V/A - Killed By Death #13 1993

Happy New Year all together and I don't understand why the link to The Face doesn't work, but try again folks, link's fixed, thx Reinhard. And now enjoy another KBD compilation, # 13 and all tracks are recorded between 1978 and 1983. From liner notes on the back: "This volume of Killed By Death differs from the others in a few ways. It concentrates on just one region, California. And instead of containing previously released rare records, this one is culled from demo tapes, mostly from bands that never had any releases." I hope, that this link works and no more damn problems arise, otherwise I will lose the fun of this hobby.

 

1.TV Tantrum - SNOT PUPPIES  

2.Towel Song - SNOT PUPPIES

3.Berkeley Farms - THE BLOWDRIERS

4.The X Girlfriend - CASTRATION SQUAD

5.Joel Selvin - FRIED ABORTIONS

6.If I Can't Have What I Want - THE SCREAMERS

7.Peter Gunn Theme - THE FEEDERZ

8.William Tell Overture - NAKED LADY WRESTLERS

9.Kill Me/I Don't Need Your Attitude - WASP WOMEN

10.Terminal Romance - TARTS

11.All The Girls In The World - TARTS

12.Disposable Girl - TARTS

13.Tracers - DER STAB

14.It's Gray - DER STAB

15.We Need Another Vietnam - CITIZEN FEAR

16.White Night Riot - INVERTED TRIANGLE

17.Manifest Destiny - TANKS

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THE FACE - 100% Beat EP 1980

Last post in 2020 and also last Love Child record I have and I hope the label continues to release more rare great U.K. stuff. Info: "Totally unreleased Mod Revival Gold!!! The Face were from Hornchurch, Essex and the four tracks on this E.P. were recorded in London in February 1980 and produced by Andy Todd, who later played keyboards with Republica (Get Ready To Go). A real treat for the ears, they were wriiten and recorded at the height of the Mod Revival which is shown by the mix of Mod, PowerPop and hints of Ska too... A curio for fans of The Chords too - recognise the lyrics running through "Streetwalk"? Written before "Maybe Tomorrow", the line "Bang Bang, You're Dead" - Limited to 250 copies, full colour sleeve.

A curious year is coming to an end, it will certainly be remembered longer than others, but even this shit goes by, right! So I wish all friends & visitors a happy new year!

- Great Thx to Bristolboy -

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LES LORDS - 1979-1980

 

The working year 2020 is over and four days off are comin'. Let's see, how I will end it musically and the opener is a treat, and this slab was released by Vidi Vici Records 2013 in edition of 300 copies. The Les Lords were Britz (vocals), Richard & Fifi (guitars), Laurent (bass), Lelett' (drums) and founded 1979 in Caen. And since nobody knows these guys until now, it is time for detailed information from the great creators of 45vinylvidivici which I would like to quote at this point:

1979: The musicians of the Caen punk group R.A.S. are orphans of a decaying movement. Britz, the singer-songwriter, mourns Sid Vicious. The others are starting to clearly prefer the power-pop energy of Jam, Skids, XTC or 999 to the neo-baba wanderings of the Cure or other Simple Minds.

The 60’s aesthetic and winks of the Who are already very present in punk, from black suits and string ties to the T-shirt with cockade of Billy Idol (Your Generation). Not to mention the Jam, of course. But when some members of R.S. land in Britain, it’s the shock. This one lives at the hour of "Mod Maydays", powerful revival which creates its own underground scene (Merton Parkas, Chords, Mo-Dettes, Squire...) in reaction to a punk now in the process of integration. "We hate the punk elite" sings Ian Page of Secret Affair. The musicians of R.A.S. are conquered, shop at Carnaby Street and return to Caen to tell friends about London news. The group is prompt renamed Les Lords.

As a result of this radical turn on the aesthetic level (because the songs remain the same) it appears fairly quickly that everyone gets into the idea of breaking their mouths, starting with the hard core of punks, more and more more influenced by the skinhead renewal and the “OI” wave. During the Lords' second concert in Lisieux, the skins came in force and have every intention of pissing off as much as possible. The chairs fly and the fans fall back on stage, somehow trying to send them away while the group continues to play. Arrival of the constabulary and relighting of the lights. We resume all the same and the Lords end in apotheosis by a resumption of "My Generation" of Who respecting to the letter the spirit of the original, that is to say accompanied by a methodical destruction of the material and the overturning of the columns sound system. Lying on the ground, arms outstretched to hold the

sound system lying on him and not to perish crushed, its owner, an old baba, manages to whisper "it's great, it's great...".

