in the force that was "dry", i.e., carrying no beer or liquor; the other nations' ships had no such restrictions regarding alcohol on board, which led to some wild times in port. Almost every participating ship (except for the US) had a signature booze they carried aboard to offer to visitors. The Norwegians, for example, kept iced aquavit in a locked safe in their officer's wardroom; one sip of that stuff would knock you flat on your ass, but those guys gargled it like it was water. The West German vessel carried the most outstanding beer I've ever tasted, served in big stoneware schooners specially made for
the ship (I still have the one they gave me). But of all the countries, it was the Canadians who were particular hard-core party hounds. In port, they occasionally used to invite the crews from the other STANAVFORLANT ships over for what they called "Moose Milk", a potent and evil concoction they brewed up and always seemed to have plenty of. The antics that went on aboard the Canadian ship on Moose Milk nights would put the wildest college fraternity to shame. But at sea, those guys were the most professional, competent sailors I've ever run across. So go figure.]
I saw and did a lot of new and cool things during that cruise. I visited London, a place I'd always dreamed of seeing, for the first time on that voyage (met some great people, went to a couple of clubs and even made it to Brixton, homebase of my beloved Clash). In Germany, I checked out the nightlife in Kiel and took a tour through Hamburg's red light district; I was in Antwerp at the peak of the Belgian acid house wave, and danced until the sun came up at clubs all over that city; I partied all one July night in Narvik, Norway, a town above the Arctic Circle, and was completely thrown off when I emerged from the club at 3:30 am to find the sky as bright as noonday. And one calm, dark night, far out in the North Atlantic, I stood out on deck for hours watching the aurora borealis dancing like a weird curtain of light over my head. It was all quite an adventure, and the months away from home passed very quickly.

By late October, we had less than two months left in our deployment. We were making another transit across the North Sea from West Germany to Scotland, and one evening en route, the force was practicing refueling operations with a West German replenishment tanker. While that exercise was going on, I was down in my midships office, a couple of decks below topside, doing some paperwork. At one point, the ship took a hard and unexpected starboard turn, sending all of my paperwork crashing to the floor. I was like, "what the heck?", and reached for the nearby phone to call the bridge. The officer of the deck (OOD), the person guiding the ship at the time (as opposed to the ship's captain), was a buddy of mine, and I was going to call him up and give him some good-natured shit for making such a wild maneuver. Just as my hand touched the phone, there was a loud and violent CCCRRRAAASSHHH!!! which shook the ship from end to end, sending everything not bolted down flying and me and everyone else in the room sprawling on the floor. I looked up at the person next to me on the floor, and half-asked/half-exclaimed, "We ran aground?!?!" His response was, "No, I think we were just hit!"

His word "hit" was sort of floating in the air, like in a balloon in a comic strip, when at that very same moment, every alarm on the ship went off in sequence - Collision, General Quarters, Man Overboard - and the emergency lighting immediately kicked in, bathing everything in an eerie and ominous red glow.

In a nutshell, what had happened was, due to a conflict between the OOD and the captain, and some miscommunication on the bridge, our ship had somehow placed itself directly in the path of the tanker we were trying to take station around. The tanker couldn't swerve, because of its size and speed, so a collision was imminent. What SHOULD have happened was, the way we were positioned in front of the German ship, it should have come straight on and sliced us neatly in two right at amidships, exactly at the point where my office was and where I was working at the time, unaware of what was about to transpire. But in the last few seconds, the OOD made a desperation move, kicking the rudder over hard right in an attempt to swing the stern out away from the oncoming ship and hopefully avoid a collision by mere feet. That was the turn that knocked my stuff on the floor, that I was going to call to complain about. It was also the turn that probably saved my life . . . although it wasn't completely successful. Instead of whacking us right through the middle, the tanker delivered a heavy but glancing blow on the starboard side, about ten yards forward of the stern.
It put a hole in our ship you could have driven a minivan through, destroyed the after steering compartment and sheared off the starboard screw and rudder. And we started taking on water - a LOT of water.

Through the diligent efforts of every member of that crew, damage control stabilized the ship's wounds within the hour. It was still pretty bad; the ship's maneuverability was gone, and with the water we had taken on, the ship had developed a not-insignificant starboard list of about 7 or 8 degrees.
The Man Overboard call turned out to be a false alarm; the splash the lookouts heard was the sound of chunks of the ship falling into the water (thank God for that - no one could have survived for long that night in those icy North Sea waters). But the ship was a mess. We limped across the rest of the North Sea and made it to our intended destination, the shipyard in Rosyth, Scotland. But instead of the planned five-day stop there, our ship was immediately put into dry-dock for weeks of emergency repairs.

Although the long stay in Rosyth was unexpected, life there quickly settled into a routine. I still had plenty of work to do in port, so my days were pretty busy. The major city of Edinburgh was about 15-20 miles away from the shipyard. I planned to visit the city later during my stay, but in the meantime I spent many of my nights in the nearest town of any consequence, Dunfermline, about 3 miles up the road.

Dunfermline, with a population of about 40,000 people, was a former seat of the Scottish royal family, and as such was the de facto capital of Scotland from the 11th through 15th centuries. It is renowned for containing the historic ruins of the old Royal Palace of Dunfermline. and Dunfermline Abbey, one of the most important cultural sites in Scotland and the burial place of several Scottish kings. It was also the birthplace of 19th century industrialist and philanthropist Andrew Carnegie, who left the town as a boy, but never forgot where he came from and later in life donated large sums of money to his hometown. I, of course, didn't know any of this; the only thing I knew about Dunfermline at the time was that the band Big Country came from there.

