Showing posts sorted by relevance for query Ramones. Sort by date Show all posts
Showing posts sorted by relevance for query Ramones. Sort by date Show all posts

Wednesday, March 22, 2017

RAMONES - @ The Palladium, NYC 7.1.1978

"Hey Ho Let's Go" - Yes, you know what comes... Yeah, the Ramones and I must tell you not much. In the World Wide Web there is sufficient information available. Like the Sex Pistols, the Ramones stands for punkrock of the first hour. Every punk has their records in the shelf, of course even me. Unlike the British with their snotty anarchic style the Ramones playing short, melodic, snotty 1-2-3-4 hymns and influenced a lot of bands. They were also different from the outfit; leather jackets, worn jeans, sneakers and long hairstyles (like the Beatles), almost in uni-look, the Ramones outfit was born. For me in addition to the Dead Kennedys the best band from the U.S. - This bootleg was recorded at the Palladium in New York City on January 7, 1978 in an amazing sound quality. Tommy Ramone is the drummer on this recording. He left the band soon afterwards, although he continued to work with them as a producer and manager, this is his last album as drummer. Hard to believe that all members are dead. I will listen to the Ramones till my death because this feelin' is etched in me. Have fun with this sound and "Gabba Gabba Hey" my true followers.

Thursday, March 05, 2015

RAMONES - Sheena Is A Punk Rocker 7'' 1977

Classic stuff now by the Ramones (R.I.P.) and from their 3rd Album 'Rocket To Russia' this 7inch reached # 81 in the Billboard Hot 100. Sheena is a Punk Rocker was written by lead singer Joey Ramone. The lyrics is about a young outsider who does not like other teenagers visited nightclubs because she is a "Punk Rocker", crude, wild and sexy. Like 'Rockaway Beach' is 'Sheena Is A Punk Rocker' one of the most popular and famous songs of the Ramones. It was - according to 'Judy Is A Punk' from the debut album - one of the first pieces of music which had the dominant genre term "punk" in the title. I Don't Care is a three chords and minimal text composition and is a song which was originally recorded for the first Ramones album, moreover one of the very first tunes that the group had ever written. The Ramones were an American rock band that formed in the New York City neighborhood of Forest Hills, Queens, in 1974. They are often cited as the first punk rock group. Despite achieving only limited commercial success, the band was a major influence on the punk rock movement in both the United States and the United Kingdom. I think you need no further info about band & music. Ramones are minimalist and melodic "Three Chord PunkRock" with humorous and absurd lyrics. So this copy is the german edition.

- Thx to Reinhard -

Sunday, August 04, 2019

RAMONES - Mondo Bizarro 1992

You can't do anything wrong when you pull out a Ramones slab, that shows your good musical taste and ensures attraction. Unless you are one of those who wear a Ramones T-shirt as fashion and have no idea what's all about, I see enough of you damn stupids! Well, what should I be upset about? Anyway, this modest rip saves me from doing the work myself, a little info from Wiki: Mondo Bizarro is the twelfth studio album by the Ramones, released in 1992. It is the first to feature their new bassist, C.J. Ramone, who replaced departed member Dee Dee Ramone. 

It was the Ramones' first studio album in three years, after the band left Sire Records for a new contract with Radioactive Records. The title was taken from the film of the same name, a 1966 sequel to the film Mondo Cane. Although Dee Dee had left the band, he provided the songs "Poison Heart," "Main Man" & "Strength To Endure" as compensation for the band bailing him out of jail due to problems with his long drug addiction. "Poison Heart" & "Strength To Endure" were released as the album's singles, in June and October 1992, respectively. In a 1992 interview for an Argentinian newspaper, Johnny Ramone said of the album, "Generally I always find two or three songs that I hate. From Mondo Bizarro, I really like almost all the songs and I am very satisfied with the result." However, when he was interviewed about the album for the 2003 documentary End of the Century, he stated, "I don't like it. I don't like it at all." In Johnny's 2012 autobiography he awarded the album (along with its predecessor, 1989's Brain Drain) a "C" grade, stating, "The songs are the weak spots on the album. C.J. was in the band, but his writing wasn't up to par yet." The album was certified gold in Brazil in 2001.

 Thirteen songs and number seven is one of my faves. R.I.P.

- Great Thx to Fredrik -

Tuesday, June 23, 2020

NE LUUMÄET - Laki Ja Järjestys 1990

Third album by Ne Luumäet on Poko Rekords with eighteen ramopunk songs. Founded in 1985 and they strongly influenced by Ramones and they played a very significant role in the creation of the Finnish ramopunk genre. The band ceased operations in 1993, but returned to the stage in 1999, releasing "Autopartio 525" EP as well as the compilation Rahat Ja Pois. Since then, the band has not recorded any new material. In the 21st century, Ne Luumäet has performed publicly, mainly in charity concerts. However, in the summer of 2007, the band performed at Ruisrock and at the Tavastia Club in honor of Ramone Week named by Heko Luumäki ("Punkrock 30 years old," 30 years old from Ramones' first Finnish concert). In 2011, the band performed twice in Yy-Kaa-Koo-Nee: RAMOPUNK! book publishing events. Among the members of the band Ne Luumäet, guitarist Heko Luumäki has continued to be the most active in punk and ramopunk in the band Rehtorit, which he founded in 1995, where Kaide Luumäki and Finski also played Luumäinen in the early 1995s. In addition to band activities, Heko Luumäki has developed ramopunk events, of which Converse Club, Ramoviisut and Ramones Week are his creations. Joey Luumäki, the singer of the band Ne Luumäet, has composed new material and performed at solo gigs from time to time. Superb record!

