V/A - Terminal City Ricochet 1989

Well, it's October and I sit at home and rip a few records and while I listen to this splendid album I thought it it the right post for today. This is a soundtrack record with excellent suff. The bands/songs here are damn great and on it one of my absolute favourite tunes, 'Madhouse' from Evan Johns & The H-Bombs, can listen to it everytime, I sit in it namely, brilliant guitars,  driving rhythm, perfect voice and with 6 minutes a really smasher, check it on youtube. The rest is also varied and brings me really in a good mood. Since when Jello has his fingers inside this can's be no shit. A few words about the film: Terminal City Ricochet is a 1990 film by director Zale Dalen. The name was taken from a hockey team called the Terminal City Ricochets. Starring Jello Biafra (Dead Kennedys), Terminal City Ricochet is a dystopian comedy critical of television and its collusion with government and consumerism. Terminal City Ricochet is well known in cult film circles, but it has only been shown at film festivals, and a few times on pay-TV. The DVD of the film and a CD of the movie soundtrack is available through Alternative Tentacles. OK, let's see if I still post more today, but first further with ripping vinyl. Enjoy this great record!

1.Behind The Smile - D.O.A.
2.Television - THE BEATNIGS
3.Falling Space Junk (Hold The Anchovies) - JELLO BIAFRA with NOMEANSNO
4.Modern Man - I, BRAINEATER
5.Living With The Lies - GERRY HANNAH
6.War Party - ART BERGMANN
7.That's Progress - JELLO BIAFRA with D.O.A.
8.Madhouse - EVAN JOHNS & THE H-BOMBS
9.It's Catching Up - NOMEANSNO
10.Pull The Trigger, Sunshine! - THE GROOVAHOLICS
11.Concrete Beach - D.O.A.
12.Message From Our Sponsor/Object-Subject - KEITH LeBLANC & JELLO BIAFRA

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JELLO BIAFRA - Jezebel 7'' 2008

I believe it is unnecessary to write about Jello Biafra. Everyone knows him and appreciates his position. Was recently a guest in Wiesbaden last Thursday and it was once again a big screen, this man is really still on the top. Therefore, I quote a review of this limited to 3000! 7inch: "What do you get when Jello Biafra and three of the Zen Guerrilla attack two songs for a Reverend Horton Heat compilation? You get this aural ass-kicking of a 7-inch! The A-side is their scathing take on the classic rockabilly tune, "Jezebel," while the B-side is their version of the Rev's awesome tune "Speed Demon"!! The cover art is hand-picked by Jello - and if you think the topless blonde with the dog is striking, wait 'til you see the other side." More Words, No! - ENJOY!

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JELLO BIAFRA with NOMEANSNO - The Sky Is Falling And I Want My Mommy 1991

Kick off March and to a record which is still fresh after more than thirty years and revitalizes the Punk in you when it's a little rusty. Well, when I bought the album in Hamburg back then, I was of course very excited and wanted to know if Jello Biafra, who had two years before jammed with D.O.A. and conjured up a superb album, would top this with his second trip to Canada, this time to Victoria where NoMeansNo was at home back then. And the result is one more musical and optical highlight in all respects. Eight energetic songs plus Jello's cynically apocalyptic words, that sums up this brilliant record. I would particularly like to mention the artwork, which was again designed by Winston Smith and connects the history with reality and let us see that not much has changed and mankind is stagnating in its actions and thinking, profit-oriented and without regard for losses, especially nature and minorities suffer vehemently and all the generations that will follow can be happy. When man entered this planet, the earth was doomed. Nevertheless, I want to close with an apt review from my favorite site for this, because they can do that:

