tag:blogger.com,1999:blog-57104924581355238402024-03-05T14:44:22.157-05:00Sing SingJeremyhttp://www.blogger.com/profile/16657432166444707799noreply@blogger.comBlogger138125tag:blogger.com,1999:blog-5710492458135523840.post-59898420625979006612014-06-04T16:02:00.000-04:002014-06-04T16:05:57.319-04:00SHIVVERS LP !!!<div class="separator" style="clear: both; text-align: left;">
AVAILABLE NOW AT <a href="http://www.singsingrecords.com/" target="_blank"><b>SING SING RECORDS</b></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtxyz_MQ3wYOdKkL6y9iIQIZP45Atv2BOrxS7M9Tu49mae8PLSPTk22ICqTJr6cQidmTOJ6zfUuxp06IEJfsu8ey_hQE8UoCEJQOvTtf5gxXChYXBLznA1eN2EXav1G1RwUb1fEUyhA28/s1600/shivvers.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtxyz_MQ3wYOdKkL6y9iIQIZP45Atv2BOrxS7M9Tu49mae8PLSPTk22ICqTJr6cQidmTOJ6zfUuxp06IEJfsu8ey_hQE8UoCEJQOvTtf5gxXChYXBLznA1eN2EXav1G1RwUb1fEUyhA28/s1600/shivvers.gif" /></a></div>
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<iframe width="300" height="40" src="//www.official.fm/player?control=1&width=300&height=40&skin_bg=FFFFFF&skin_fg=333333&feed=%2F%2Fwww.official.fm%2Ffeed%2Ftracks%2FB3Sh.json" frameborder="0"></iframe><br /><br />
<iframe width="300" height="40" src="//www.official.fm/player?control=1&width=300&height=40&skin_bg=FFFFFF&skin_fg=333333&feed=%2F%2Fwww.official.fm%2Ffeed%2Ftracks%2FHsrJ.json" frameborder="0"></iframe>Trey Lindsayhttp://www.blogger.com/profile/06269144251881650541noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-15766643672952620882014-05-29T01:15:00.000-04:002014-05-30T12:08:49.413-04:00BUSTER, 'She Ain't My Baby' b/w 'Certain Kind Of Feeling' (RCA, 1978)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWeMtnixmmDELZ8PUOMWiZQ3yHSxXpxidk0iW7sEXL4appSjXSmmcSejd-vl_hwxM5JeeENhyGUuZcCPnduaAaxmKc-vU_hREANzGnyjcLZ9cpLon9gKSnv3ciQZFiCBbtP4coRaYSeEo/s1600/Buster.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWeMtnixmmDELZ8PUOMWiZQ3yHSxXpxidk0iW7sEXL4appSjXSmmcSejd-vl_hwxM5JeeENhyGUuZcCPnduaAaxmKc-vU_hREANzGnyjcLZ9cpLon9gKSnv3ciQZFiCBbtP4coRaYSeEo/s1600/Buster.JPG" height="316" width="320" /></a></div>
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<b>BUSTER, 'She Ain't My Baby' b/w 'Certain Kind Of Feeling' (RCA, 1978)</b><br />
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Liverpool's teeny-bop, Asian-export-only answers to the <b>BAY CITY ROLLERS </b>found here in Nippon on their fifth and final single for RCA.<br />
<b> </b><br />
When presented with <b>BUSTER</b>'s oeuvre, most punters seem to plump for the glitter-rock 'Beautiful Child' as the band's masterpiece, however, they would be grieviously mistaken.<br />
<br />
Slick, unmistakable and undeniable teen power-pop froth, 'She Ain't My Baby' enters into the same high echelon as the best of <b>THE QUESTIONS, APOSTROPHE </b>or even <b>THE RUBINOOS</b> while 'Certain Kind Of Feeling' is the perfect slow-dance, <b>BEACH BOYS</b> ballad come-down you'd need after dry-rutting yourself into frustration on the record's A.<br />
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They'd never sound better, though I still think 'Sunday' is a pretty marvy tune as well.<br />
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<b>'SHE AIN'T MY BABY'</b><br />
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<b>'CERTAIN KIND OF FEELING'</b><br />
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<embed wmode="transparent" height="28" width="335" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" src="http://www.divshare.com/flash/audio_embed?data=YTo2OntzOjU6ImFwaUlkIjtzOjE6IjQiO3M6NjoiZmlsZUlkIjtzOjg6IjI1NjEwNzQ4IjtzOjQ6ImNvZGUiO3M6MTI6IjI1NjEwNzQ4LTk3YSI7czo2OiJ1c2VySWQiO3M6NzoiMTAzMTk5NiI7czoxMjoiZXh0ZXJuYWxDYWxsIjtpOjE7czo0OiJ0aW1lIjtpOjE0MDEzNDA0NjA7fQ==&autoplay=default"></embed></object>Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-18958890559999191862014-05-18T00:56:00.004-04:002014-05-18T01:02:22.524-04:00THE WINDOWS, 'Don't Hang Up' b/w 'My Dear' (no label, 1982)<div class="separator" style="clear: both; text-align: center;">
<a href="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0520_zpsb32fb4a9.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0520_zpsb32fb4a9.jpg" height="315" width="320" /></a></div>
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<b>THE WINDOWS, 'Don't Hang Up' b/w 'My Dear' (no label, 1982)</b><br />
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In yet another case of ignore the A-side!<br />
<b> </b><br />
Ignore the A-side and - in addition - any name association one might make with said group and the tepid dollar-bin-clogging LP ('<i>Runnin' Alone'</i>) they would later issue in 1987.<br />
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Ignore it all! <br />
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Just not the B-side.<br />
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<b>THE WINDOWS </b>were a carpetbagging powerpop group with membership collected from across the lower midwest and upper south. Led by Chicago-native Larry Brewer, the group were based in that great bastion of scallywag Yankee-dom - Western Tennessee - and played throughout the South; being particularly popular in the capital of my home state of Mississippi.<br />
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Five years before they poodle-permed-up their hair, however, <b>THE WINDOWS</b> issued what they probably figured was just their initial public entree into the world of commercial rock/AOR pop-air-wave-rotation-pandering.<br />
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And it was! And it is!<br />
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However, 'My Dear' also just happens to inadvertently sparkle with that rare early <b>CHRIS STAMEY & THE db's</b> and <b>TOMMY KEENE</b> guitar slash brilliance, sweetened with <b>ROY WOOD </b>vocal homages, that is so rare/fleeting within 80s powerpop. ...which is all the more reason that it should be celebrated.<br />
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Never issued with sleeve and hardly distributed - <b>THE WINDOWS </b>45 debut offers up a perfect 'What-If' speculative scenario. Had <b>THE WINDOWS</b> had proper distribution, an entire generation might have been spared <b>R.E.M.</b><br />
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In any event, enjoy <b>THE WINDOWS.</b><br />
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<b>'DON'T HANG UP'</b><br />
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<b>'MY DEAR'</b><br />
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<embed wmode="transparent" height="28" width="335" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" src="http://www.divshare.com/flash/audio_embed?data=YTo2OntzOjU6ImFwaUlkIjtzOjE6IjQiO3M6NjoiZmlsZUlkIjtzOjg6IjI1NTY1MTgwIjtzOjQ6ImNvZGUiO3M6MTI6IjI1NTY1MTgwLWViZCI7czo2OiJ1c2VySWQiO3M6NzoiMTAzMTk5NiI7czoxMjoiZXh0ZXJuYWxDYWxsIjtpOjE7czo0OiJ0aW1lIjtpOjE0MDAzODg4NzA7fQ==&autoplay=default"></embed></object>Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-45516756866814276092014-04-16T16:30:00.003-04:002014-04-16T16:30:33.497-04:00Protex on Last Call with Carson Daly<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH8n_KlHtKQSU0ZvbKQBFitdFehOdXcEYwsMtp3EHmrPxkl8uXnCYBhOocvtejvd05ENa42uD6ue208nIe6lDe0d8N_o3SuYVPzRPlmPqIBNaFH3dDVBuqcx4L0zt7b3IQav5olOlueV8/s1600/Untitled-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH8n_KlHtKQSU0ZvbKQBFitdFehOdXcEYwsMtp3EHmrPxkl8uXnCYBhOocvtejvd05ENa42uD6ue208nIe6lDe0d8N_o3SuYVPzRPlmPqIBNaFH3dDVBuqcx4L0zt7b3IQav5olOlueV8/s1600/Untitled-1.jpg" height="181" width="320" /></a></div>
<a href="http://www.nbc.com/last-call-with-carson-daly/video/protex/2773645" target="_blank">CLICK HERE TO WATCH</a>Trey Lindsayhttp://www.blogger.com/profile/06269144251881650541noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-35997948121709445442014-02-18T23:42:00.000-05:002014-02-19T01:42:05.415-05:00DAILY PLANET, 'Life' b/w 'Pay' (Riff Raf, 1980)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSofGjZOdSpqpepCQwdBwX9RsVTu9m8F5N4adb0MVtPf2JQBVfR44Q6mZFAF1tcP5r6A2252ocV7VZPX6xAVrl59EGr-THLLPdMx9HuL4X3uzZ_642ujOOLvrejJVGyqSiSrMEBE6j9Z3P/s1600/dailyplanet.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSofGjZOdSpqpepCQwdBwX9RsVTu9m8F5N4adb0MVtPf2JQBVfR44Q6mZFAF1tcP5r6A2252ocV7VZPX6xAVrl59EGr-THLLPdMx9HuL4X3uzZ_642ujOOLvrejJVGyqSiSrMEBE6j9Z3P/s1600/dailyplanet.jpg" height="315" width="320" /></a></div>
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<b>DAILY PLANET, 'LIFE' b/w 'PAY' (Riff Raf, 1980)</b><br />
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A cool uncomped breath of fresh air before hardcore idiocy-SLASH-Posh Boy
mediocrity set in and made southern California safe for board shorts and
Social Distortion tattoos forever. <br />
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Impossible to say and/or to recreate the exact climate of the times, but I find it
highly doubtful that <b>BOBBY SOXX </b>or Gregg T. or Mike S. of the <b>ANGRY SAMOANS</b> would have found much with which to
take issue (get it???) with the specific style <i>und </i>sound being mined by the <b>DAILY PLANET</b>.