- Great Thx to Fredrik -

Sunday, October 01, 2023

RAMONES - @ Sporthalle/Böblingen, Germany 20.11.1989

October starts with an excellent live Bootleg from the no less excellent RamonesA while ago the record was mentioned in the comments as one of the best live recordings by the four and so I went looking for it. And I found it and can absolutely confirm these words. Top quality for a recording from the end of the eighties and the track list on the cover is not complete, there are a total of twenty-five songs that I filtered out and the rip took almost three hours (cutting, converting, adjusting the sound, etc.) but live slabs are always a challenge that I'm happy to accept. And the result is a perfect rip with the quality I want. I'm really grateful that you continue to provide me with first-class information or recommendations which lead me to discovering new stuff. Please keep it up and don't get tired of it, I thank you with this post, which I know many will enjoy, because a Ramones record, in this case, is always a good reason to get back to yourself... and Life.

Have fun with this Blast, and welcome autumn!

I Wanna Live/Bonzo Goes To Bitburg/Raining/Sheena Is A Punkrocker/Rockaway Beach/Pet Sementary/Seeking High/She Is The One/Mamma's Boy/Animal Boy/Wart Hog/Surfin' Bird/Cretin Hop/I Don't Wanna Walk Around With You/Today Your Love Tomorrow The World/Pinhead/Chinese Rock/Somebody Put Something In My Drink/Let's Dance/Do You Wanna Dance?/Havana Affair/We're A Happy Family/I Just Want To Have Something To Do/Indian Giver/California Sun

Thursday, August 12, 2021

RAMONES - Leave Home 1977

Let's waste your time with the second album by the Ramones and it was released on January 10, 1977, through Sire Records and the songs were written immediately after their brilliant debut album writing process, which demonstrate the band's progression. The album had a higher production value than their debut and featured faster tempos. The front photo was taken by Moshe Brakha and the back cover, which would become the band's logo, was designed by Arturo Vega. The album spawned three singles, but only one succeeded in charting. It was also promoted with several tour dates in the States & Europe.

The songs in Leave Home concentrate on various themes, with the musical tones being diverse as well. Some tunes were more pop-oriented, while others, like Gimme Gimme Shock Treatment and Pinhead were loaded with distorted guitars and had a more punk rock sound. The song Carbona Not Glue was taken off the album because it potentially violated the trademark of the stain-removal product Carbona. The track was replaced with Babysitter in the UK and Sheena Is a Punk Rocker in the United States (prior to its inclusion on Rocket To Russia) both Carbona and Babysitter were included on the 2001 expanded edition. Critical reception for the album was generally favorable, with several reviewers pointing out the fact that it highly resembled the band's debut. Critics also said the album was less groundbreaking than their debut but had humorous and enjoyable pieces.

Joey relates: "We thought we had a lotta songs that should've been hits. If you grew up in the sixties, things would just get played and be hits right off the bat. So we thought since our music was doin' something unique that everyone would pick up on that. What really happened was we were so alien that no one wanted to touch us. And so we wouldn't get played."

Last Words: all previous Ramones posts in the blog are re-upped; The FOUR were brilliant, are brilliant and stay brilliant - R.I.P.

Thursday, February 16, 2023

REDNECKS - Blitzkrieg Bop 2007

"We called ourself the Rednecks because we hated boring sloppy hippies! We played Kick-Ass Rock'N'Roll. The New York Dolls and the Ramones inspired us. The second concert saw us open for our idols, the Troggs. They watched our show and dug us too! We're in heaven! Listen!!!!.... and Kick!!!" All tracks were recorded live on October 18th, 1978 @ Salle Du Faubourg in Geneva, Switzerland (opening for the Troggs). The Rednecks were a Punk band from Geneva and consisted of Francis Seilern (vocals/guitar), Babine (bass), both from Jack & The Rippers, Sandro Sursock (vocals/guitars) from the Bastards and Paul Zouridis (drums) from the Scelerates. The band was specializes in cover versions of their favorite crunchy Punk and Rock & Roll songs by the Ramones, Heartbreakers, Pirates, Chuck Berry, etc.... and these recordings shows the band in absolute top form and all tracks are present here in a consistently recording quality. Hit after Hit and I can imagine how incredible this show was. I think, these songs are the only releases by them, so relax and listen to this limited to 300 copies CD-only!