"After working with Canada's D.O.A. on his previous collaboration album, Jello hooked up with fellow Canucks and Alternative Tentacles signees NoMeansNo for an abrasive, brilliantly skewed thrash of a record, The Sky Is Falling & I Want My Mommy. NoMeansNo, with their angular art aggression, makes for a more distinct vehicle for Jello than D.O.A., bursting with power and screwy inventiveness both. The title track alone is worth the price of admission; Jello's rant about nuclear satellites and paranoia perfectly is matched by the music, and in ways the track serves as the missing link between an older style of Punk and the work of underground '90s acts like Unwound. White-hot guitar lines scrape and snarl over the stuttering rhythm while Jello rages through as only he can. "Chew" starts with minimal guitar snarls and whines floating around a low-key rhythm before fully springing to life, alternating between epic explosions and low-key tension over the song's length. Other tracks have a more straightforward, thrash feeling but still kick along very nicely, often throwing in odd solos or other touches to prevent sound-alike disease. Jello's pithy way around any number of subjects doesn't fail him here, with everything from recontextualized religion ("Jesus Was A Terrorist") to the joys of white-knuckle trips down mountain rivers ("Ride The Flume" with its lyrics "forget log rides in amusement parks, this one's 50 miles long!"). NoMeansNo's Ramones-worshipping alter egos, the Hanson Brothers, sneak in for the song "Bad," which is delivered in appropriately quick time, though Jello avoids sounding like Joey Ramone. The album wraps up with two great stormers, "Sharks In The Gene Pool", which constantly shifts tempos and feels over its length, and "The Myth Is Real-Let's Eat", with a wickedly snarling bassline that helps carry it along. Jello lets go in full effect over both, with all of the energy that fans would come to expect." (Ned Raggett)

One note before you ask, my copy doesn't have a lyric sheet for some fucking reason... well, I think more words aren't needed. In the same year, one more short group therapy convened, Tumor Circus, and is one more pleasure at own risk.

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JELLO BIAFRA with D.O.A. - Last Scream Of The Missing Neighbors 1989

When two superlatives come together, something unique has to come out of it and Last Scream is the first work, apart from The Witch Trials, numerous collaborations of Jello Biafra with quick-witted friends. With the Canadian Punx from D.O.A. he recorded this brilliant album in the late Eighties and, Hell Yeah, an absolute highlight of Punk music. Allow me to quote an excellent review from allmusic:

"The first of Jello's post-Dead Kennedys collaborations was a barnburner; hooking up with Canada's legendary DOA ensured all the punk power that fans could want would be there in a big way. Even though Joey Keithley and company aren't quite as agile as Jello's ex-bandmates, everything here is more brutally Motörhead in feel than the nervous aggro and sometimes restraint of the Kennedys, this album can't be faulted for sheer crunch. Jello himself is in fine voice throughout, tackling his favored targets with the frenetic bile that he's made his own. Some of the songs have become outdated - "Wish I Was In El Salvador" is very much of the '80s - but "Attack Of The Peacekeepers," memorably tarring NATO's forces as "the joke brigade," has had just as much of a point after Kosovo. "Power Is Boring" captures Jello at his most hilarious, pointing out how being a dictator must really stink (the job security issue alone, for one). Not much on the first side varies from song to song musically -- pounding, chunky feedback that smashes head-on, along with good gang-shout choruses from the band more than once -- but if that's the needed fix, this album provides in spades. The wild card here is a spooky, mid-paced romp through the Animals' "We Gotta Get Outta This Place," with Jello's tremulous vocals suiting the lyrics perfectly and Keithley's backup on chorus fitting in, in its own rough way. The concluding, side-long "Full Metal Jacket" takes absolutely no prisoners, elevating Last Scream from good to great. With Keithley in particular turning in some great guitar work over a steady, snaky rhythm, Jello offers up one of the most bilious, pointed slams against Washington D.C.; this album is as "city/feds-as-corrupt-institution" as you could imagine. Kennedys artist Winston Smith offers up some great cover art to top it all off." (Ned Raggett)

Worth listening, fantastic and a timeless classic!

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JELLO BIAFRA & THE MELVINS - Never Breathe What You Can't See 2004

Let's ring the weekend in with America's second famous postmen (still top Henry Chinaski) Jello Biafra and on his tour he delivered a parcel to the Melvins and this resulted in an excellent collaboration which 2004 friuted in this album. The response was surprisingly sparkling and many were pushing for more and so a year later they decided to release another album called 'Sieg Howdy!'. There were plenty of reasons for this because a lot of shit was happening in the world at the time and Jello never tired of thinking about it and putting fabulous lines on paper. This led to many people shaking his hand or wanting a picture with him, you can imagine how exhausting that is and he usually often came home late from his tour, so he decided to quit this fucking job and to continue his life as an artist. This shows that everyone has the opportunity to create something creative, you just have to discover and do it, eight examples may help.

