Wednesday, October 31, 2007
1 She Got No Love 2:58
2 Love Is on the Loose Tonight 3:47
3 Audio Sonic Love Affair 4:38
4 You're Gonna Get What's Comin' 3:24
5 Strange Kind of Love 3:46
6 She Lies 4:11
7 Promised Land 4:04
8 Somethings Not Right in This World 3:42
9. When the Rain Came 2:37
10 Cry Baby Killer 3:11
11 As Long as I Can Listen 2:12
12 Black Vinyl Suicide 3:56
Glen Armstrong (guitar, backing vocals)
James Baker (drums, percussion)
Christopher Flynn (guitar, vocals)
Rod Radalj (guitar, bass, vocals)
Peter Simpson (guitar, piano, vocals)
Boris Sudjovic (bass, guitar, vocals)
Dubrovnik Blues (Timberyard, 1989)
Audio Sonic Love Affair (Mushroom/Festival, 1990)
Chrome (Mushroom/Festival, 1992)
Medicine Wheel (Normal/MDS, 1994)
Formed in 1987
Roddy Radalj (guitar, vocals; ex-Exterminators, Scientists, Rockets,
Le Hoodoo Gurus, Johnnys, Love Rodeo, James Baker Experience)
Peter Simpson (guitar, vocals; ex-Teeny Weenies, Super K, Spectre's Revenge, Hoi Polloi)
Boris Sujdovic (bass; ex-Exterminators, Scientists, Rockets, Beasts of Bourbon)
James Baker (drums; ex-Victims, Scientists, Hoodoo Gurus, Beasts of Bourbon,
James Baker Experience)
When Sydney band The Dubrovniks emerged in 1987, the individual members had personal histories in Australian music stretching back a decade. James Baker, Roddy `The Raj' Radalj, Peter Simpson and Boris Sujdovic comprised an inner-city `supergroup' of sorts right from the outset.
Originally known as The Adorable Ones (formed August 1986), the band had to change names due to a Brisbane outfit already operating under that moniker. The name Dubrovniks was derived from the fact that both Radalj and Sujdovic were born in the (former) Yugoslavian village of Dubrovnik. The band's clattering, yet accessible rock'n'roll was drawn along the lines of The Troggs meets T-Rex by way of New York Dolls. Radalj was also known for his stylish attire and his guitar made from a pine cheeseboard!
Citadel issued the singles `Fireball of Love'/`If I Had a Gun' (April 1988) and a cover of Alvin Stardust's `My Coo Ca Choo'/`Girls Go Manic' (November 1988). By the time the band recorded and issued the single `Speedway Girls'/`Freezin' Rain' (June 1989) and the album Dubrovnik Blues (August), the ever-restless Radalj had left. In late 1988, Radalj formed the sideline band The Punjabbers with Brett Ford (drums; ex-Kryptonics, Lubricated Goat), Tony Robertson (bass; ex-Hitmen, New Christs, Naked Lunch) and Tony Thewlis (guitar; ex-Scientists) and issued the single `Rock'n'Roll Loveletter' on Timberyard (December 1988). Radalj then formed The Surfin' Caesars and recorded several albums.
Chris Flynn (guitar, vocals; ex-Headstones) eventually replaced Radalj, and the band signed to Mushroom. The band's releases on Mushroom, both produced by Kevin "Caveman" Shirley, maintained the revved-up, trashy rock'n'roll tradition. Audio Sonic Love Affair (September 1990) included the singles `She Got No Love'/`Got this Far' (June) and `Love is on the Loose'/`Something's not Right in the World' (October). Glen Armstrong (guitar; ex-Girlies) replaced Simpson in 1991, and the new line-up issued Chrome in June 1992. It produced two cracking singles in `Saigon Rose' (February) and `French Revolution' (June). In between albums, Baker and Sujdovic toured and recorded with Beasts of Bourbon. In early 1991, the two severed their commitments to the Beasts in order to concentrate on The Dubrovniks. Mushroom dropped the band in 1993. German label Normal issued Medicine Wheel in Europe, and Mushroom Distribution Services (MDS) distributed it in Australia.
The Dubrovniks broke up in 1995 and Baker returned to Perth. He joined power pop band Satellite 5 with John Rushin (vocals), Phil Bradley (guitar; ex-Jackals), Doug Thomas (guitar; ex-Dagoes, Spikes) and Howard Shawcross (bass; ex-Elks, Howard I Know, Jackals).