Recorded live on New Years' Eve at L.A.’s Club 88 (allegedly for some documentary called 'Transitions' which I'm not sure actually exists), both sides of thee D.P.’s lone single
recall the Rickenbacker/high-energy spit-roast spirit of groups such as <b>THE ROCKERS</b> or maybe even <b>THE NERVES</b> if they had worn matching striped <i>Telnyashka</i> instead of three-piece loser suits.<br />
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Some of the band's membership originally hailed from Chicago and apparently soldiered on within the <b>PLANET </b>until
at least ’82, at which point the writing was well and truly on the stall
and it read in letters red-dripping-red: <b>DROP DEAD BABY</b>.<br />
<b><br /></b>
Also, gotta love the mod-nod of the label name. This, undoubtedly, was the <b>DAILY PLANET</b>'s finest hour.<br />
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<i>'Thank you and have a good Eighties.'</i><br />
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'<b>LIFE</b>'<br />
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'<b>PAY'</b><br />
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<br />Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-50742454811845652742014-02-02T00:57:00.000-05:002014-11-07T00:27:52.337-05:00THE UPTIGHTS, 'I'm Awake' b/w 'Promises (She Isn't In Love)' (Up, 1981)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirY063Ox-KTRDN4ImR-UYPOhk86_uJ3XmryS9XW7-KdYGzRcdQGTBqwAiQ9nQIQI_yaZz-0Ua7mhVMNDnK28ZfnwW6cLIVilGUbRnsCqlNGFrFH0mHpyUaYDm1DH5YyFeCg_9pww2Q4Co/s1600/Uptights.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirY063Ox-KTRDN4ImR-UYPOhk86_uJ3XmryS9XW7-KdYGzRcdQGTBqwAiQ9nQIQI_yaZz-0Ua7mhVMNDnK28ZfnwW6cLIVilGUbRnsCqlNGFrFH0mHpyUaYDm1DH5YyFeCg_9pww2Q4Co/s1600/Uptights.jpg" height="320" width="320" /></a></div>
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<b>THE UPTIGHTS, 'I'm Awake' b/w 'Promises (She Isn't In Love)' (Up, 1981)</b><br />
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I have no idea what lead singer<b> CAROLYN ODELL</b> is saying in the A-side's chorus. Is it an entreatment to take the 'freeway?' A seductive invitation to have a 'threeway?' An exultation that she supports the Tulane University Green Wave? In any event, it's OK, because the true action on the lone platter from these New Orleans power poppers is on the record's b-side.<br />
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'Promises, Promises' is not the familiar stupid show-tune. In fact, it's moody, mod, femme-vox power pop in the mode of <b>BONNIE HAYES</b>, <b>JOSIE COTTEN</b> and/or - even at a stretch - <b>THE SHIVVERS</b>.<br />
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Back sleeve is total local - the band thanks a bunch of uptown radio stations and their guitar player, who also doubles as their photographer and <i>de facto</i> graphic designer.<br />
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A much better single than I'm probably making out and still available cheap.<br />
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...now if only they'd enunciate. <br />
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<b>'I'M AWAKE'</b><br />
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<br />
<b>'PROMISES (SHE ISN'T IN LOVE)'</b><br />
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<br />
<br />Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-85439009655019325702013-12-30T01:40:00.000-05:002013-12-30T10:29:18.595-05:00THE DE-CODES EP (Generic Records, 1980)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVsipqGVCf0QZOHr7AQ2oSI7Gy3U4g7zEPeUdf3mqHWq0iDR_tQ0DOuUS6z8YAdR5jkf3lGiqq_GiaqHizny3xpGy-xOdDBowjcjnbqmqTKE286zIRVQMQw29QDg3APAxzJ97EL9T5gk/s1600/The+De-Codes.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVsipqGVCf0QZOHr7AQ2oSI7Gy3U4g7zEPeUdf3mqHWq0iDR_tQ0DOuUS6z8YAdR5jkf3lGiqq_GiaqHizny3xpGy-xOdDBowjcjnbqmqTKE286zIRVQMQw29QDg3APAxzJ97EL9T5gk/s320/The+De-Codes.JPG" width="320" /></a></div>
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<b>THE DE-CODES EP (Generic Records, 1980)</b><br />
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Merry power pop X-mas/Hanukkah/Kwanzaa!<br />
<br /></div>
<div class="MsoNormal">
Sweet wonderful reader:<span style="mso-spacerun: yes;"> </span>you don’t
know how lucky you are that Trey or Jeremy have not already posted up a link to the video
for Pointed Sticks’ ‘Powerpop Santa.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Shameful.</div>
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<br /></div>
<div class="MsoNormal">
In any event, enjoy an unacclaimed bunch of mod anonnos out
of central Pennsylvania named <b>THE DE-CODES</b>, produced by none other than <b>CRAIG
BEVAN</b> and similar - in sonic verisimilitude - to <b>THE RETROS</b> of St. Louis. </div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span></div>
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<br /></div>
<div class="MsoNormal">
Actually, between these guys, <b>CRAIG</b> and <a href="http://www.youtube.com/watch?v=9ez9WCvdRzs">THE HORNETS</a>, there’s
evidence that there might have actually been a nascent power pop new wave scene
a-brewing up there in Penn’s Woods.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But, really, does anyone other than Erik Lindgren actually care?</div>
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Enjoy then the then sounds of <b>THE DE-CODES </b>and have a Happy New Year!</div>
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‘<b>JUST LUST</b>’</div>
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‘<b>TURN AROUND</b>’</div>
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‘<b>NO REPLY</b>’</div>
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‘<b>PHYSICAL WRECK</b>’</div>
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<b>
</b>Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-54081348074508018892013-11-03T20:41:00.000-05:002013-11-04T11:26:51.748-05:00PHIL CORDELL, 'Roadie For The Band' b/w 'Twistin' And Jivin'' (Mowest, 1973)<br />
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<b>PHIL CORDELL, 'Roadie For The Band' b/w 'Twistin' And Jivin'' (Mowest, 1973)</b><br />
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To me, this sums up the aesthetic interregnum experienced by many Brit Invasion boomers better than almost anything this side of <b>THE LIVERPOOL ECHO</b>. The die-hard faithful - pious unflagging to the initial three-minute POP spark. <br />
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More familiar to some as the name behind the 'Red Lady' 45 comped on the first FADING YELLOW installment and, to likely far fewer, as a latter day saint in the UK Christian rock scene, <b>PHIL CORDELL</b> turned in this humble, yet emphatic/ecstatic power pop ode to chart rock's lowest rung in the year when <b>ROCK </b>was perhaps experiencing its greatest glam rock bloat. Whether it was intended as autobiography or just pithy song-crafting, the A-side of this single is pure Mersey revival brilliance with the <b>OOMPH </b>and technical savvy of the top flight studios where it was recorded showing through.<br />
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The B-side is, sadly, not that great.<br />
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Still, the guitarwork, melody and production on the A will not be denied and proved more than enough to convince Motown to cover the bill. Hopefully payment included burn treatment for the searing lead guitar outro. <br />
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Enjoy then <b>PHIL CORDELL</b> - may he rest in peace and no longer have to lug around amps in Rock 'N' Roll Heaven.<br />
<b><br /></b>
<b>'ROADIE FOR THE BAND</b>'<br />
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<br />Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-41297267427607994942013-10-19T23:22:00.001-04:002014-02-19T00:07:26.700-05:00SING SING EXCLUSIVE: The Romantics - Little Red Or White Lies?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr3ha1QKgxWRp9aRvaAtW3kx24KyhkGEM0T-A5Y12wc01dknQ1OxsFOPtR6e3fOwr2k6okz4yYdLHVRm2fdDIKomvfTeKl5RXrc_By_SiP2eO0cedpBmoJRi9q9Zhl9mWQ6BLGiYUWoho/s1600/SCAN0495.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr3ha1QKgxWRp9aRvaAtW3kx24KyhkGEM0T-A5Y12wc01dknQ1OxsFOPtR6e3fOwr2k6okz4yYdLHVRm2fdDIKomvfTeKl5RXrc_By_SiP2eO0cedpBmoJRi9q9Zhl9mWQ6BLGiYUWoho/s320/SCAN0495.JPG" height="317" width="320" /></a></div>
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<b>THE ROMANTICS, 'LITTLE <span style="color: red;">WHITE </span>LIES' (Spider, 1977) </b><span class="null"> <b>AR SPDR 101A</b></span><span class="null"> <b>- <span style="color: red;">RED WEB</span></b></span><br />
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<span class="null"><b><span style="color: red;"><span style="color: black;">v.</span> </span></b></span><br />
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<span class="null"><b><span style="color: red;"><span style="color: black;">THE ROMANTICS, 'LITTLE WHITE LIES' (Spider, 1977) </span></span></b></span><span class="null"><b><span style="color: red;"><span style="color: black;"><span class="null"> 101-A - </span></span></span></b><span class="null">WHITE WEB</span></span><br />
<span class="null"><span style="color: red;"><span style="color: black;"><span class="null"><span style="color: white;"><br /></span></span></span></span></span>