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JELLO BIAFRA + THE MELVINS - Music Hall/Cologne 20.06.2005

In 2005 Jello Biafra came with the Melvins for three gigs to Germany. And here we have a phenomenal impression from the show in cologne. It's not my rip and I will give this to you because why not. Amazing Jello's performance and I remember the gig here in summer 2010 or 2011 when I joined this amazing show with my precious Love in the Batschkapp (R.I.P.) with his new band the Guantanamo School Of Medicine and he shows us: "I'm Not Quiet, I'm Alive!!!". What should I write?? This man is a nuclear bomb and a icon in the whole punk scene. The recording quality is pretty good and it's always a pleasure to hear something new from the ex-DK frontman. Enjoy!!!

Plethysmograph/McGruff The Crime Dog/When Ya Get Drafted?/California Über Alles/I Am The Owl/Yuppie Cadillac/Voted Off The Island/Caped Crusader/Lessons In What Not To Become/Enchanted Thoughtfist/Dawn Of The Locusts/The Lighter Side Of Global Terrorism/Holiday In Cambodia/Moon Over Marin

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DEAD KENNEDYS - Give Me Convenience Or Give Me Death LP + Flexi 7'' 1987

When I say goodbye I wanna be buried with this record. Give Me Convenience Or Give Me Death is the last amazing album by the brilliant Dead Kennedys, my favorite band from the States, which appeared on Jello's Alternative Tentacles label after their dissolution in 1986. And it's become a compilation with all their 7Inch tracks plus rare live goodies, an awesome farewell by a great band. I quote the wiki entry here because these are really fitting words for this album I think: "The album consists of songs (or in some cases, different versions of songs) that were not released on the band's studio albums. The original vinyl version had tracks 16 and 17 on an extra flexi disc. The album was certified gold by both BPI and the RIAA in December 2007. The title is a play on the ultimatum by Patrick Henry, "Give Me Liberty, Or Give Me Death!", and is intended as a commentary on American consumerism. Give Me Convenience or Give Me Death was the last Dead Kennedys album that Biafra approved the production of, which also led to it being the last album released through Alternative Tentacles.

The slab includes "Pull My Strings", which was played only once on March 25, 1980, when Dead Kennedys were invited to perform at the Bay Area Music Awards in front of music industry bigwigs to give the event some "new wave credibility". The band spent the day of the show practicing "California Über Alles", the song they were asked to play. About 15 seconds into the song Jello Biafra said, "Hold it! We've gotta prove that we're adults now. We're not a punk rock band, we're a new wave band." The band, who all wore white shirts with a big, black S painted on the front, pulled black ties from around the backs of their necks to form a dollar sign, then started playing "Pull My Strings", a satirical attack on the ethics of the mainstream music industry. The song also referenced the Knack's biggest hit, "My Sharona". The song was never recorded in the studio but this performance, the only time the song was ever performed, was included on the album.

Also included is "Night Of The Living Rednecks", which was recorded during a show in Portland, Oregon in 1979. East Bay Ray snapped a string on his guitar as the band finished their song "Chemical Warfare", and to pass the time Jello decided to tell a story, with an accompanying bebop-style instrumental from the rest of the band, about how on the last trip the band made to Portland, he had a confrontation with some "dumb rich kids" in a "life-size Hot Wheels car" that involved him throwing a rock at their vehicle after they sprayed water on him and later trapping himself in a telephone booth when they retaliated."

In principle, there is only one word for this record: Masterpiece! In the file I have attached the booklet as pdf, if you prefer jpeg click on the orange button.

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PANSY DIVISION & JELLO BIAFRA - Average Men 7'' 2009

San Fransisco collaboration between Pansy Division and Jello. I believe the only recording and what should I say? Simply brilliant. 'Average Men' is taken from their 2004 album 'That's So Gay' and the band has been active since 1991 and released their seventh album last year. Jello is by far the most famous punkrocker of the states and what he does has always, in my opinion, hand and foot. The flip is a non-album track, I think a cover version, which ends in a locked groove. - Two superb shots!!