Encyclopedia of Australian Rock and Pop / Ian McFarlane 1999
Get it here @ 320
RapidShare : Dubrovniks - 1990 - Audio Sonic Love Affair
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Saturday, October 27, 2007
16 Horsepower - Pinkpop- Festival 06-11-2000
Set List :
Praying Arm Lane
Flowers in my Heart
Black Soul Choir
For Heaven's Sake (incomplete)
16 Horsepower - Wesel, Germany 22-03-2001
Wesel, Germany - March 22, 2001 - Karo-Club
Set List :
I Seen What I Saw
Praying Arm Lane
16 Horsepower lead singer David Eugene Edwards. Most of the studio recordings are performed by Edwards with minimal, if any, additional musicians. However, while on tour he plays with additional musicians such as Ordy Garisson. During a limited 2005 North American tour, Woven Hand consisted only of Edwards and a drummer. Since 2006, Woven Hand has become a regular band instead of a solo project. Permanent members are Ordy Garrison (Drums), Peter van Laerhoven from Belgium (Guitar) and former 16 Horsepower- member Pascal Humbert (bass) from France.
Woven Hand Denver 06-09-2006
Set List :
The Speaking Hands
Chest of Drawers
Into The Piano
(to the tune of Phyllis Ann)
As I Went Out One Morning
(Bob Dylan cover)
Get It Here :
Woven Hand Seattle 09-19-2006
Set List :
Phyllis Ann-Phyllis Ruth-Swedish Purse
The Speaking Hands
Chest of Drawers
Down In Yon Forest - Tin Finger
Get It Here :
Woven Hand Oslo 09-08-2007
Set List :
Swedish Purse- Deerskin Doll
Down in Yon Forest- Truly Golden
The Speaking Hands
Audio (best quality):
Video (made by NRK-TV):
Woven Hand - Foto: Kim Erlandsen, NRK
Wednesday, October 24, 2007
Extended Organ is Paul McCarthy, Fredrik Nilsen, Joe Potts, and Tom Recchion, so you know it's gotta be good. You'll be the coolest on your block when you play this at your Halloween party...
Get it HERE.
Tuesday, October 23, 2007
1 Sonic Reducer 3:05
2 All This and More 2:49
3 What Love Is 2:08
4 Not Anymore 3:38
5 Ain't Nothin' to Do 2:25
6 Caught With the Meat in Your Mouth 2:06
7 Hey Little Girl 3:01
8 I Need Lunch 3:36
9 High Tension Wire 3:05
10 Down in Flames 2:15
11 Not Anymore/Ain't Nothin' to Do [medley] 7:15
Vocals : Stiv Bators (Steve Bator)
Lead guitar : Cheetah Chrome (Gene O'Connor)
Drums : Johnny Blitz (John Madansky)
Bass : Jeff Magnum (Jeff Hellmaggie)
Rhythm guitar : Jimmy Zero (William Wilden)
Fellow Cleveland types Pere Ubu may have won the artistic kudos for their adventurous, surprising work, but if the goal was just to rock and rock again, the Dead Boys had them totally trumped. As both title phrase and capsule description, Young, Loud & Snotty accurately defines the predominating aesthetic so well that one could just leave it at that, but there's a lot more going on here than on the face of it. With perhaps surprising great production from demi-famous '70s rocket Genya Ravan, the five-some found something sonically smack in-between the US garage/punk heritage of the past and the more modern thrashings from overseas. Bators sneers, gobs, gasps, and whines with the best of them, but he knows his rock history, as does his bandmates. Zero and Chrome aren't guitar virtuosos, but they do know what makes a song great and aren't afraid to concentrate on that, while the Magnum/Blitz rhythm section keeps things moving as it does. In some ways songs like "All This and More" and "I Need Lunch" simply emerge from an alternate '50s, with admittedly much more feedback and stereo sound. Stone cold rock classic "Sonic Reducer" starts things off -- amusingly -- with all sorts of phased drums and other fripperies that later generations wouldn't consider punk at all. That said, it's still blunt, brilliantly sung by Bators and kicks out the jams with messy energy. Other all-time greats include the perfect bored-and-needing-kicks anthem "Ain't Nothin' to Do" and the thoroughly wrong "Caught With the Meat In Your Mouth." There's even a rock oldie -- a cover of "Hey Little Girl" live onstage at spiritual home CBGB's. And why not? With great punk rock and great rock, Young, Loud and Snotty still packs a punch.