A tale of two <b>COMPLETELY DIFFERENT </b>recording sessions.<br />
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...which, to this point, no one has cared about because:<br />
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<b>1</b> - It's <b>THE ROMANTICS</b><br />
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<i>AND</i><br />
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<b>2 </b>- The record - in all its incarnations - has always been common and affordable<br />
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However, inspired by <b>PATRICK LUNDBORG</b>'s recent research and championing of the original, non-hit version of <b>THE STRAWBERRY ALARM CLOCK</b>'s 'Incense & Peppermints' on All American Records v. the more familiar and staid hit arrangement on UNI, I figured it was high time to definitively diagnose this depressingingly uncharted discrepancy hitherto only whispered about in the language of wind and ghosts. <br />
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First hinted at briefly in a short review of <b>THE ROMANTICS</b>' follow-up single on <b>BOMP!</b> in issue <b>29 </b>of <b>BLITZ </b>(formerly <b>BALLROOM BLITZ</b>) magazine out of Detroit, Michigan, Nov. '78, which reads:<br />
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<i>'In the face of accusations of "sell out" and "commercialism" from many of their fans who were disappointed with <b>their re-recording of their classic "Little White Lies" last year</b>, Hamtramck's <b>Romantics</b> bounce back with a masterpiece that easily qualifies as one of the year's best.'</i><br />
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...an incorrect assessment; nevertheless, I became intrigued.<br />
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Not least because I found any allegations of insincerity aimed at the future Budweiser/T.G.I. Friday's commercial kings of poodle-perm, leather-suit, schlock-rock<i> </i>laughable, but also because I've always wanted to see what all the early taste-makers ever saw in <b>THE ROMANTICS</b> anyway.<i> </i><br />
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Cue Young Steve and the Japanese.<br />
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Tentatively mentioned on the <b><a href="http://popnroll1.blogspot.com/2010/12/romanticslittle-white-lies.html">PoP "n" RoLL</a> </b>blog (home of <b>THE CHOOSERS </b>among many others), Atsushi and Co. pondered:<br />
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<i>'This can certainly be called a pop 'n' roll
classic. But did you know that there is a different version of the
a-side 'Little White Lies?'</i><br />
<br />
<i><b>As far as appearance goes the
difference is the color of the spider web</b>. The regular version is white
and the special version is <span style="color: red;">RED</span>. The matrix number for the white version
is 101-A and for the <span style="color: red;">RED</span> version it's AR SPDR 101A.</i><br />
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<i>As far as the
difference in sound, the intro is cut on the special <span style="color: red;">RED </span>version. It
starts suddenly from the vocal. The tempo is faster than the usual
version, and more than anything, it's a raw, rough performance that is
very exciting to listen to.' </i><b>*</b><br />
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Which says just about as much as I need to. As ridiculous as it may sound (and they look), maybe <b>THE ROMANTICS</b>' debut album cover was meant to be a red-leather post-it note pointing back to this earlier recording.<br />
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As irreconcilable to their later, major label facelessness as <b>20/20</b>'s early sides and demos on <b>BOMP!</b>, the original version of 'Little White Lies' is as jumping with vitality, energy and an argument for POP! as anything by <b>THE NERVES</b>, <b>SHOES</b>, or <b>DWIGHT TWILLEY</b>.<br />
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Too bad the b-side recording on both pressing - featuring some HORRENDOUS Dad-Rock, Blueshammer harmonica - didn't benefit from any second thoughts or re-record re-considerations<br />
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Enjoy then, the <b>ORIGINAL</b>, non-hit, <span style="color: red;">RED <span style="color: black;">web </span></span>version of 'Little White Lies' and the later, tamer, more new-wave ready rendition and decide for yourself which is superior.<br />
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<b>SING SING NEWS - YOU HEAR IT...</b><br />
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<b>FIRST!</b><br />
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<i>'</i><b>LITTLE WHITE LIES' - <span style="color: red;">RED </span>VERSION (ORIGINAL)</b><br />
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<b> </b><br />
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<b>'LITTLE WHITE LIES' - WHITE VERSION (RE-RECORDING)</b><br />
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<b> </b><i> </i> <br />
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<b>* </b> <b>PoP "n" RoLL blog translation work courtesy of every one's favorite MMA documentarian, Young Steve 'Don't Call Me Mark' Borchardt </b>Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-57554925657479816992013-10-02T23:19:00.002-04:002014-02-19T00:10:57.438-05:00BEAT FEET, ''No Ties' b/w 'Aundrea' (FUN'Y Records, 1983)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGVCBGXK8sQjV9KRvFyaYT_wL_lsDDRkVpKk-mbbX7_nbGqLt5TSgT4naWzmBncGcndC65ueB1LbXf0tApCPHyl5tbDj18vbZB-k5JHh0Nnm9xbP5opG5wox2-M0-h_UdUJEsbfYyXaM/s1600/SCAN0480.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGVCBGXK8sQjV9KRvFyaYT_wL_lsDDRkVpKk-mbbX7_nbGqLt5TSgT4naWzmBncGcndC65ueB1LbXf0tApCPHyl5tbDj18vbZB-k5JHh0Nnm9xbP5opG5wox2-M0-h_UdUJEsbfYyXaM/s1600/SCAN0480.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGVCBGXK8sQjV9KRvFyaYT_wL_lsDDRkVpKk-mbbX7_nbGqLt5TSgT4naWzmBncGcndC65ueB1LbXf0tApCPHyl5tbDj18vbZB-k5JHh0Nnm9xbP5opG5wox2-M0-h_UdUJEsbfYyXaM/s320/SCAN0480.JPG" height="315" width="320" /></a></div>
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<b>BEAT FEET, 'No Ties' b/w 'Aundrea' (FUN'Y Records, 1983)</b><br />
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'Discovered' (maybe?) by a Tucson garage turkey recently celebrating his 3<strike><b>X</b></strike>th birthday and - less recently - allowing me free access to booze and to abuse at his nuptials, this, the lone 45 by <b>BEAT FEET</b> is in - actuality - pretty standard striped-shirt/head-band/heybra new-wave/power pop fare.<br />
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...if'n you do not take into account the stirring color string bikini cover art and ragged <b>BEACH BOYS</b> harmony remnants and <b>STEVE JONES </b>rip-off riffs on the A-side chorus.<br />
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However, even if you do decide to take stock of neither of those elements, the amateurism displayed by the <b>LEAD</b> drummer on each side is endearingly dumb.<br />
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Enjoy then these indiscriminate and un-claimable misogynists - the world is renewed by their passing. Where they're from I haven't the first idea.<br />
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This bud's for you T Dawg! <br />
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<b>'NO TIES'</b><br />
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<b>'AUNDREA'</b><br />
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<br />Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-46481122078212033472013-10-01T09:56:00.000-04:002013-10-01T09:56:35.379-04:00Sing Sing on WFMU 91.1 FM<div class="separator" style="clear: both; text-align: left;">
<a href="http://donationsstatic.ebay.com/extend/logos/MF40024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://donationsstatic.ebay.com/extend/logos/MF40024.jpg" /></a></div>
<span style="font-family: Verdana, Geneva, Arial;"><b>Sing Sing Records DJ Night! </b></span><br />
<span style="font-family: Verdana, Geneva, Arial; font-size: x-small;"><b>Wednesday, October 2nd, 9pm - Midnight<br />on </b></span><span style="font-family: Verdana, Geneva, Arial; font-size: x-small; text-align: start;"><b><a href="http://wfmu.org/schedule#ED">The Evan "Funk" Davies Show </a></b></span><br />
<span style="font-family: Verdana, Geneva, Arial; font-size: x-small; text-align: start;"><b><br /></b>The Sing Sing Records label has been putting out a steady stream of amazing reissues ever since Trey Lindsay and Jeremy Thompson launched it in 2009. Their focus has been mostly on punk and power-pop from the '70s, with the occasional glam nugget mixed in, so you can expect to hear a similar selection of rocking rarities and killer cuts when Trey and Jeremy take over the Evan "Funk" Davies show at 9pm on Wednesday night, Oct. 2. You'll want to dust off your cassette recorder for this one -- don't miss it! </span>
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<b>LISTEN LIVE AT <a href="http://wfmu.org/">WFMU.ORG</a></b>Trey Lindsayhttp://www.blogger.com/profile/06269144251881650541noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-8939969869677357032013-09-26T01:18:00.000-04:002013-09-26T01:18:06.512-04:00R.U. Carley, 'Boys In L.A.' (private label, 1984)<br />