Great it is. The Lords continue the momentum of the most fit but harmonically rich punk, say Generation X to locate, incorporating 60’s influences, pre-psychedelic reminiscences (Creation, Move) and especially by tracing a new road, theirs. The group does quite a few covers: the instrumental The Persuaders ("Amically Your") as a concert intro, "For Your Love" by the Yardbirds mid-set and "My Generation" as a reminder. For the rest, it's a slaughter: slamming drums, metallic and melodic Rickenbacker bass, rhythmic Gibson "sound wall", dazzling escapades from the soloist on Telecaster. And there is the front man, with limited vocal capacities but remarkable texts and unparalleled charisma. It was obvious to who had once seen these kids in concert that they had fantastic potential. Because these are kids we are talking about, 17 years old at the time of history and just over 18 when it ended. Not really a "sex, drugs and rock n’roll" story, shot by the punk generation. No, just another story of tormented and rebellious teenagers. A story of music lovers who convert Gérald, the full barter shop of Throbbing Gristle to boots and frilled shirts. In return, he introduces them to Kinks and Small Faces, but also Real Kids, Charlie Mingus, Faust or Mother’s Finest. It is a story of rain (Normandy...), at night, of endless walking. Mopeds were rare, so scooters... It’s a story of cavalcades and frantic leaks, in the sad France of the end of the seventies whose "peripheral rascals" were so well sung by Renaud at the time.

On this front the Lords take radical measures by weaving an alliance with the gypsies, which allows to calm quickly done well the skins and to bring them back to feelings of healthy camaraderie. As for the neo-Mod movement, it is developing like wildfire. In two strokes of a pot spoon, there are more than 200 Mods in Caen. Punks converted after concerts, fans of the Specials or Joe Jackson, high school students who wanted to piss off their parents. Barely 16 years old, Laurence gives up everything to join Fifi, the rhythm guitarist of the Lords and returns on a scooter at the end of the hutch to give the teachers honor by shouting "We Are Mods", as in Quadrophenia. Britz, Laurent and I are going to see the film dozens of times at the cinema of the Carrefour shopping center, in Hérouville, one of the working-class suburbs of Caen. So we pass and we pass again in front of a band of thugs, "Arabs" as they said at the time, who stagnate on the benches of the shopping center and do not take long to look for the fight. It degenerates for good and ends with a punch outside. "We are the Mods"! Impressed, the most devious of the so-called "Arabs" quickly bought a costume and asked to join the mods.

In Caen, these are a mass movement from the proletariat, the working masses. With guys who in case of confusion are more quick to fight than to parley... There is José who fights after the group has won the French flags in a party on July 14, Franck says "Barjot" the former rocker and fisherman, "Clash" who crushes my parents' flowers in a Vespa and shoots the rockies on Saturday afternoon in the middle of traffic jams, with a WWII Luger. And then other groups that are formed: Dandys, Holly Boys and Neckties. These are 13-14 year olds who have had little time to learn English. Suddenly they proudly adapt the Who in French, "I Can’t Explain" becoming "the Caennais complain."

The Lords play in Paris at Golf Drouot. They finish well last of the "springboard rock" but fuck a happy mess and meet that evening the fabulous Stunners. A core of Parisian fans of the Lords is formed around Laurent ("Stax"), Denis, Thierry and soon Patrice Bertrand, former Hells Angel turned Mod who sells US garage rock records in the Scooter shop in Les Halles. The Lords don't pretend. They provide the first part of the Olivensteins whose equipment they demolish ("My Generation"), the Dogs from which they steal the show and a whole bunch of others. They make all the fire, open for Valérie Lagrange and even go on tour for a few dates opening for Caravan, an old British progressive rock band.

Soon the mod-revival spreads in Paris then in the provinces. Lords are heroes and kings, but there is a misunderstanding. Basically they have little to do with twinks disguising themselves as twist dancers, petty bourgeois in polka dot dresses and groups making desperate efforts to sound "garage". In fact, while the Parisian skins led by Farid - a ringworm - are having fun persecuting this bunch of little wankers from fine neighborhoods, they carefully avoid attacking anyone who wears a "Caen" patch on their jacket. Britz and the hard wing of the Caennais accentuate the demarcation with the installers by calling themselves "Glory Boys" and adopting black shirts and white ties. But hey, it's all starting to go around in circles. Especially since despite their multiple trips back and forth in the capital, where I settle as a manager, the Lords are still out of recording contract. There are indeed some contacts with Antoine De Caunes, Marc Zermati or Patrick Eudeline, the tour of record companies, a photo in the monthly Best, but nothing comes out. Meanwhile, the sken-mod conglomerate of Caen feels winged. After two years of intensive fights against rockers (very bad in those distant times) and all that hung around as thugs in the Normandy countryside, these became real terrors. Wounds that set everything on fire and blood during the Jam concert in Rouen. The Lords are victims of Sham 69 syndrome: overwhelmed by the movement they have instigated and the excesses of their audience.