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DEAD KENNEDYS - Too Drunk To Fuck 7'' 1981

Well, I don't think I have to say much about this band, only that this is my all time favorite Dead Kennedys single and just like the title song it describes, once I was very drunk and had a horny lady with me, but I couldn't do anything except snore... well friends, that's another story. This is one reason I like this record, the other is the band shows once more their versatility which underlines Jello's fantastic songwriting, on one hand the typical DK Fetzer on the a-side and a rather unusual 'quiet' song on the flip. This is terrific! I don't know any US band that masters it so gandlessly. 

A few facts: Too Drunk To Fuck was the fourth single by the DK's. The record was released in May 1981 on Cherry Red Records with The Prey as the B-side.The single reached Number 36 in the UK Singles Chart, although it was not stocked in some record shops because of its provocative title. It was the first UK Top 40 single to include the word "fuck" in its title. It was banned from Radio 1 airplay by the BBC. In chart listings, it was usually referred to as "Too Drunk To". When it reached the Top 40, presenter Tony Blackburn referred to it simply as "a record by a group calling themselves the Dead Kennedys". The Dead Kennedys supplied a sticker for some record stores who took offense to the title which said, "Caution: You are the victim of yet another stodgy retailer afraid to warp your mind by revealing the title of this record so peel slowly and see..."

The song features a heavy surf rock/garage rock riff from guitarist East Bay Ray and satirical lyrics from Jello Biafra that paint a trenchant picture of an outrageous, moronic party. The song ends with a sound of a man vomiting. After the rest of the band were awarded the rights to the Dead Kennedys material, they licensed "Too Drunk to Fuck" for use in the film Grindhouse. Almost immediately, Biafra criticized his former bandmates, specifically citing the song (a cover by Nouvelle Vague) being used in a rape scene in the movie, saying "Some people will do anything for money." The rest of the band responded in kind, challenging him to donate his share of the money to charity.

You will never be disappointed with any record of this great combo that is indispensable when we talkin' about punkrock; today, tomorrow and in all times!!!

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TUMOR CIRCUS - s/t LP 1991

I think this is the 3rd collaboration of Jello Biafra with other musicians and for Tumor Circus he found members of Steel Pole Bath Tub and Grong Grong and they release two 7Inches and one album and in this file are everything in. Musically, it's pretty noisy and to the typical driving sound shines Jello's psychedelic voice how's only he can bring it over and for this project are the suitable members on board. I got the slab donated by a friend and of course I was equally enthusiastic because I know almost all things but Tumor Circus (great band name) was completely new to me, "Fireball" or "Calcutta A-Go-Go" are brilliant songs and the fulminate sluggish fifteen minutes "Turn Off The Respirator" at the end summarizes the whole theatrics of the songs/words in one piece. I'm sure, do you didn't know the record yet you will love it. Regrettably Charles Tolnay (guitars) passed away 15th September 2017, so give him the honor!

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DEAD KENNEDYS - @ The Farm, San Francisco 24.05.1985

Now for a current sad occasion a superb live recording by the fantastic Dead Kennedys and this record is one of a three vinyl record set called DK 40. D.H. Peligro, drummer the band, crashed at his home in Los Angeles on October 28, 2022 and succumbed to his head injury shortly thereafter. How he did it remains a fucking mystery. Fact is, the world is losing another great musician, even if he testified against Jello Biafra in the legal dispute between the former members and Jello after the dissolution, he will not be forgotten. So today's post is dedicated to him and I think a live record is just the right choice, because his skills and dynamic are here unpolished and demonstrate how important he was for the music of the best American Punk band ever in my opinion. Now enjoy these fifteen crispy recordings, pay your respect and remember him positively... R.I.P. 