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<a href="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0479_zps65975a85.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="310" src="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0479_zps65975a85.jpg" width="320" /></a></div>
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<b>R.U. CARLEY, 'Boys In L.A.' b/w 'One More Time' (private label, 1984)</b><br />
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I am willing to bet, dollars to donuts, when Ms. <b>R.U. CARLEY</b> and CO. sang the chorus to this sunny-A-side-up piece of fluff boulevard power pop that she had - much more - the city (El Eh) in mind than she did the state (the great Huey P. Long Child Of The Mississippi - LA - Louisiana). <br />
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...which is unfortunate, as it's taken this boy in LA (the state) to rediscover this 30 year old municipal gnu wave footnote, long after the GQ boys in corvettes on Sunset had ceased caring. However, perhaps this was merely a realization of radio rock <i>realpolitik,</i> as one can not cruise very far in the Pelican state bayou.<br />
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That said, what is known about <b>R.U. CARLEY</b> is that this is her group's only record, the A-side of which was included on a <i>neuvo </i>Girl Group compilation put out by Rhino ('<i>The Girls Can't Help It</i>') the same year their self-issued single came out and that the B-side is terrible.<br />
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That's it. <b> </b><br />
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<b>THE SHIVVERS</b> it is not!<br />
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As phoney as <b>PEARL HARBOR & THE EXPLOSIONS</b>, as slick as the post-Stiff <b>GO-GO'S</b>, yet only one VALLEY GIRL party scene away from immortality. And, in all actuality, a pretty catchy tune.<br />
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Enjoy then <b>R.U. CARLEY</b> and thank me for keeping the B-side all to myself.<br />
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'<b>BOYS IN L.A</b>.'<br />
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'<b>ONE MORE TIME</b>'<br />
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<br />Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-28284639576135926702013-09-15T02:21:00.003-04:002013-09-15T23:26:04.927-04:00THE PILLS, 'THE PILLS EP' (VileTone, 1980)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBilR8iS9Gymf6Lqr5fl77BE-QPa6C4DLnqY0vMOwBp54z5lspkHhVfXGJi7vSPjy5R6wUYeTQAFaYT1UqMD7cTwOZ74RziiWeGChk31MVPaI1YFJ-NIK6DUll6f_W1kV_jvFxY9y5ra8/s1600/SCAN0475.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBilR8iS9Gymf6Lqr5fl77BE-QPa6C4DLnqY0vMOwBp54z5lspkHhVfXGJi7vSPjy5R6wUYeTQAFaYT1UqMD7cTwOZ74RziiWeGChk31MVPaI1YFJ-NIK6DUll6f_W1kV_jvFxY9y5ra8/s320/SCAN0475.JPG" width="320" /></a></div>
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<b>THE PILLS, 'Mini-LP' (VileTone, 1980)</b><br />
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I like <b>PILLS</b>.<br />
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<b><i>MAAAAAAAAN</i></b> <br />
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And, by that statement, I, of course, mean <b>THE PILLS</b> - <b>STR8 OUTTA</b> <strike>Phoenix</strike>, Tucson* Arizona.<br />
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The Copper State's finest circa 1980 and, even by that time well past their prescription expiration date.<br />
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Forget skins, brains and guts, this is HAIR, FLARES and (cigarette) BUTTS. These five <b>PILLS </b>guys are preening proud and looking menthol soft-pack loud. Also, they have a skilled trade in melodic/if derivative power-pop sounds.<br />
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Listen: 90% of all bands taking their style cues from <b>THE NEW YORK DOLLS </b>suck. And while I don't have <b>PILLS</b> particularly pegged as heroin addict transvestites, the unfortunate scronching <b>BO DIDDLEY</b> cover and their name immediately give it away.<br />
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That said, they're still at least a million times better than <b>THE MEAT PUPPETS</b>.<br />
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Seriously, if you can listen to 'In A Car' after ingesting this dose, you have massive problems that modern medicine may not be able to fix.<br />
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Enjoy then the lone <strike>EP</strike> Mini-LP by <b>THE PILLS </b>on your ride to the emergency room<b>! </b><br />
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Or choke on a bottle cap!<br />
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It's up to you!<br />
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* <i> correct origin of the PILLS confirmed with their biggest fan, Tony "AA"</i><br />
<b>'DC-10'</b><br />
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<b>'PILLS'</b><br />
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<b>'HOLLYWOOD DOLL'</b><br />
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<b>'LEAVIN' TOWN'</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL-v8VxhXwH8nzjxGjajeeFOdFPD2HhSzALQPG0mPOD2UW3hcki2QHK5bAxKP67Hn5aPkEFl7eRGtISavyI-3VHO1nkBMDq_mXrIHZKue7Bb9La50C9cQJXJcNtiXw3923LyLTJTMa1HE/s1600/Club+Wow.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL-v8VxhXwH8nzjxGjajeeFOdFPD2HhSzALQPG0mPOD2UW3hcki2QHK5bAxKP67Hn5aPkEFl7eRGtISavyI-3VHO1nkBMDq_mXrIHZKue7Bb9La50C9cQJXJcNtiXw3923LyLTJTMa1HE/s320/Club+Wow.JPG" height="305" width="320" /></a></div>
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<b>CLUB WOW, 'Prettiest Girl' b/w 'The Nights Are So Long' (Criswell, 1982)</b><br />
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I'm calling shenanigans.<br />
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Not just only on <b>WILLIAM JAMES WILDEN</b> (aka <b>JIMMY ZERO</b>), but also upon anyone who could <i>possibly </i>prefer <b>THE DEAD BOYS</b> to this record.<br />
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Look here: these are facts. Not opinions: <u><b>FACTS</b></u>; i.e. ideological positions with corroborating evidence to support them.<br />
<br />
EXHIBIT A<b>: THE DEAD BOYS</b> are one of the <i>worst </i>bands to ever be allowed to produce two albums of major label, sub-<b>ALICE COOPER</b>-excretable, <strike>sheet-metal</strike>, shit metal '<i>ye-uh!</i>' rock bullshit ever.<br />
<br />
<i>Ever! </i><br />
<br />
<b><i>PERIOD</i>.</b><br />
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If you - the reader of this blog - find <i>anything </i>- <b>ANYTHING </b>- within this band's half-hearted, half-baked, half-dimensional aesthetic compelling, I personally pity you (condescendingly, not compassionately) and hope you have a great time at the <b>SONNY VINCENT </b>gig later tonight.<br />
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All that said, ole <b>JZ</b> managed to throw off the dog-collar, dum-dum leather-jacket yoke of his previous stupid band's stupid incarnation just long enough in 1982 to hook up with former starry-eyed <b>BLUE ASH </b>bass-player <b>FRANK SECICH</b> to produce one of the best obscuro power pop singles of all time! No foolin'!<br />
<br />
Seriously, how could this miss? A cover of <b>THE NEIGHBORHOODS</b>' best song, a killer power pop original on the B. Label art designed intentionally to mimic and make fun of <b>BOMP! RECORDS</b>. Oh yeah, and bragging rights - you read it right - mine is <b>GREG SHAW</b>'s copy!<br />
<b><br /></b>
You can't lose (but I'm afraid you also must deal)!<br />
<br />
Finally, for all of you master-Bators out there reading this, (possibly) seething: Stiv and Co recorded a crap reunion re-do of THE NIGHTS ARE SO LONG in 1987 so stick that in your pipe and smoke it before you start quoting <b>BOBBY SOXX</b> lyrics at me!<br />
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'This is actually good music/You're a knave!'<br />
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<b>'PRETTIEST GIRL'</b><br />
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<b>'THE NIGHTS ARE SO LONG'</b><br />
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<br />Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com1tag:blogger.com,1999:blog-5710492458135523840.post-28419506727077759602013-08-02T11:07:00.002-04:002013-08-02T11:07:34.229-04:00Five Dollar Shoes // Your Rock 'N Roll Band b/w Your Rock 'N Roll Band // Neighborhood Records 1973<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvFVDPwGikxHhmYbaral1cfOIq1Rj_zEey9PBQ2hdRjrE3wCer7O70QjNEsrYeBflOJBBaX0c59w5zld6VdNFhPBqoVBSEPERCjjwpN205HNpyxB1-ylA9vTcdk9MvFaEcT86IN_bapgSz/s1600/five+dollar+shoes.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvFVDPwGikxHhmYbaral1cfOIq1Rj_zEey9PBQ2hdRjrE3wCer7O70QjNEsrYeBflOJBBaX0c59w5zld6VdNFhPBqoVBSEPERCjjwpN205HNpyxB1-ylA9vTcdk9MvFaEcT86IN_bapgSz/s320/five+dollar+shoes.jpg" width="316" /></a></div>
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(from the Kiss FAQ site)<br />
<span style="font-family: VERDANA,ARIAL;">
Produced by Peter Schekeryk; Engineered by Eddie Kramer & amp; Bruce
Staple. Recorded at the Electric Lady Studios, NYC. It's alleged to feature Gene Simmons and Paul Stanley on backing
vocals.