~by Ned Raggett [AMG]
Bio (from AMG)
Get it here @ 256
RapidShare : Dead Boys - Young Loud & Snotty
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Monday, October 22, 2007
source : http://www.dischord.com/band/fugazi
In on the Kill Taker is like scrubbing your face with steel wool. It finds the band relying on rusty guitar shards that scrape, seethe, and hiss, further removing itself from the sound of 13 Songs and Repeater. Harsh and grating, Fugazi surprisingly produces sheer noise at times, best witnessed in the lengthy closing of "23 Beats Off" and the unintentional Gremlins
homage that opens "Walken's Syndrome." Joe Lally's bass and Brendan Canty's drums are relegated to acting as a guide; they're pushed — but not squashed — down in the mix, allowing for Ian MacKaye and Guy Picciotto's guitars to take control, corrosively so. It's probably Fugazi's least digestible record from front to back, but each track has its own attractive qualities, even if not immediately perceptible.
"Facet Squared" and "Public Witness Program" open the record furiously, but the majority of the following "Return the Screw" is hardly audible, aside from occasional vocal tantrums. A good amount of time is spent alternating between low-key guitar noodling and intrusive bursts of aggression. They're smart with their sequencing, placing the gentle instrumental "Sweet and Low" (the only track where Lally plays a prominent role) after the exhaustive cacophony of "23 Beats Off," and generally piecing together a set of rather diverse tracks that flows well. Picciotto's anti-Hollywood rant on the properly titled "Cassavetes" is a classic Fugazi moment, as is his similarly name-dropping "Walken's Syndrome." Buried at the end of the record are two excellent lurchers, MacKaye's "Instrument" and Picciotto's "Last Chance for a Slow Dance."
source : http://www.allmusic.com/
listen to Fugazi here : http://www.myspace.com/fugazidischord
Download It Here :
Sunday, October 21, 2007
Thursday, October 18, 2007
01 - Oblivious
02 - The boy wonders
03 - Walk out to winter
04 - The bugle sounds again
05 - We could send letters
06 - Pillar to post
07 - Release
08 - Lost outside the tunnel
09 - Back on board
10 - Down the dip
11 - Haywire
12 - Orchid girl
13 - Queen's tattoos
Style; Alternative Pop/Rock, New Wave
Wednesday, October 17, 2007
Some of "Beyond the Valley's" tracks indicate a subtle, musical growth in the Plasmatics' material. The studio rendition of "Masterplan" includes the band's first use of overdubs. For "Summer Nite," Wendy sings a tragic narrative about a boyfriend who gets killed in a nightclub brawl. This tune is given a kiss of 1950's nostalgia by Jean Beauvoir's piano and the harmonious background vocals of the Angels. The humorous "Fast Food Service" is a 1-minute track about someone going out on a date. "Living Dead" is a little too polished when compared to the untamed version on "New Hope for the Wretched;" in this particular recording, Wendy's moans seem exhausted and overrehearsed. The sleazy "Sex Junkie," with its distorted echos, may make listeners envision a perverse sequence from a soft porn, sci-fi flick; a cult film that "Something Weird" can make available. Last but not least, "Pig is a Pig" will surprise audiences by opening up as a country western, courtesy of an acoutic guitar. This bitter tune resulted from the attack Wendy suffered back in Milwaukee. After being arrested for simulating self-gratification with a sledgehammer during a concert, she was beaten unconcious by police officers and sent to the hospital with a broken nose.