DH Peligro's Mom/Goons Of Hazzard/Hellnation/This Could Be Anywhere/Soup Is Good Food/Chemical Warfare/Macho Insecurity/A Growing Boy Needs His Lunch/Forest Fire/Moon Over Marin/Jock-O-Rama/Stars And Stripes Of Corruption/Second Encore/MTV Get Off The Air/Holiday In Cambodia

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THE NAILS - Dangerous Dreams 1986

Before I dedicate myself to football this record and I don't know how I got this? Anyway, fact is that also very good new wave music was created overseas, a bit different from the UK sound but The Nails prove with their second album that they had what it took, ten beautiful melodic songs crown Dangerous Dreams and I listen to it a second time in a row (especially the voice of Marc is fantastic). A bit info from wiki: the Nails were originally a five-piece new wave band that formed in Boulder/Colorado in 1976, originally named as the Ravers, and their roadie, Eric Boucher, later became known as Jello Biafra of the Dead Kennedys. The band members were Marc Campbell (lead vocals, guitar), Dave Kaufman (keyboards), Al Leis (drums), Artie Freeman (lead guitar), and Jon Cormany (bass).

In 1977, the Ravers recorded an EP in Boulder with Screwball Records. The Ravers moved to New York in June 1977 and played the showcase clubs CBGB and Max's Kansas City. Shortly after arriving in NY, The Ravers changed their name to The Nails (there was a local band named Raver). A '45 with the band's original lineup was recorded in New York City in 1978. By mid-1978, Leis (now deceased), Cormany, and Freeman (now a medical school professor) had left the band.

By the late 1970s, The Nails had established themselves on the club circuit and were now composed of vocalist Marc Campbell, bassist George Kaufman, saxophonist Douglas Guthrie, drummer Mike Ratti (Dennis McDermott on Mood Swing), keyboardist Dave Kaufman, and guitarist Steve O'Rourke. Hotel for Women, an EP recorded in 1981, contained an early version of "88 Lines About 44 Women", a song that caught the attention of RCA. The Nails were signed to RCA by Bruce Harris, also known for bringing The Clash to America. In 1984 "88 Lines About 44 Women" was re-recorded for RCA and included on The Nails' full-length debut LP, Mood Swing. The song received regular airplay despite a number of double entendres and lyrical references to masturbation and sadomasochism.

Two years later they released Dangerous Dreams, also on RCA. Both Mood Swing and Dangerous Dreams made the Billboard top 200 album chart and were critically acclaimed. But after the release of Dangerous Dreams The Nails left RCA. RCA did not release either LP on compact disc. "88 Lines About 44 Women" continued to appear on compilations 20 years after its release and was featured in a Mazda television commercial that aired in the late 1990s.

In 1988, the band reconvened (without Guthrie and Dave Kaufman) to record a third album, Corpus Christi, which was not released until 1993 and received little exposure. The Nails deny ever receiving any proceeds from this album, citing a rift with their former producer, claiming that he swindled them of their rights. They posted re-recordings of these songs on the late George Kaufman's site, along with the explanation of the dispute. They strongly discourage fans from purchasing the album, as they will never be compensated.

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TMA - Beach Party 2000 1987

Final post for today and it's a band that was completely unknown to me until now and I have to say the record is a hammer. Powerful two-minute smasher in just thirty-three total and this is already their second plate on Jimboco Records, excites me completely. Well, a few words from discogs: TMA started out as a three piece in New Brunswick, NJ (Rutgers) in 1981 with Tom (Emanuele), Mike (Demko) and Al (Rosenblum). Lead vocalist Dave Oldfield joined shortly thereafter. The band's moniker either stood for the original band members names or Too Many Assholes, depending on the day of the week and who in the band you asked. Influenced by the Angry Samoans, Black Flag, Circle Jerks and a variety of 70′s punk bands, TMA went on to record What's for Dinner? two years later. During that time, the band played a lot of local gigs at such infamous venues as the Dirt Club, where they built a loyal following and eventually wound up on a live compilation the club released called Hardcore Takes Over (Live @ the Dirt Club). New Jersey had a good hardcore/punk scene in the early 80s with a lot of bands and places to play, besides the Dirt Club, there was the Court Tavern, Roxy, Patrick's and the Melody. TMA were often paired with bands like Detention and Send Help, and played some of their best gigs with the Circle Jerks, Anti-Nowhere League, Government Issue and the Joneses. They also did a few hardcore Sundays at CBGB’s, including a show with the Freeze. Tim Yohannon (R.I.P.) and the staff of Maximum Rock'N'Roll were fans of the band. What's for Dinner? was played a lot in the office and received exposure on Tim's radio show as well. Jello Biafra was also a fan. Nun, I think there is something for everyone with all three posts today and I have promoted you accordingly into the weekend, see ya!