Five dollar Shoes was: Gregg Diamond (drums, percussion, vocals), Tom
Graves (keyboards, vocals), Jim Gregory (bass, vocals),
Mike Millius (harmonica, vocals), and Scott Woody (guitar, vocals)</span><br />
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<span style="font-family: VERDANA,ARIAL;"> This ( in my opinion ) is the record to get by this group. Really great track and can still be found for <a href="http://www.discogs.com/Five-Dollar-Shoes-Your-Rock-N-Roll-Band/release/4182567">cheap</a>. </span><br />
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<a href="http://www.divshare.com/download/24345566-b5a">YOUR ROCK 'N ROLL BAND</a><bk></bk>Jeremyhttp://www.blogger.com/profile/16657432166444707799noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-28125167206352517122013-07-22T16:06:00.001-04:002013-07-22T16:06:59.553-04:00SONWBALL // SNOWBALL // 1977 GUINNESS RECORDS<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKPRArEtNsvu6xnC8uEJoXc89RONJT-b6-qHLEaSHFe0-is7G1h_1UDUr4YymrKneyAKWfNt7JbSKrtVomoDnuzccjVqpo2DbqlKgJwGcvybpFu08lRmDFSMlak-DOrGVCJXEx4NZ_huI9/s1600/snowball.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKPRArEtNsvu6xnC8uEJoXc89RONJT-b6-qHLEaSHFe0-is7G1h_1UDUr4YymrKneyAKWfNt7JbSKrtVomoDnuzccjVqpo2DbqlKgJwGcvybpFu08lRmDFSMlak-DOrGVCJXEx4NZ_huI9/s320/snowball.jpg" width="306" /></a></div>
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Snowball was a group from Brooklyn NY active in the late 1960's and early 70's consisting of Joey Carbone and Richie Zito. The record is actually a collection of demos sent to the tax scam Guinness label by their producer and released several years later without the bands knowledge. Really solid record and one of the more consistent Guinness releases.<br />
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<a href="http://www.divshare.com/download/24309117-bd3">SIDE1</a><br />
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<a href="http://www.divshare.com/download/24309140-ef3">SIDE2</a>Jeremyhttp://www.blogger.com/profile/16657432166444707799noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-25165108228049917532013-07-15T22:48:00.003-04:002013-07-15T23:00:53.058-04:00COPENHAGEN, 'Don't Sail Too Near The Wind' b/w 'Tonight' (Copenhagen, 1977)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiM9ltyUrH7l8KFhF8_e5Zd0CEhKSjDWkV9GuqkPAIrnBWFePj64MMNbwr7imiTZ0AB1wplaN33pDRg3STa5hjQcxMz-vTag4aMMdJzHf4eHtvYyb4MOtyrpETiR-7dDwXGJJAU_xOV4I/s1600/SCAN0441.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiM9ltyUrH7l8KFhF8_e5Zd0CEhKSjDWkV9GuqkPAIrnBWFePj64MMNbwr7imiTZ0AB1wplaN33pDRg3STa5hjQcxMz-vTag4aMMdJzHf4eHtvYyb4MOtyrpETiR-7dDwXGJJAU_xOV4I/s320/SCAN0441.JPG" width="320" /></a></div>
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<b>COPENHAGEN, 'Don't Sail Too Near The Wind' b/w 'Tonight' (Copenhagen, 1977)</b><br />
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Copenhagen.</div>
<div class="MsoNormal">
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A flavourful brand of chewing tobacco.<span style="mso-spacerun: yes;"> </span>Also, the capitol of Denmark and the Hamlet kingdom's most populous city.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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Additionally, Mark DeCerbo’s pre-<a href="http://singsingrecords.blogspot.com/2010/04/four-eyes-penny-pong-bw-disengaged.html">FOUR EYES</a> aggregation with
one lone sleeveless self-issued 45 to their credit.</div>
<div class="MsoNormal">
<br /></div>
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And, while it might not rank up as high in the firmament as ‘Disengaged,’
both sides show DeCerbo’s slavish 60s revival style already well ensconced a full two
years prior to the prescription lens being donned and before The Knack was anything
other than the title of an old movie starring Rita Tushingham.</div>
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<br /></div>
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But you don’t have to take my word for it; here’s Four Eyes’ Mark:</div>
<div class="MsoNormal">
<br /></div>
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<i style="mso-bidi-font-style: normal;">Even a cursory look
would show us that Four Eyes themselves got their start in San Diego circa 1976
as a country boogie band, eventually mutating into a power-pop group called
Copenhagen. The quintet lasted just over two years, during which time the group
shared a two room flat at the Catamaran Hotel, while nominally the house band
at Webb's in Ocean Beach. Copenhagen became the backing band for both blues
guitarist Tomcat Courtney and art rocker Gary Wilson, even joining him on a
short promo tour for his legendary "You Think You Really Know Me"
album.</i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">The line up changed
often in their short life span, but by the time their incredibly rare 45
"Tonight/Don't Sail Too Near The Wind" was issued, Copenhagen
consisted of DeCerbo (guitar, vocals), Jeff Becker (guitar), "Mighty"
Joe Longa (harmonica and keyboards, later with the Jacks and Powerthud), Barry
Scott (guitar and vocals, Chris Creasman (bass, vocals) and Steve Bidrowski (drums,
later of the Unknowns)- the single by the way is as melodic a piece of jangly
pop rock as you're likely to find. Also of note they opened for Cajun legend
Doug Kershaw at the La Mesa Lanes Bowling alley, and promptly had their
keyboard player nicked by Kershaw.</i></div>
<br />
Power pop with a City
Rock chaser.<span style="mso-spacerun: yes;"> </span>I rate it as a raer treat.<br />
<br />
'DON'T SAIL TOO NEAR THE WIND'<br />
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<br />
'TONIGHT'<br />
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<b><br /></b>Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-41393242898277147352013-07-11T14:56:00.002-04:002013-07-11T15:03:58.133-04:00LEFT HAND DRIVE // JAILBAIT/MOTORWAY CROW // BANCRUPT RECORDS 1977<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUms2Br59zGNyk-9AebiQbD0ijoCAXKpgWqmTcqPBbCHIgd7Czc1WCNoIParXu63ppRo1b87dJABe5nk6qM-j6Z77JmgSbkQONZEhtCP-jtg1eno3MY19brtNDFWNtql9cGX1zVPcRFVU7/s1600/album+johnn+b+front+cover+photos+108.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIS8bzbaTW1My8pc4FZeeSJq5VCiQ8XdJyaWvbaiMpfErPlcRMkHV-mxUIz7eKsLPJhrsDc7OOXAp4bzugNSHEP9K0uObdL-y0mpYEOxmiON3r8WZuHszhea50IvVHtYJ5RZaU0yCliOM/s1600/LEFT-HAND-DRIVE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkIS8bzbaTW1My8pc4FZeeSJq5VCiQ8XdJyaWvbaiMpfErPlcRMkHV-mxUIz7eKsLPJhrsDc7OOXAp4bzugNSHEP9K0uObdL-y0mpYEOxmiON3r8WZuHszhea50IvVHtYJ5RZaU0yCliOM/s400/LEFT-HAND-DRIVE.jpg" width="363" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s400/LHD.bmp" width="337" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-AuCDwl7PmIfOwVDCdZaLC3KYPNzQOStcjC_99QoNhDx3swYID9ErgCDD8yxCvI_WF9snxKp4YX9fp_o-Bx5aITkAOiuQYnLi1MTDCjYqpr1wjuOyUoZAdsDHrKqsxYunb0M5BoIL9aY/s1600/LHD.bmp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="il" style="background-color: #ffffcc; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: start;"><br /></span></a><span class="il" style="clear: left; color: #222222; float: left; font-family: arial, sans-serif; margin-bottom: 1em; margin-right: 1em; text-align: start;"><b style="background-color: white;"> </b></span></div>
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<span style="background-color: #eeeeee; text-align: start;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">First of two singles from the great Left Hand Drive, the second, also great single </span></span><br />