Although this CD isn't as wild and dangerous as the group's debut effort, I still recommend "Beyond the Valley of 1984" to any fan starving for underground music. As I've said many times before, the Plasmatics will live forever!
review by : By Pamela Scarangello
watch the Plasmatics here : http://www.youtube.com/watch?v=eX_GfUaAHtI&mode=related&search=
Download It Here :
Tuesday, October 16, 2007
1. It's Only Life (Mercer) 2:59
2. Too Much (Mercer/Million) 4:37
3. Deep Fascination (Mercer) 4:07
4. Higher Ground (Mercer) 4:35
5. The Undertow (Mercer) 3:41
6. For Awhile (Mercer) 4:05
7. The Final Word (Mercer/Million) 2:24
8. Too Far Gone (Mercer/Million) 3:34
9. Away (Mercer) 5:25
10. What Goes On (L. Reed) 3:37
With an unchanged lineup but more attention due to their A&M deal, the Feelies hit the jackpot with their third album, a warm, inviting collection that finally addresses the endless Lou Reed comparisons with a cover of his "What Goes On." With its clearer feeling and peppier overall delivery, it avoids simply cloning the original arrangement and performance. The rest of the album shows off the band's distinctive yet flexible sound, as much jangle as it is quietly moody. Mercer and Million's previously tense guitar power becomes attractive shadings, implying a louder approach without always delivering it, while the Demeski/Sauter rhythm team takes the lead throughout; his steady drums and her low, rolling performances giving the guitarists something to play around instead of dominate. The Feelies always make this tranced-out rock their own, but this time around it's as quietly thrilling, if not more so, than ever. "Higher Ground" is a great example, with Mercer and Million trading off not merely notes and passages but differing approaches, whether laden with distortion or chiming clearly. Though Weckerman's work, as earlier, isn't easily distinguished from Demeski's, from the sound of it everything fit in right when recording. Where appears more audibly, as on the start of "The Undertow," his percussion adds an intriguing wild card to the proceedings, aiming at the same goal with slightly different sonics. Mercer's ghost-of-you-know-who vocals still pop up at times, but here his own ability to actually sing and hold notes comes forward, giving him a technical edge that he uses to great effect on the brisk "Away."
(All Music Guide, by Ned Raggett)
Glenn Mercer (guitar, vocals)
Bill Million (guitar, vocals)
Dave Weckerman (percussion)
Brenda Sauter (bass)
Stan Demeski (drums)
Produced by: Steve Rinkoff, Bill Million and Glenn Mercer
Engineered by: Steve Rinkoff
1988 - Coyote/A&M SP- 5214
Get it Here :
(Re-post from "Time Is A Disease" - inspired by WeBuilTArks' previous post!)
Monday, October 15, 2007
Well, this is gooood, this is definitely fuckin' good, damn i love this album.
Get it Here :
Saturday, October 13, 2007
Formed in London in 1983, the Wolfgang Press comprised vocalist Michael Allen, guitarist Andrew Gray, and keyboardist Mark Cox. Allen and Cox first teamed in the group Rema Rema, which also featured Adam & the Ants alum Marco Perroni; after reuniting in the short-lived quartet Mass, the duo recruited Gray, and as the Wolfgang Press issued their cacophonous, gloomy debut LP, The Burden of Mules , in 1983. An EP trilogy co-produced by Cocteau TwinRobin Guthrie followed in quick succession: while 1984's Scarecrow was a lighter, more streamlined affair, 1985's Water spotlighted ominously sparse torch songs, and the same year's Sweatbox explored deconstructionist pop.
The Wolfgang Press' second full-length effort, 1986's Standing Up Straight, incorporated industrial and orchestral influences into the mix, while the Big Sex EP's "God's Number" offered a soulful backing chorus, a harbinger of things to come. Indeed, after 1988's hypnotic Bird Wood Cage and its leadoff single, "King of Soul," introduced strong elements of dub, reggae, and R&B, the trio took the full plunge into the dance arena with 1991's Queer, an idiosyncratic outing admittedly inspired by De La Soul's landmark 3 Feet High and Rising; the first single, a surreal cover of the Randy Newman-penned "Mama Told Me Not to Come," was a minor hit. 1995's Funky Little Demons completed the Wolfgang Press' transition into white funk; prior to its release, however, Cox exited the group's ranks.