- Big Thx to Fredrik -

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OUTRAGEOUS - s/t LP 1984

A Dutch band completely unknown to me, who made three albums in the 80s, everything on their own and the five-piece named Outrageous consisted of Eric (vocals), Ruud & Niall (guitars), Bardo (bass), Frank (drums) and more info is not available. What I found is this: "Eric quit the Nitwitz and joined this Amsterdam band. The band belonged (with the Boegies from 1982) to the pioneers in the field of playing fun punk. Their debut album was especially popular abroad. Jello Biafra hailed the album in the fanzine Maximum RockRoll." And this review: "Not a thrash album, but a good old-fashioned punk LP. Holland’s OUTRAGEOUS displays a fast, heavy, two-guitar punk attack with strong hooks on most of this record, but they also play occasional poppish ditties (like “Beziers”), rockabilly thangs (“British Bikes”), or thrashers (“Say Cheese”) to mix up the stew and keep things interesting. I found myself happily singing along with many of these tunes, which is as good a recommendation as most." (Jeff Bale, MRR #16, August 1984) - I think, they do their job very well and fourteen songs in just under thirty minutes provide relaxation.

- Great Thx to Fredrik -

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OFF! @ Annandale Hotel/Sydney 2013

Let's spend some fuckin' great US Hardcore with this delicacy. Black Flag, Circle Jerks, OFF! The stations of frontman Mr. Keith Morris, the one with the best punk voice and as Jello Biafra, one of the pillars of american punkrock. I have all the records from his old bands and with OFF! he kicks another excellent example out what's inside him and I think the songs give us all a strong impression of living in the U.S.A., the land of the free. This bootleg is a highlight of 29 energtic songs in a brilliant quality with nice greetings to the audience and the band is hot. You can really feel the gig and I like every minute of this 30 minute H-bomb. In 2011 we had the chance to visit a concert in Wiesbaden and we both were just thrilled. I can really recommend anyone to join a OFF! concert, you will never forget it. OFF! are Keith Morris (vox), Dimitri Coats (guitar), Steven Shane McDonald (bass), Mario Rubalcaba (drums).

Intro-Panic Attack/I Got News For You/I Don't Belong/Poisen City/Now I'm Pissed/Monologue 1/Jeffrey Lee Pierce/Blast/Feelings Are Meant To Be Hurt/Wrong/King Kong Brigade/Monologue 2/Borrow & Bomb/Vaporized/Crawl/Rat Trap/Wiped Out/Monologue 3/Peace In Hermosa/Zero For Conduct/Cracked/Fuck People/Toxic Box/Monologue 4/Elimination/Full Of Shit/Black Thoughts/Darkness/Upside Down

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E.A.T.E.R. - Doomsday Troops EP 1983

Ernst And The Edsholm Rebels – E.A.T.E.R. were formed in the summer of 1982 in Grums/Kil, Värmland, Sweden by Mikael “Gröten” Karlsson (guit/vox), Anders Brännström (bass), Peter “Pelle” Forsman (drums) and Hans “Hasse” Dahlgren (vox). and this first line-up of E.A.T.E.R. recorded Chaos Cassette vol.1 which was realesed in the fall of 1982. A number of gigs were played by this first line-up, among them the chaotic and by media well documented gig at Segmons Folkets hus in february of 1983. By the release of the bands debut EP Doomsday Troops (Ernst Records) Hasse was replaced by Mikael “Micke” Larsson as the leadsinger. Micke had earlier played in Psykjouren together with infamous and by now nationwidely known Buddha. Doomsday Troops EP was recorded and produced In KAAS by the band & Micke Blomqvist, and released in the summer of 1983. The record was sold all over the world, and E.A.T.E.R. recived recognition from people like Jello Biafra of Dead Kennedys and Pushead, the artist that made Metallicas and the Misfits cartoons. With the new line-up and a sucessfull record-realese the band went on the road and toured Sweden. A review: "Not to be confused with the '77 U.K. punk band Eater, this Swedish group (Ernst And The Edsholm Rebels) floor down on the acceleration and rapidly hit fast, lightning doses of 1000-m.p.h. thrash mayhem. An outrageous display of burning speed and mind-boggling turbulence, combined with chaotic chops of lyrical expression. Don't be fooled by the hilarious intro to the title cut--this EP hauls its load fast and furious in the new Swedish tradition." - Pushead (from Maximum Rock'n'Roll #13, April/May 1984) - The band is still active and I recommend this five piece of classic swedish hardcore tunes and the compilations Really Fast #1 and Killed By Hardcore #2.