<span class="il" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: start;"><span style="background-color: #eeeeee; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> <a href="http://www.youtube.com/watch?v=-0EM5WxO7tM">"Who Said Rock N Roll Is Dead"</a> has been uploaded to youtube..</span><span style="background-color: #eeeeee; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Here's a short history of the group by bass player John Brassett.</span></span><span class="il" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: start;"><span style="background-color: #eeeeee; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Left Hand Drive were a group from Northampton UK, originally formed in about 1973.<br />The first version was a twin lead guitar set up with bass, drums and a singer. The leader was Dave Clemo along with Jack Swann and Gary Tyla on vocals. I can't remember the names of the drummer and bassist.<br />I joined as bass player in 1974 and soon after Tommy Kerr joined on the drums and Steve Parrish replaced Gary Tyla as singer. All this sounds a bit like Dallas( without the oil, Sue Ellen... or the money).<br />Anyway, the first version folded in 1976 with Dave Clemo leaving and Martin Harney taking over on vocals. This was the group that released two singles ( Jailbait/ Motorway Crow and Who Said Rock and Roll Is Dead/ I Know Where I Am) on our own Bancrupt Records label.<br />Left Hand Drive split in 1979 with me and Jack Swann forming The Russians. Jack died a couple of years ago . I'm still going strong!</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgox093niKvsQvBDjJ2OK5OZ2j8XRVZZMWc5_Fo65gzZk0POBhIVKTO7DErAeEAposBz0ydAtzm86g4HYU5jge1i9OlrYmSQiJo7vMDHCUE_3jBX42HUKCl5X25n8h5CO2MKYuYP7dDIsJO/s1600/album+johnn+b+front+cover+photos+109.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgox093niKvsQvBDjJ2OK5OZ2j8XRVZZMWc5_Fo65gzZk0POBhIVKTO7DErAeEAposBz0ydAtzm86g4HYU5jge1i9OlrYmSQiJo7vMDHCUE_3jBX42HUKCl5X25n8h5CO2MKYuYP7dDIsJO/s320/album+johnn+b+front+cover+photos+109.jpg" width="240" /></a><span style="background-color: white;"><br /></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsaU0gvK4CF3FMyzxrun4DmvQOql-eP5LPPvcSVI9aZMHoZC0AC5r8DamXGgGstM3llhTZYieGL7PEtWKviWuQd53wOP93RpVqvu9aQHPocwsOh96J1ZQxvIXpF6Wik4AKiDYU9zwC2Qpl/s1600/album+johnn+b+front+cover+photos+107.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsaU0gvK4CF3FMyzxrun4DmvQOql-eP5LPPvcSVI9aZMHoZC0AC5r8DamXGgGstM3llhTZYieGL7PEtWKviWuQd53wOP93RpVqvu9aQHPocwsOh96J1ZQxvIXpF6Wik4AKiDYU9zwC2Qpl/s320/album+johnn+b+front+cover+photos+107.jpg" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8QdcZBhqJFbWbyymK9Xc_gFhKkwBAfMyoiNlv_DYPzphgRXY4qjTVoAWqznuEpaJWUJ4C3PnkK9fwgzNnYKofYdl31jAXr_zV2tIo9iAwswM7hzw1BTb3-BJsEqCrGvtFFzVFawn4bc7v/s1600/album+johnn+b+front+cover+photos+108.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8QdcZBhqJFbWbyymK9Xc_gFhKkwBAfMyoiNlv_DYPzphgRXY4qjTVoAWqznuEpaJWUJ4C3PnkK9fwgzNnYKofYdl31jAXr_zV2tIo9iAwswM7hzw1BTb3-BJsEqCrGvtFFzVFawn4bc7v/s320/album+johnn+b+front+cover+photos+108.jpg" width="240" /></a></div>
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Jeremyhttp://www.blogger.com/profile/16657432166444707799noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-11081046267434074262013-07-09T11:34:00.003-04:002013-07-09T11:45:09.523-04:00PINBALL SUMMER /// OST /// CELSIUS RECORDS 1980<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwaF791JGyaEK2zyoNRywtHTkxzvUQk8Ty_y4sj-oePy5WUzpq1R3vFHpRRJ4nolW5vAcTDM3Df0v5kHIq-VYa1wJqB9qSU6gFw6cljv9RsBUmz4RY1yxVvcywrWASwqBcVUTLVdWyIM3e/s1600/PINBALL-FRONT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwaF791JGyaEK2zyoNRywtHTkxzvUQk8Ty_y4sj-oePy5WUzpq1R3vFHpRRJ4nolW5vAcTDM3Df0v5kHIq-VYa1wJqB9qSU6gFw6cljv9RsBUmz4RY1yxVvcywrWASwqBcVUTLVdWyIM3e/s320/PINBALL-FRONT.jpg" width="304" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj186YMvUQWVOmokNSmm2cLHV2b47Q3iubPhDv3BUdhcdmtFgT__EaaL72I0okXZM4yP3VYedEboJEwz4JjdkAYTdZMxNgAsnhOoRNwQ_SyZXO6cNAhU5TQRbCfyTx8M6jtOtjKW3aGx-e0/s1600/PINBALL-back.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj186YMvUQWVOmokNSmm2cLHV2b47Q3iubPhDv3BUdhcdmtFgT__EaaL72I0okXZM4yP3VYedEboJEwz4JjdkAYTdZMxNgAsnhOoRNwQ_SyZXO6cNAhU5TQRbCfyTx8M6jtOtjKW3aGx-e0/s320/PINBALL-back.jpg" width="307" /></a></div>
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First off, if you've never seen this movie, cancel your plans tonight and do it.<br />
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://img.youtube.com/vi/E2_aqkEDroc/0.jpg" height="266" width="320"><param name="movie" value="http://youtube.googleapis.com/v/E2_aqkEDroc&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://youtube.googleapis.com/v/E2_aqkEDroc&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
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and while you're at it, put this soundtrack on repeat for the rest of the summer.<br />
Every song's a hit!<br />
You've earned it!<br />
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<a href="https://singsingrecords.egnyte.com/h-s/20130709/27014fb014744315">PINBALL SUMMER OST</a>Jeremyhttp://www.blogger.com/profile/16657432166444707799noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-86312771426319506032013-07-07T13:34:00.003-04:002013-07-07T13:34:25.323-04:00SUNDAE TIMES /// US COLOURED KIDS /// JOY 1968<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrY1fpVQYur3v2Ez7BatbGYD8762H8025uA-eoQ233LkXTGYT6cYMLvtC3pgwKEVTLKVcPZIlcMubnilQbcTQjBvi898ijcq3P3L4naG8csrPhOQ_O6-J1Jzw-WsKAWvlMQaDWyexvGR8B/s1600/SUNDAE-TIMES-FRONT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrY1fpVQYur3v2Ez7BatbGYD8762H8025uA-eoQ233LkXTGYT6cYMLvtC3pgwKEVTLKVcPZIlcMubnilQbcTQjBvi898ijcq3P3L4naG8csrPhOQ_O6-J1Jzw-WsKAWvlMQaDWyexvGR8B/s320/SUNDAE-TIMES-FRONT.jpg" width="304" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLiTUxa3AzhEwEeuJ9hJpx5s6jTV2RMke_lwHeIM4CJKRcoJWtxVgh54msMgGTtiWlfv1LrZ827No-WsWUpCfbBjHjjAQhSUUoRN8F8LevdDLWSdgCBKHPnSUKk0pOfMCMIWLnfNX1x-n/s1600/SUNDAE-TIMES-BACK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLiTUxa3AzhEwEeuJ9hJpx5s6jTV2RMke_lwHeIM4CJKRcoJWtxVgh54msMgGTtiWlfv1LrZ827No-WsWUpCfbBjHjjAQhSUUoRN8F8LevdDLWSdgCBKHPnSUKk0pOfMCMIWLnfNX1x-n/s320/SUNDAE-TIMES-BACK.jpg" style="cursor: move;" width="303" /></a></div>
<br />
Really great LP and a must for any fan of the Equals.<br />
Sundae Times were the first all black Rock 'n' Roll group in the UK comprised of Fuzzy Samuel, Dell Richardson and Eddie Grant, they put out a handful of singles on President and this one LP.<br />
<a name='more'></a><br />
<a href="https://singsingrecords.egnyte.com/h-s/20130707/4e803124d7be4b45"> SIDE A </a><br />
<a href="https://singsingrecords.egnyte.com/h-s/20130707/c09653bb53544c6b"> SIDE B</a><br />
<br />Jeremyhttp://www.blogger.com/profile/16657432166444707799noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-21421463560547470102013-07-02T20:57:00.000-04:002013-07-02T21:01:41.929-04:00RADIO LONDON, 'Songs From Dark Rooms' (Pterodactyl, 1983)<div class="separator" style="clear: both; text-align: center;">
<a href="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0427_zps7263fc2d.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="310" src="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0427_zps7263fc2d.jpg" width="320" /></a></div>
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<b>RADIO LONDON, 'SONGS FROM DARK ROOMS' (Pterodactyl, 1983)</b><br />
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'<i>These go to 11.</i>'<br />
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Blatant laziness and localism from this native stomper of southern Magnolia state soil.<br />
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Jackson, MISSISSIPPI - yes, you read that right - powerpop group formed by Jeff Lewis, original guitarist with Jackson’s (only) other “big” (quotations denoting relativism) pop group, <b>THE WINDBREAKERS</b>. After playing on the band’s debut EP, “Meet The Windbreakers,” Jeff split for more green-circled Angophile pastures to form <b>RADIO LONDON</b>, leaving behind this double-shot, self-produced, self-issued deuce-pack double 45 as the band’s only vinyl legacy.<br />
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Four (COUNT EM! FOUR!) moody cuts in a jangly pop vein not too far removed from <b>THE WINDBREAKERS</b> themselves make up the whole of “Songs From Dark Rooms,” only with a slightly darker, more angst-ridden <b>R.E.M</b>-ish lyrical slant largely absent from the oeuvres of Messrs Lee and Sutcliff. Of the four cuts, “Things Get Broken,” is the clear winner with its great burning guitar solo and clap along/smash along beat.<br />
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Centered upon the local club/dive W.C. Dons, <b>RADIO LONDON</b> played with nearly everybody in the largely isolated Jackson punk / new wave scene - from <b>THE GERMANS</b> to <b>THE MEN WITH NO I.Q.'S</b> until the band's eventual dissolution.<br />
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And it's up to you now, gentle reader, to decide whether or not they were simply wasting their time. <br />
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Oh, and also, if some perpetrating BMX butthole from California can convince you that this is in anyway actually a minimal synth record at heart. <br />
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Shred it.<br />