The Legendary Wolfgang Press and Other Tall Stories compiles the EPs Scarecrow, Water, and Sweatbox, three strong, eclectic efforts produced by Cocteau Twins' Robin Guthrie. Displaying marked leaps in sophistication and textural variety over their earliest work, the set establishes the trio as witty and incisive pop deconstructionists: a tongue-in-cheek cover of Otis Redding's "Respect" reveals a newfound sense of humor, while Neil Young's "Heart of Gold" undergoes such a radical transformation that it even receives a new title, "Heart of Stone."
source : http://www.allmusic.com
Download It Here :
RapidShare : rapidshare.com/files/Wolfgang.rar
SendSpace : www.sendspace.com/file/8hc0cc
Thursday, October 11, 2007
After building up an intense live reputation and a rabid fan base, Siouxsie and the Banshees almost had to debut with a stunner -- which they did, "Hong Kong Garden" taking care of things on the singles front and The Scream on the full-length.
Matched with a downright creepy cover and a fair enough early producing effort from Steve Lillywhite -- well before he found gated drum sounds -- it's a fine balance of the early band's talents.
Siouxsie Sioux herself shows the distinct, commanding voice and lyrical meditations on fractured lives and situations that would win her well-deserved attention over the years. Compared to the unfocused general subject matter of most of the band's peers, songs like "Jigsaw Feeling," "Suburban Relapse," and especially the barbed contempt of "Mirage" are perfect miniature portraits. John McKay's metallic (but not metal) guitar parts, riffs that never quite resolve into conventional melodies, and the throbbing Steven Severin/Kenny Morris rhythm section distill the Velvet Underground's early propulsion into a crisper punch with more than a hint of glam's tribal rumble. The sheer variety on the album alone is impressive -- "Overground" and its slow-rising build, carefully emphasizing space in between McKay's notes as much as the notes themselves, the death-march Teutonic stomp of "Metal Postcard," the sudden near-sunniness of the music (down to the handclaps!) toward the end of "Carcass." The cover of "Helter Skelter" makes for an unexpected nod to the past -- if it's not as completely overdriven as the original, Siouxsie puts her own definite stamp on it and its sudden conclusion is a great moment of drama. It's the concluding "Switch" that fully demonstrates just how solid the band was then, with McKay's saxophone adding just enough of a droning wild card to the multi-part theatricality of the piece, Siouxsie in particularly fine voice on top of it all.
Download It Here :
An extremely precious band for all music lovers and especially for us Fall-obsessives! “…Think Tom Verlaine guesting with The Doors. So – from being the guitarist in a non singer band he’d become the singer in a non-singer band…and at their best they were one of the most engaging and intriguing bands of the 80’s. ‘Work’…‘Disney Boys’….‘The Flood’…‘Diamond Age’….‘Tighten My Belt’ and ‘Bad Education’ (once covered by Aztec Camera), they’re all here…file the vinyl and enjoy!” [Marc (Lard) Riley December 01]. Ripped using EAC/LAME 3.97 (VBR --preset fast extreme). – K
01 Disney Boys (3:41)
02 The Flood (4:20)
03 Work (4:03)
04 The House That Faded Out (3:18)
05 Sun Connection (3:46)
06 Wait (3:55)
07 Dumb Magician (2:56)
08 Low Profile (4:40)
09 No Looking Back (4:05)
10 Bad Education (2:30)
11 A Year With No Head (2:38)
12 Tighten My Belt (4:04)
13 Agents of Change (4:31)
14 Conscience (3:20)
15 Release (3:16)
16 The Long Night Out (5:16)
17 Sleepy Town (4:29)
18 Diamond Age (3:34)
Wednesday, October 10, 2007
This is the link for almost-an-hour-mp3 file and this is for the
rar file with the individual tracks
Saturday, October 6, 2007
Friday, October 5, 2007
Ocean Lover - Kim Blackburn (Lizards In Love)
Somewhere Lovers - Vibraslaps (Vibraslaps)
Say Cheese - Expendables (Between Gears)
Corsican Ride - Raith Rovers (Songs from the Lowland)
Suzanne Said - The Shallows (Suzanne Said 12")
Solomon's Sister - Peter Arnold & Claire Timmings (Rarer Than Radium)
What's In A Name - Orange (Fruit Salad Lives)
Too Far Gone - Scorched Earth Policy (Keep Away from the Wires)
Time of the Leaves - The Kiwi Animal (Music Media)
Ice Lands - Alpha Plan (Stratford Workshop)
Iceberg - Bilderine (Split Seconds)
Thats What Friends Are For - Mainly Spaniards (7" single)
Thursday - The Puddle (7" single)
Not A Private Joke - Letterbox Lambs (Not A Private Joke)
Hey Old Man - Calamari Bushmen (The Ghosts Of Things I've Killed)
Under Your Face - April Fools (Disturbed)
Pinhead - Debris (Super 8 Mayhem)
Anais - Alastair Galbraith (Talisman)
This collection tries to present some of the lesser known New Zealand acts, mainly from the 80s and a few from the 90s.