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ELECTRONAZE - Waiting For... EP 1984

Electronaze was created for the first time 1979 in Hem (suburb of Roubaix) by Mohamed "Luky" Metidji (guitar), Eric (bass) and Martin (drums). Rehearsals, galleys of all kinds and a few concerts including one in Lille 1982, with Jean-Marie Duchemin who came to lend a hand in singing after leaving the Bâtards (with Richard Cuvillier of SURPRISE). Luky: "...a crazy concert. In fact, we often went to Paris from 1979, to see the concerts, like those of the Clash, incredible, we were inspired by it a lot. I knew LSD." At the beginning of 1983, the second formation with the arrival of Nicolas Cailler (†) on vocals, Santino on bass, Eric on guitar & Martin on drums, replaced by Olivier Felix in October 1983 from the group 221 Bis Baker Street. After six months of rehearsal, a 5-track demo is recorded at G.R.A.V.E. by Herr Professor the guitarist of Killer Ethyl, who has already done that. Finally a 7Inch was born called Waiting For... and was published via the Belgian label Aaltrack Records.

In October 1984, in an interview for the fanzine Gratte-toi Le Cul T’Auras Des Verrues: “We put 2000 francs each for the EP & went to Belgium and we did it. We received a letter from Jello Biafra, he's telling us that our record was fucking great! For the concerts, we must have done about thirty, especially in Belgium and in the north of France”. The same year, we had our title "Just Wanna Be Myself" on the 1984: The First Sonic World War compilation from New Wave Records and comments on the insert: "Be Myself" was recorded and mixed live in our basement some time after receiving a letter from New Wave Records... and is the band's first track (which has been around for about five years) so it's normal that it's our first title on vinyl. Five years of getting high, of work, and of course a lot of problems but is it worth specifying. Might as well say that "Be Myself" concerns everyone, well those who still believe in it... ”. This title was therefore recorded before the EP but released after it, certainly due to the time to complete the track listing of the compilation (source:45vinylvidivici)

I guess, the band broke up in the mid 80's and this EP plus some Sampler contributions is all that's left of them, good stuff anyway.

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MÉTAL URBAIN - Les Hommes Morts Sont Dangereux 1981

 

Before I dedicate myself to football, a small, considerable sound document from the early 80s: "Dead Men Are Dangerous" is the only studio album by the French electro-punk band Métal Urbain. Formed 1976 in Paris and heavily influenced by the Clash and Sex Pistols on one hand, and on the other by an electro approach related to Metal Machine Music by Lou Reed. They relied on heavily distorted guitars and replaced the traditional rock rhythm section of bass guitar/drums with a synthesizer and drum machine, a then-unique approach that foreshadowed the experimental possibilities that were explored by later post-hardcore bands such as Big Black. They were also known for their radical image (the color scheme of albums always being a stark black, white and red), and subversive lyrics sung in French. They were met with some enthusiasm in the United Kingdom, particularly by John Peel and the Rough Trade label. (Métal Urbain's 2nd single Paris Maquis was Rough Trade's first release.). In 1977, their first single "Panik" was named "Single Of The Week" by New Musical Express. They had an enthusiastic but small audience in France, receiving little exposure. The punk rock scene was not as popular in France as it was in the United Kingdom, and they did not interest the French media as British bands like Sex Pistols did. As a result, singer Clode Panik left in December 1978, though the band continued to gig and record with Eric Debris on vocals, and also recording with spin-off bands Metal Boys, and Doctor Mix and the Remix, until 1980, when guitar players brothers Schwartz and Lüger left to form the short-lived band Desperados.