The tension rises with the rhythm, Fifi, a simple heart. Then with the bass player who stands in solidarity with him. Finally with Britz Notre Dame, icon of mods, always so frosty and uncontrollable who does not want to understand that such a radical trip cuts the group from a wider audience. In a few weeks everything crumbles. Fifi and Laurent will try their luck with another group. Britz moved to Paris where he succeeded in a few months in transforming a gang of Daddy's sons into a respected gang. Richard and Denis recruit a bass player and pursue the Lords in the form of a blazing power trio.

In the end, there will be nothing but wonderful memories and rehearsal recordings from this brief epic, in mini-cassette. Despite their obvious limitations, they will no doubt give a better idea of what the Lords were than the album they would have done at the time on a major, under the guidance of a survivor of the yéyé who was converted into a producer. And the fact that more than thirty years later RAS or Les Lords are arousing interest shows that at least the flame has been transmitted. So all is well that ends well. Raymond Debord (Summer 2013)

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GROOVIE GHOULIES - Re-Animation Festival 1997

Continue with great music. A band that stands for melodic, rough and dynamic sounds: The Groovie Ghoulies were punks from Sacramento/California, founded 1983 and disbanded in 2007, whose music took inspiration from horror movies. Originally comprised singer/bassist Kepi, his guitarist wife Roach, and drummer Wendy. They released numerous albums, EPs & Singles, and toured internationally. Their music is best classified as pop-punk and is heavily influenced by early punk groups, plus a dose 60s garage rock and solid Rock'n'Roll. Throughout their career the band recorded cover versions of songs by several of their heroes. I know that I saw them live at some point, because I bought the Lost Generation EP which I unfortunately no longer have, but I can't remember when but it was at a gig, that's for sure. Anyway, twelve bubblepunkies are waiting for you, better than any bedtime story. 

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TOY DOLLS - Tommy Kowey's Car 7'' 1980

First 7Inch of the Toy Dolls on GBH Records with two goodies. You can find enough information about the band on the net and another single as well. I'm tired today and therefore few words but all re-upp requests are done.

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THE CROWD - Punk Off 2001

The Crowd is a band from Huntington Beach and were formed about 1978 by brothers Jim and Jay Decker and guitarist Jim Kaa, later joined by drummer Dennis Walsh (former Flesh Eaters and Flyboys). Punk Off is their fourth and so far last album, released via Unity Squad Records, with thirteen solid pieces. I didn't know the band in this form at all and I'm not really a fan of newer punk rock, but this slab does a decent job.

- Great Thx to Reinhard -

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V/A - Never Mind Covid-19 2020

WDM Records ist zurück, eine neue Compilation mit raren unentdeckten deutschen Untergrund ist geschlüpft und Part X fand den Weg vor circa gut zwei Wochen in meine Hütte und schlummerte daher nicht lange auf der Festplatte. Mit fast fünfzig Songs bestückt habe ich an einen langen Sonntag eine anständige Auswahl zusammengestellt die sich hören und sehen lassen kann. Danksagungen möchte ich an dieser Stelle vermeiden, da Ihnen im Booklet Ehre erwiesen ist, abgesehen davon sind's eh die üblichen Verdächtigen. Albumtitel & Cover stammen von Herrn Reinhard, das sei erwähnt, und der Rest ist auf meinem Mist gewachsen. Musikalisch wieder eine gesunde Mischung Wave, Punk, Rock und bißchen schnelles, gezogen von diversen Singles + Sampler alben. # 008 ohne Live Aufnahmen, kommt auch selten vor. Wie immer, Lob oder Kritik sind wünschenswert und nun lauschiges Hörvergnügen mit dieser kleinen Ode an die Freude. Prost!

WDM Records is back, a new compilation with rare undiscovered German underground has slipped and Part X found its way into my hut about two weeks ago and therefore didn't sleep long on the hard drive. With almost fifty songs, I put together a decent selection on a long Sunday which is very cool, visually & acoustically. I would like to avoid thx at this point, they are honored in the booklet, apart from that, they are the usual suspects anyway. Album title & cover are from Mr. Reinhard, that should be mentioned, and the rest grew on my dung. Musically again a healthy mixture of wave, punk, rock and a few speedys, drawn from various singles & compilation records. # 008 without live recordings is also rarely occurs. Praise or criticism are desirable as always and now, cozy listening pleasure with this little ode to joy. Cheers!