It starts with the voice of Kim Blackburn, a voice straight from the Valhala, singing about the great ocean. Two groups with more experimental sound - Vibraslaps and the Expentables (whose singer Jay Clarkson we will meet again in a future NZ compilation) and a short track from Robert Scott's band, the Raith Rovers. Then there's the Swallows, the group of Roy Montgomery from 1985, and then a track from a record that became what it's title said: rarer than radium. Following are two real masterpieces of teenage pop (New Zealand way), by the Orange and Scorched Earth Policy. The only way I can explain why these two groups aren't bigger than the Beatles, or even the Chills, is that they never tried hard. They were just kids and they were doing it for fun. Note that Orange's Andrew Brough later wrote some realy great songs for Straitjacket Fits. The pair of Kiwi Animal released a few records in 1984-85 and then went on to other forms of art. Two songs about ice follow, from the Alpha Plan and the great Bill Direen, this time under the name of Bilderine. An equally great musician, George Henderson with the Puddle sings a perfect Creation (the label) style pop hit about Thursday. Then there are 3 groups from the 90s (as far as I know only Debris managed to release some more of their music, Calamari Bushmen put out only this record and the April Fools was a short lived super group including Martin Phillips and David Kilgour) and this collection closes with one of the more quiet songs of Alastair Galbraith from his first album.
Those who are in this scene (i.e. the 'classic' New Zealand or early Flying Nun sound) will find some real obscure names, some of them never heard for over 20 years - not even included in the many F.N. compilations. Anyway this doesn't matter. What it does matter is the good music, and everyone bother to listen to it, I hope will enjoy some real pop gems, made in New Zealand.
Comes in two flavours:
Here you can have a big mp3
and here a rar file with the individual tracks.
By playing pure and simple rock & roll without making an explicit issue of her gender, Joan Jett became a figurehead for several generations of female rockers. Jett's brand of rock & roll is loud and stripped-down, yet with overpowering hooks — a combination of the Stones' tough, sinewy image and beat, AC/DC chords, and glam rock hooks. As the numerous covers she has recorded show, she adheres both to rock tradition and breaks with it — she plays classic three-chord rock & roll, yet she also loves the trashy elements (in particular, Gary Glitter) of it as well, and she plays with a defiant sneer. From her first band, the Runaways, through her hit-making days in the '80s with the Blackhearts right until her unexpected revival in the '90s, she hasn't changed her music, yet she's kept her quality control high, making one classic single ("I Love Rock 'n Roll") along the way.
01 - Bad Reputation
02 - Make Believe
03 - You Don't Know What You've Got
04 - You Don't Own Me
05 - Too Bad On Your Birthday
06 - Doing All Right With The Boys
07 - Do You Wanna Touch Me (Oh Yeah)
08 - Let Me Go
09 - Shout
10 - Jezabel
11 - Don't Abuse Me
12 - Wooly Bully
Style; Rock & Roll
Thursday, October 4, 2007
1 Poetic Justice
2 New Jersey Sunset
3 Sarah Kills the Day
6 Westbound Fast Lane
7 Temporary Grace
8 Comin' Down in the Rain
9 Magnolia Street
10 Heavy Coat
11 Postcard With Wheat Field
12 No Choice
Although Buddy's discs have never been easily available in the UK, he is well respected and known as a songwriter's songwriter - his compositions have been covered by the likes of Nanci Griffith, Cry Cry Cry, David Wilcox and Joan Baez. This official UK release is deservedly going to increase the profile of one of the very best singer/songwriters around.
Poetic Justice is a quiet, reserved disc, that lets it lyrics and Buddy's intimate vocals do the talking - the stories and imagery in the songs are fantastic, full of description and detail, but with enough left out for the listener to create their own pictures.