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'<b>10 TURNS TO 11</b>'<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F99444388&show_artwork=true" width="100%"></iframe>
'<b>SAD DAY</b>'<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F99445052&show_artwork=true" width="100%"></iframe>
'<b>THINGS GET BROKEN</b>'<br />
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<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F99445356&show_artwork=true" width="100%"></iframe>
'<b>WHERE ARE YOU?</b>'<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F99445651&show_artwork=true" width="100%"></iframe>Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-55747103868300270792013-06-24T22:36:00.000-04:002013-06-25T18:02:15.656-04:00ANDY GEROME, 'I've Got To Hold You' b/w 'Only One More Song (Opaque, 1980)<div class="separator" style="clear: both; text-align: center;">
<a href="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0426_zps2e669c35.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="307" src="http://img.photobucket.com/albums/v216/ohmysoul/SCAN0426_zps2e669c35.jpg" width="320" /></a></div>
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<b>ANDY GEROME, 'I've Got To Hold You' b/w 'Only One More Song' (Opaque, 1980)</b><br />
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If I’m doubtful that the sins of the awful white-pop-reggae
B-side of this single will ever be forgiven, I’m more than confident that the
hype-line parenthetical ‘FEATURING FORMER MEMBERS OF <b>BRIAN SANDS’ MILK</b> <i style="mso-bidi-font-style: normal;">and</i> <b>MOSES</b>’ will fail utterly to put any
proverbial butts in seats other than Clayton Silva’s and my own (and we’d been
camped out here for months anyway).<br />
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BUT…if anyone is curious about the post-<b>CHOIR</b>/pre-<b>PAGANS</b>-cover
doings of <b>BRIAN SANDS</b> and former <b>CHOIR</b> member <b>DENNY CARLETON</b>, I daresay it is
well worth a look and a listen (‘<i style="mso-bidi-font-style: normal;"><b>TINY TIM</b>
medleys, <b>RUDY VALLEE</b> songs, "2000 Man" by <b>THE STONES</b>, baseball cards
thrown from the stage along with group photos posing with man-sized shampoo
bottles…"Whistle A Happy Tune" and" Getting To Know You"
were turned into rock songs and readings were delivered from an old Army joke
book during any lulls in the music.<span style="mso-spacerun: yes;"> </span>Then
there were originals such as Brian's own "Eat The Hot Dog Now, Get Sick
Later" and Dennis's infamous "Boy Can I Dance Good”’</i>).</div>
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But save your fork, there’s pie:<span style="mso-spacerun: yes;"> </span><b>AMERICAN</b> (<b>NOISE</b>) pie!<span style="mso-spacerun: yes;"> </span><b>ANDY GEROME</b>’s lone single also featured some
string-benders and skin-pounders who had previously tolled it down and torn it
up with the likes of <b>CIRCUS </b>(‘Feels So Right,’ ‘Stop Wait & Listen’) and
sun-shaded city rockers <b>AMERICAN NOISE</b>.<span style="mso-spacerun: yes;">
</span>Talk about your Cuyahoga social degree!</div>
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…and, really, besides that, there’s not that much more to comment
on.<span style="mso-spacerun: yes;"> </span>Other than that <b>ANDY GEROME</b> and Co.
once opened for <b>THE BALONEYHEADS</b> on a show that was broadcast on Cleveland’s WMMS
FM and that <b>GEROME</b> pays the bills these days trading in <b>JOE SATRIANI</b>-instrumental
guitar rock/blues/fusion jazz moves.</div>
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Oh, and the fact that ‘I’ve Got To Hold You’ is an amazing
song – every inch the equal of anything ever released by <b>BLUE ASH</b>, <b>CLUB WOW</b> or <b>DON KRISS</b> and,
unlike a lot of the material by those groups – with a terminal vector radio-eye zeroed in
on the lead formations of the Top 40 charts. The arpeggios around the two-minute mark are particularly heart-stopping.</div>
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1000 copies pressed on the band’s own Opaque Records (‘<i style="mso-bidi-font-style: normal;">Music Denser Than Real Life’</i>) and never
issued with sleeve, enjoy then the A-side and thank your lucky stars that I’m
not dropping the B.</div>
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‘<b>I’VE GOT TO HOLD YOU</b>’</div>
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‘ONLY ONE MORE SONG’</div>
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Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com0tag:blogger.com,1999:blog-5710492458135523840.post-19344971767171837622013-06-16T13:59:00.002-04:002013-06-25T23:55:40.437-04:00SUNDOG SUMMIT, Crude Blasting Rock EP (1978)<div class="separator" style="clear: both; text-align: center;">
<a href="http://img.photobucket.com/albums/v216/ohmysoul/sundogfront_zps79036075.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="314" src="http://img.photobucket.com/albums/v216/ohmysoul/sundogfront_zps79036075.jpg" width="320" /></a></div>
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<br />
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<b>SUNDOG SUMMIT – CRUDE BLASTING ROCK EP (Plenty Big, 1978)</b><br />
<br />
It is one of the many positive, residual ripple effects of
publications like <a href="http://www.flashbackmag.com/">Flashback </a>and <b><a href="http://ugly-things.com/">Ugly Things</a> </b>and books such as The Acid
Archives, Endless Trip and Galactic Ramble (and even this blog), that, in
addition to expanding the canon and increasing access to the available body of
musical knowledge, certain notions and dominant narratives, long over-ripe for
revision, are held up for scrutiny and exposed as the red herrings they always
were.<br />
<br />
The false gospel most rapidly approaching its own Jurassic
sell-by-date thanks to these works is the entrenched post-punk maxim correlating
artistic comportment with qualities of musical output.<span style="mso-spacerun: yes;"> </span>…that is, if you wore a leather jacket and were
mediocre, you were already automatically better than someone with a mustache
who covered <b>PURE PRAIRIE LEAGUE</b>.<span style="mso-spacerun: yes;"> </span>…if you
believe what you read in the pages of Forced Exposure that is.</div>
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<br /></div>
<div class="MsoNormal">
Likely to enjoy both <b>PURE PRAIRIE LEAGUE</b> and the feeling of
leather on their shoulders are the quintet of Midlothian, Illinois misfits who
are to be our focus today:<span style="mso-spacerun: yes;"> </span><b>SUNDOG SUMMIT</b>!<span style="mso-spacerun: yes;"></span> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mustaches and – worse – cowboy hats aplenty didn’t help the
cause of these Chicagoland A-heads.<span style="mso-spacerun: yes;"> </span>Nor
did the presence of arch Windy City A-hole (that’s A for ART in this case) Lee
Groban, the ace-degenerate familiar to some for future <b>JT I.V.</b> infame and long-winded poetry Guinness book-a-world-record-award-winning
(and recently passed away).</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dee-termined from the beginning, it seems, to occupy forever
the dog house of no-fans-land, <b>SUNDOG SUMMIT</b> (here after, <b>SS</b>) cut a great and
frustratingly scarce album in 1976 (‘<i>On Summit Hill’</i>), issued on their own
label and described by one keen Ohio ornithologist as ‘the missing link between
rural rock and punk.'</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
…that is, they covered both <b>JOHNNY CASH</b> <i>AND </i><b>THE VELVET UNDERGROUND</b> on the same record – all before Mike Ness was even so much out of
his pork-pie PJ’s!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For their trouble though, <b>SS</b> received no accolades; indeed, it was just
the opposite.<span style="mso-spacerun: yes;"> </span>Decried as poseurs by the
nascent La Mere Vipere in-crowd and as punks by the luded-up Loop FM listening
audience, <b>SS</b> made about as many friends as <b>PHIL OCHS</b> at an all-day John
Wayne movie marathon.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
However, as good as their album was (and it was and it is!),
the EP <b>SS</b> cut two years afterwards – in a bizarre attempt at hitching a ride on
the rippling new wave – was even better.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Emblazoned on the beyond-primitive paste-on EP front-cover