For a relatively small town, Dunfermline had an OUTSTANDING nightlife. There were a number of bars and decent dance places, all of which were jam-packed every single night in the weeks we were in the city (although that may not normally have been the case; a local bloke told me that when the word came out that "the Americans" were going to be in town for a while, the women "came out of the woodwork in droves"). My favorite place in town was a gleaming dance palace called Lourenzo Marques on St. Margaret Street, directly across from the abbey. The place had great music (house and dance music ruled there back then) and an even better crowd, and I quickly became a regular.

Lourenzo's was the first place I ever heard D-Mob's tune "We Call It Acieed", released earlier that year on FFRR (Full Frequency Range Recordings), a subsidiary of London Records. I told this story in an earlier post, but will repeat it here:
"One of my most vivid memories from that time is sitting in a seemingly dead and half-empty disco in Dunfermline, Scotland one chilly October night, waiting for something to happen. The DJ there put on D-Mob's "We Call It Acieed", and it was like a bomb went off - people came from everywhere, and in an instant, the place was packed with wild, gyrating Scots shaking the dance floor with a frenetic, tribal stomp that left me sitting there with my mouth wide open . . ."
And with all of the adventures and fun and danger I experienced during that deployment, in Dunfermline an additional wrinkle was added . . . a bit of romance.

I went to Lourenzo's one evening after a hard and frustrating day of work aboard ship. I was in a foul mood and it showed. I shouldn't really have gone out, but I was damned if I was going to sit on board and stew all evening. So the plan was to head out, alter my attitude with a drink or five, then stumble back to the shipyard in a different frame of mind. I was standing at the bar, clutching a glass of cider (the first and last time I drank any of that stuff in any quantity) and scowling to myself, when a female Scottish burr, full of smiles and promise, softly purred into my ear, "Why don't you smile more?"

I turned to look upon one of the most amazing girls I've ever laid eyes on - simply breathtaking in the best sense of the word, with long honey-blonde hair, a lovely face and an outstanding smile. And the voice - ah, that voice! All these years later, and I can still remember the way her Scottish accent surrounded and caressed every word. And not in a Groundskeeper Willy-sort of way, either. It was something altogether different - and vive la difference! That's what shook me out of my funk.

I quickly bought her a drink, and we stood at the bar and just talked for a while. I found that her name was Margaret, and she worked at the Royal Bank of Scotland branch in the center of town. Despite the noise, the people around us and the booze, we managed to carry on a lengthy and fairly serious conversation, touching on a variety of subjects - at one point, I recall we were discussing the IRA. The music and crowd just sort of faded into the background for me. I kept expecting her to walk away at any time, but she seemed to be enjoying my company as much as I was enjoying hers, and we remained together at that bar until last call.

I then made one of the stupidest, most lunkheaded moves I've ever made in my life. They flipped on the house lights, signifying closing time. I turned to Margaret, thanked her for a pleasant evening - then I whirled around and headed for the door, leaving her standing there. I know, I know . . . I don't know WHAT the fuck I was thinking - I'll use the excuse that I was half-drunk (God, I still cringe when I think about it . . .).

I was standing outside the place in the cold, queued up for a taxi, and somehow still oblivious to the humongous mistake I just made. But apparently, God smiles on idiots from time to time - I suddenly felt an arm slip into mine, and turned to find Margaret next to me, inviting me to her place for a nightcap . . . Thank goodness for small miracles.

I spent a lot of time with her over the next couple of weeks, both out at the clubs and at her place. She showed me the town, and I took her on a tour of the dry-docked ship. I had so much fun with her in Dunfermline, I never even bothered to go to Edinburgh. But we both sort of knew that time was short, and whatever we had probably wasn't built to last. The repairs on the ship went quicker than they anticipated, and just before Thanksgiving we were back in the water and ready to rejoin the rest of the STANAVFORLANT force in southern England.

I spent my last night in Scotland with Margaret at her house, saying goodbye. I gave her some pictures I had taken of us and our time together, some other mementoes and other stuff to remember me by. She gave me her picture and address, and promised to write. And that was that. It was a sad group of sailors that left Rosyth on that snowy November morning, myself included. I think that everyone enjoyed their extended time in Scotland, an unexpected silver lining to the near-tragedy that almost sank our boat.

I sent Margaret postcards from every remaining stop on our deployment: Portsmouth, England; Zeebrugge, Belgium; and the Azores. We returned home to Virginia just before Christmas, and I wrote her a couple more times in the months that followed. But I never heard from her again.

Later that winter, I found a vinyl copy of various mixes of "We Call It Acieed", along with three mixes of "Trance Dance", at 12 Inch Dance Records in Washington, DC. It took America a year longer than Europe to get into this song, but our country managed to catch on in the end - "We Call It Acieed" topped the US dance charts for several weeks during the spring of 1989. I still have this record, in its original sleeve and all, and once in a while I still do the "old school" thing and play it on my turntable. And every time I do, I think back on that cruise and on my time in Scotland so long ago . . . and wonder about Margaret, whatever became of her, and how her life turned out.

Such is life.

Here's the music, cooked off of my meticulously maintained vinyl copy. Enjoy, and let me know what you think:

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