Métal Urbain had focused their efforts on singles and only produced one album during their first period of activity. However, several compilation records were released, gathering their singles with additional material such as BBC sessions and live recordings. Their electro approach was very innovative for its time, and the group are a reference point for such groups as the Jesus and Mary Chain, Bérurier Noir and the producer Steve Albini. The band reunited in 2003 to tour in the United States, and had since toured consistently in France and the rest of Europe. Métal Urbain recorded their second studio album, J'irai Chier Dans Ton Vomi, in 2006, produced by Jello Biafra in San Francisco; a follow up mini-album, Crève Salope, was issued in 2008.

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V/A - OX-Compilation #57 2004

Time for another OX compilation and because CD days are I have decided #54. As always a very diverse mix by bands from all the beautiful corners of our kaput world. You can imagine why I bought this Heftschä, after twenty years finally the first song of the Vorsicht Schreie slab was released. But apart from that, some old acquaintances present with new songs and many more interesting combos with very heartwarming sounds. For all collectors sure a welcome post, allow me the #53 link at this point, and for sure I'll let some follow. I must say these CD's kick a lot after a long time without listen.

1.Sechszeiler - EA80

2.The Lighter Side Of Global Terrorism - JELLO BIAFRA & MELVINS

3.Erotica - SPITTIN' VICARS

4.Still On It - 7 SECONDS

5.Push & Pull - VIVA L'AMERICAN DEATH RAY MUSIC

6.Antichrist - STARMARKET

7.Asses To Ashes - CALL ME LIGHTNING

8.Smart Move, Sissy Boy - ANDTHEWINNERIS

9.Rotten Pig Iron - GHOSTRIDE

10.Accidents - ALEXISONFIRE

11.The After Dinner Payback - FROM AUTUMN TO ASHES

12.BleeD - IAMMYNEWT

13.Fernglas - SCHROTTGRENZE

14.Nach Hause - PASCOW

15.Sing Song Girl - ER FRANCE

16.Nero Burning Deutschland - SCHWARZ AUF WEISS

17.Marilyn Monroe Let Go - THE DEAD

18.The Death Of Barry The Roofer With Vertigo - TOY DOLLS

19.Mr.Ramone - RAMONEZ 77

20.Superstar - AMERICAN HEARTBREAK

21.Mr.Brokenhearted - DEADBEATS

22.John Walker - GHOULIES

23.Go Bastards Go - BONEHOUSE

24.El Miedo - THE BLUEPRINT

25.Always Upsettin‘ Somebody - NECK

26.Wird Sehen - ROBERT

27.Leck Mich - STROM

28.This Cynic's Fabulations - BOYS TRY BEHEADING

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UPRIGHT CITIZENS - Kiss Me Now 1986

💥 Extraordinary, fantastic music which always turns me on is the sound of the Upright Citizens from Bottrop (in the north-west of the Ruhr area), founded 1979, but it wasn't until 1982 that they started to attract attention - and they differed from many other German bands of those years through their (almost entirely) English lyrics and their clear orientation towards American hardcore. This was evident with their debut Make The Future Mine & Yours, which was released in 1983 and also made the band known internationally (Jello Biafra had noticed the band early on). Two songs securing them a spot on the legendary Keine Experimente! compilation on Weird System (1983), in 1984 they were featured on the We Don't Want Your Fucking Law slab on Mortarhate and on the hugely influential Peace/War double album on R-Radical Records, the label of Dave Dictor of MDC. So it happened, very unusual for a German band, that their second album Open Eyes, Open Ears, Brains To Think & A Mouth To Speak has been published in the USA via B.Y.O., the label operated by the Stern Brothers (Youth Brigade). With the Kiss Me Now (1986) and Farewell EP (1988) followed two more records of the "classic" side of the band, which had a few other releases until the mid-nineties and also played live - but the air was out, and in 2003 the band played their last concert, and a reunion, so the clear announcement, is ruled out. Well, this mini-album sounds a bit different from the previous records and is sometimes a bit too metallic for my taste, but I still like it and after hearing it several times, it penetrates well; they have long since earned this bonus from me. A fit short review: "Despite the uninspiring cover art and the Led Zeppelin-like intro to the title song, this new release has all the bands trademarks: tight, imaginative instrumental arrangements, plaintive lead vocals, memorable hooks, and generally on-target lyrics." (Jeff Bale, MMR #44, January 1987) - Always a pleasure the four, and I love Fridays 💥

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