1.Anarchie & Luxus - KULT HUREN

2.Roter Stern - DIE VITALIENBRÜDER

3.Wo Sind Die Träume? - LSP

4.Neue Wege Zum Glück - KÄPT'N PUHVOGEL

5.Hektik - KAMIKAZE COMBO

6.Urlaub - COCKS

7.Train Arriving - KNOOTSCH

8.Angst Vor Der Wirklichkeit - HOLGER KIELGAS

9.What The Fuck - DEAD END

10.Das Model - DIE RADIERER

11.Mensch Willi - HINTERHOF BAND

12.Körperkontakt - BERNWARD BÜKER BANDE

13.Mit Dem Rücken Zur Wand - HELDEN

14.Arbeitsamt - RAZZIA

15.Man Bescheisst Mich - DIE B1

16.Frischmilch - AXEL'S FRISCHMILCH COMBO

17.Dreckig - DIE PLAGEN

18.Auf Und Nieder - SELECTED FRUIT

19.Wir Zieh'n Hinaus - WANDERLUST

20.Hippie - FEHLGEBURT

21.Oh Holde Geliebte - PARNASS

22.Alte Freunde - THE GELBKREUZ

23.Wandern In Angst - AGEN

24.Krieg - LANDFUNK

25.Oh, Heinz - JØRG PØLSE GANG

26.Du Sagst - ELEGANT

27.Die Neuen Gene - BLENDAXX

28.Das Millionending - TIPS

29.Bis Ans Ende Der Welt - DER MODERNE MAN

30.Alles Ist So Wunderbar - NEBENWIRKUNG

31.Die U-Bahn Rollt - SAAL 3

32.Auf Der Flucht - TERROCK

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VI - The Triumph Of Death EP 1987

A little undiscovered Hardcore EP with seven 'Tiltcore' attacks by VI on Loony Tunes Records. Probably from Copenhagen the band consisted of Dimse (vocals), Marco (guitars), Hans (bass), Pønk (drums) and here burns the Luzie. Words in Danish and English, these stunning songs are of a qualitative coarseness in just under twenty minutes. More appearances of the band are rare but they made it on some compis before they disappeared into the well-deserved punk retirement. Their legacy: a very powerful and great record, you want to play it at least twice and I would say; just the right sound to unwrap the Christmas presents.

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WARHEAD - X-Mas Bop EP 1987

Welcome to a band that had their creative time in the 80s and it seems they probably still active. A bit Info from their home: "Early 1980’s: nuclear warheads, the cold war, the nuclear age with its power of creation and its power of destruction, the fear of the whole lot going up. A generation of mutants come up through the underground culture, dangerous, contaminated, out of this world or maybe too caught up in it. In the summer of ’82, out of this generation Fabio Scipioni and Fausto Colasanti formed the group Warhead, the first Thrash-Hardcore Punk band in Umbria. So the band from back woods began with a demo-tape, In Rock We Trust. Concerts in a series of converted theatres  and squatted warehouses of central Italy were the experiences behind cutting their first record, the mini-LP The Black Radio, the X-Mas Bop EP with a cover of Irving Berlin's “White Christmas” featuring guitarist/pianist Paul Chain on the flip. The last of the 80’s was the One More Time In The Jail slab". On these three lullabies were Fabio (vocals/guitar), Fausto (guitars), Roberto (bass), Paul (organ), Lucio (drums) involved and they do their job properly. More boring X-Mas sounds don't follow.

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PARAF - Izleti 1981

Second record by Paraf from Rijeka and the first with new singer Vim Cola, released via ZKP RTVL, better known as Slivovitz Records, and musicians were: Vim (vocals), Ritchie (guitars/synth), Zdravko (bass), Dušan (drums) and I don't know how firm you in Yugo Punk, but Paraf are one of the first and best bands of the Balkans and for all those who are not familiar with it, I fixed all the previous posts in this blog. Compared to the debut, the sound is more wavie and melodic and some songs exceed the five minute mark. I can say, different in style but great goodies (on this rainy morning I was humming their melodies softly in the subway, so even the mutants didn't bother me anymore). I think, the presence of the new female member had a major influence on the rough, wild shell of the early phase & the band celebrates, sometimes a little wistful, intense emotions and transform them professional in eleven power/wonderful examples, their bites are definitely worth listening. Enough for today, the days off are imminent, enjoy them as much as you can and I'll be back tomorrow.

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