is the masthead ‘<b>CRUDE BLASTING ROCK</b>.’<span style="mso-spacerun: yes;">
</span>It is unclear whether or not <b>SS</b> intended to take this epithet as the
EP’s title, but, for our purposes, it will suffice as it more than aptly
describes the EP’s contents.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s little wonder punks at the time weren’t ready for
this:<span style="mso-spacerun: yes;"> </span>no safety pins, no sloganeering and
they queer the deal from the get-go by starting off with a <b>SLADE</b> cover that
they somehow manage to dumb-down and make sound even more rudimentary than the
original.<span style="mso-spacerun: yes;"> </span></div>
<br />
<div class="MsoNormal">
The remaining two musical compositions are equally Giz-worthy,
focusing on the plight of underground musicians and floozy trampy girlfriends.<span style="mso-spacerun: yes;"> </span>Fans of loser-rock and proto-punk ineptitude
alike will doubtless find much to love in the fuzzed-up pop appeal upon which ‘<b>CRUDE
BLASTING ROCK</b>’ expounds.<span style="mso-spacerun: yes;"> </span>Some known tastemakers
tout ‘Underground’ as the pick-hit, but for me it’s ‘Just A Girl’ or nothing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
…which brings us again to Lee Groban.<span style="mso-spacerun: yes;"> </span>Your fingers can do the walking for more info
on this Nyquil-throated weirdo, but he certainly was one lousy impresario.<span style="mso-spacerun: yes;"> </span>Sub-Father Yod sounding here, his poetry,
this time, thankfully, is kept much more in check than on <b>SS</b>’ LP wherein he
takes up almost an ENTIRE SIDE with his babbling.<span style="mso-spacerun: yes;"> </span>Here <b>SS</b> allot the presumptive High Commissioner
Of Cyprus but one singular track, in which he raps and moans illogically about
whiskers and weed until the crew cut him off.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A rare treat from the true soft white underbelly of the
beast and one of the best records I have ever heard.<span style="mso-spacerun: yes;"> <b>MOGAN DAVID & THE WINOS, BOLD CHICKEN, FURY</b></span> and<b> RITTENHOUSE SQUARE</b> all got nothing on <b>SUNDOG SUMMIT;</b> nor do other supposed local
luminaries such as <b>EPICYCLE </b>or <b>DV-8</b> whose auras – when compared to <b>CRUDE BLASTING ROCK</b>’s 40 oz corona – amount to so much kitty litter and tea lights in white paper sacks<b>.</b></div>
<div class="MsoNormal">
<br /></div>
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'<b>GUDBUY T JANE</b>'</div>
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'<b>SHE'S JUST A GIRL</b>'</div>
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<div style="text-align: center;">
<i>COUNTRY, HARD ROCK, BOOGIE, BLUES, 50's...PLUS THE AVANT-GARDE ART & POETRY OF THE HIGH COMMISSIONER OF CYPRUS!</i></div>
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Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com1tag:blogger.com,1999:blog-5710492458135523840.post-4451212845521761992013-06-08T22:13:00.000-04:002014-02-19T00:18:56.724-05:00THE MECHANICS, 'No Brakes' b/w 'Drivin' Me Away' (1980)<!--[if gte mso 9]><xml>
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<![endif]--><i style="mso-bidi-font-style: normal;">Guess who’s back?</i>
<br />
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;">Back again.</i></div>
<div class="MsoNoSpacing">
<i style="mso-bidi-font-style: normal;">Sing Sing’s back</i><br />
<i style="mso-bidi-font-style: normal;">Tell a friend. </i><br />
<i style="mso-bidi-font-style: normal;"> </i><br />
<i style="mso-bidi-font-style: normal;"> </i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://img.photobucket.com/albums/v216/ohmysoul/mechanics_zpse6918735.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://img.photobucket.com/albums/v216/ohmysoul/mechanics_zpse6918735.jpg" /></a></div>
<div class="MsoNormal">
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<b>THE MECHANICS, 'No Brakes,' b/w 'Drivin' Me Away' (private label, 1980)</b><i><b> </b></i><br />
<br />
<i>'Oh, SoCal – so much to answer for.<span style="mso-spacerun: yes;">..' </span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But don’t blame <b>THE MECHANICS</b> for their name OR for the dummies that they
allegedly inspired (<b>SOCIAL DISTORTION</b> and <b>TEH ADOLESCENTS</b> or so the legend goes).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fullerton’s finest <b>CHEAP TRICK </b>grease-monkeys earned their
chops and lubed their gaskets playing in dirt-track/dirt-weed <b>UFO</b> and <b>MONTROSE</b>
cover combos with names along the lines of CREAM PUFFY FATTY and THE L.A. BRATS
(the latter proving, beyond a shadow of a doubt, to be the most-franchised proto-punk surname in history – literally like a satin jacket Papa Johns).<span style="mso-spacerun: yes;"> </span>After poaching spare-parts from other
respective bubble-perm and frayed-denim <i style="mso-bidi-font-style: normal;">Radio
Free Hollywood</i> pit-crews, <b>THE MECHANICS</b> began their ill-starred crusade as
street-preacher spokesmen for the Carburation Generation, playing mostly to crowds of
bored and brainless Orange County stoners before famously being denounced as <i style="mso-bidi-font-style: normal;">‘waaaaay too
metal’</i> by
Brendan Mullen at the band's audition to play at The Masque.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In any event, despite a lengthy life-span ('77 – '81) and TONS
of unreleased material, <b>THE MECHANIC</b>S lone 1980 45 is the sole skidmark clue as to
the band's existence.<span style="mso-spacerun: yes;"> </span>With guitarist Tim Racca drawing heavily upon
the <i style="mso-bidi-font-style: normal;">Ginsu</i>-knife guitar pop/rock attack of Rick Neilsen, both sides of<b> THE MECHANICS'</b> self-issued single, if failing to immediately elevate one to heaven tonight, at least rescues the listener from the mediocre purgatory that is 99.9% of late 70’s L.A. punk rock.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yeah, I said it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Also, I’ve never actually knowingly heard either <b>SOCIAL
DISTORTION</b> or <b>TEH ADOLESCENTS </b>so I’ll leave it up to the more pop-punk philistine
elements of this blog’s readership to comment upon the sonic verisimilitude.<br />
<br />
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<![endif]-->Come on Vann’s wearers – we're counting on you!</div>
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<br /></div>
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<i><b>Post-script</b></i>:<span style="mso-spacerun: yes;"> </span>the Youtube videos of <a href="https://www.youtube.com/watch?v=l3RFVXVP5wU">THE MECHANICS</a> tearing it up at the Starwood are ignored at your own
reputation’s extreme peril (fingerless-gloves-related).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Oh yeah honey, (sh)it's all coming back! </div>
<div class="MsoNormal">
<br />
‘<b>NO BRAKES</b>’</div>
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Collinhttp://www.blogger.com/profile/09473204825708813791noreply@blogger.com1tag:blogger.com,1999:blog-5710492458135523840.post-9545295501546896192012-10-08T10:29:00.001-04:002012-10-08T10:29:21.030-04:00Sing Sing TattooYou might of noticed we have a habit of modifying original label logos for our reissues so that its noticeably on Sing Sing while still maintaining the original aesthetic. We're approaching 50 releases now which means almost that many Sing Sing logos. With that many brandings it might not of been apparent that we do have a few of our own making. Perhaps most prevalent is our whistling hobo-record-guy. Jeremy drew this little guy back in January of '09 and he's been a favorite ever since.
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This morning, we got an email from Jake, who was writing to share his new tattoo with us. It's our whistling hobo-record-guy!! So cool! Thanks Jake! We'll be sure to return the favor.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURCSDGwOVR7FXqBKywKtzwDLcqVdtzo2tZvyE-fa9QN8Vjl2KwFN-Cfm8oRGo4qbz4FImSiwL-atJNPAuLN9znfk8I6uC0fpdKA4ttK_viCrskCgqtst39g0yFQJFkgOa9zBpk2QD-mk/s1600/101_2956.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURCSDGwOVR7FXqBKywKtzwDLcqVdtzo2tZvyE-fa9QN8Vjl2KwFN-Cfm8oRGo4qbz4FImSiwL-atJNPAuLN9znfk8I6uC0fpdKA4ttK_viCrskCgqtst39g0yFQJFkgOa9zBpk2QD-mk/s320/101_2956.JPG" width="320" /></a><br />Trey Lindsayhttp://www.blogger.com/profile/06269144251881650541noreply@blogger.com0