The excellent lyrics are not at the expense of melodic accessibility, on the first few listens it's the melody and musicianship that stands out, there's some first-rate acoustic guitar work throughout the 12 tracks. Subtle support is provided by numerous people, including Guy Clark, Nanci Griffith and Ellis Paul - they really add depth to the already superb compositions,
'Poetic Justice' is a classy disc from start to finish; it's an understated collection of great sings from a talented individual.
Hi, Guys, just in case you want some folk-related album, here's Buddy Mondlock.
Get it here @ 256
Tuesday, October 2, 2007
Manic CBGB's era electro-punk from Canada. Recorded in 1974 by Daniel and Bob Lanois and bolstered by demos, live tracks, and later day singles.
1. Instant Pleasure
2. Electro Rock
3. Nazi Apocalypse
4. Mole Machine
5. Bullet Proof Nothing
6. Here Come The Cyborgs (Part 1)
7. Here Come The Cyborgs (Part 2)
8. Dance The Mutation
9. Illegal Bodies
10. Low Profile (Demo)
11. Little Sally (Demo)
12. Get My Thrills (Demo)
13. I Take It (Demo)
14. Yes I Do (Live)
15. Bullet Proof Nothing (Live)
16. Now's The Time For The Party (Live)
17. I Can Change My Mind (1978 45 rpm Single)
18. She's A Dog (1978 45 rpm Single)
This expanded reissue contains material from a two-song single, a recording session from 1974,
a live set from 1975, and the 1978 single "She's A Dog".
Simply Saucer :
Edgar Breau (vocals, guitar, Theremin)
Ping Romany (keyboards)
Kevin Christoff (bass, background vocals)
Neil DeMerchant, Tony Cutaia (drums)
Mojo (9/03, p.117) - 4 stars out of 5 -
"A masterpiece of neo-punk/psych outness....
A brain baking feast of proto-punk repetition and overdriven stellar guitar scrawl..."
Uncut (p.130) - 4 stars out of 5 -
"Smalltown freakery was a rock'n'roll staple long before punk gave it a name, and here's a great example of how it could accidentally transcend its limitations."
Here come the Cyborgs: an over-amplified plastic inevitable explosion of Velvet Underground white light/white heat, Pink Floyd interstellar overdrives, Eno's astral synth squelches and insert your own freewheeling free rock titan's antics here. Having the honour of being the most criminally underrated underground band to emerge from 1970s Ontario, Canada's Simply Saucer were the brainchild of Syd Barrett fan and import vinyl fetishist Edgar Breau and a high energy improvisational rock barnstorm to boot. This expanded reissue of 1989's self titled release, draws together a 1974 studio session, a 1975 live disconcert and a 1978 single, ably showcasing the quartet's red hot improvisations, in which songs suddenly leap off into the cosmos, and quirky song-writing skills. It appears that Simply Saucer were as out of step with the general musical consensus of the mid 1970s as Cleveland misanthropes Rocket From The Tombs, and indeed the musical comparison is appropriate; Imagine a psychedelic Pere Ubu with a firecracker up its ass. Breau's switchblade guitar style and the fantastically christened Ping Romany's electronic effects whipped up a synapse-assaulting maelstrom on the likes of Nazi Apocalypse, Dance the Mutation and the preposterously ambitious Here come the Cyborgs (parts 1 and 2). Check out those titles! On the live material included here, we have the insane juxtaposition of the Chrome like acid punk guitar soloing on Illegal Bodies and the smattering of polite applause that follows. The three people that seem to have composed the Jackson Square Rooftop stage audience that night in 1975 clearly enjoyed something a world away from the likes of the Eagles. As the musical zeitgeist evolved again in the late '70s, Simply Saucer were slightly more in step with the spirit of the age with a series of Edgar Breau's shorter, song-based compositions recorded following the departure of Moog mentalist Romany. This later incarnation is represented here with a clutch of live material, studio rehearsals and the aforementioned sole 'official' release of 1978's 7" single. She's a Dog and I Can Change My Mind are catchy and angular punk pop gems, complete with the latter's infectious Lou Reed yelps over the instrumental breaks. This superb reissue confirms Simply Saucer's legendary status as one of the 'missing link' acts, alongside The Pink Fairies, that bridge the gap between punk and psychedelia, their legacy alive and well in the audacious guitar throttling of the likes of Japan's High Rise.
CWAS #12 - Summer 2003
Simply Saucer - Cyborgs Revisited