Wednesday, June 03, 2015

DIE KEINE AHNUNG - Arschlöcher Raus! 2006

And now we have Die Keine Ahnung from Dilllenburg/Marburg & Siegen...or simply just called DKA! For more than 15 years, the quartet is now already underway and they are still going strong! Die Keine Ahnung is fast, explosive punkrock mixed with rock n roll in the best Ramones-style and a guarantee of "Fun & Anarchy." Their first legacy for posterity appeared anno 2000 under the name "Böse Vorahnung". The album (12 songs) was then still in-house recorded and published. Several years and many gigs in Germany later was made the title of the CD a bitter truth when their bass player announced his retirement. Finally took over the bass Otti and started the band musically permanent gripes to get into shape. In the fall of 2008 he left the band and since does Rammi the task of the rest of the idea in terms of "punk rock stars of tomorrow" with new lessons and Crash courses to train. But the Otti era did not go over, without permanent (and purchasable) Values produce. Although delayed, the tight cash situation and a certain dislike Studio (Some say labor pain), some band members to feed in the new album much, but at the end of 2005 they learned at a DKA concert Maik knowing and he offered them do publish on "Elf Power Records" their 2nd record. In September 2006, their latest album "Arschlöcher Raus!" was released. The reactions were quite awesome and the press called this album much positive, so that their mission 'punk rock' in 2010 is still on course with strong direction and the world domination continues! Do not be fooled by the childish cover because DKA play a snotty, aggressive Style with brilliant texts, examples: 'Die Gesellschaft' or 'Cop-Free Zone' speak from my soul. 12 Songs in the best Social Distortion, Ramones tradition, that sweep you away.

Monday, December 27, 2021

THE 222's - I Love Susan 7'' 1978

Glam Punk PowerPop noises from Montreal by Louie (vocals/keys), Chris (vocals), Pierre (guitars), Hoe (bass), Angel (drums), these five were/are 222. This is their first 7Inch on Rebel Records with two cuts [b.t.w., my winner is the flip].

Info from CanuckistanMusicThe 222's formed in summer 1977 and they had one foot in Punk and the other firmly rooted in the Glamrock of the New York Dolls. This is what probably opened the door for the band in a city still awash in disco and prog rock. Singer Chris Barry, who joined the band in 1978 while still a high school student, recalls in Perfect Youth (The Birth of Canadian Punk), The 222s were on TV a fair bit, so I sort of became a minor celebrity in my high school. Along with the Normals and the Chromosomes, the 222s helped kick start a scene centered around places like 364 rue St. Paul, Station 10 and the Hotel Nelson. By the time the guys walked into the long forgotten Le Petit Studio du Nord in September 1978 to record this single, the first punk record to be released in the province of Quebec, the band were as tight as the skinny leather pants they often wore. Barry: "We wanted the show to run like the Ramones, not a lot of time between songs. We wanted to be as slick as we could be (which) just meant doing our best and being in tune and trying to not drop songs in the middle of them."

How the effervescent 'I Love Suzan' escaped the major labels is anyone's guess. With nods to doo wop, the Beach Boys and of course their heroes the Ramones, it's a perfect power pop charmer that should have been the soundtrack to the summer of '79 rather than an obscure collector seven-inch. What's more, the tougher sounding 'The First Studio Bomb' over on the flip takes the lads more firmly into punk territory, making this a potent little double-sider well worth the digging. Ah, but the 222s story was only just beginning. With numerous TV appearances in Montreal, and packed shows in Toronto and at Max's Kansas City in New York, they seemed ready for the big time. But by 1981, the popular band still had not released a follow-up, and well, Montreal being Montreal, they somehow managed to hook up with some of that city's less savoury types, who had plans of their own for the boys. (Michael Panontin)

- Great Thx to Reinhard -

Saturday, November 17, 2018

RAMONES - Rocket To Russia 1977

Yesterday I saw a brilliant docu on arte called London's Burning Campino in the footsteps of punk and definitely worth seeing and I thought it's time to post another classic by the Ramones and again I think, unbelievable, all four already dead and I realize what an old sack I am. Well, I guess in punkrock heaven is more party then here and we also get the invitation .... somedayRocket To Russia is the third album on Sire Records and is more surf and bubblegum pop influenced. But similar to their previous releases, the lyrics integrated humor, specifically black comedy with themes circling mental disorders and psychiatry, further fourteen 1-2-3-4 nuggets from the New Yorks who knew no breaks. I bought the record in Hamburg at a flea market for twenty German marks and is still great!

Wednesday, January 24, 2018

THE LEWD - American Wino 1982

Anyone who has heard the Lewd's great late '70s single "Kill Yourself" can vouch for the raw, crazed energy of this young Seattle punk combo. Their self-released single has commanded high prices based on its rarity, not to mention the fact that it kicks ass. The Lewd were an outgrowth of an earlier band called the Sixteen Year Old Virgins, who changed their name to the Knobs. Lead singer J. Satz Baret was formerly as "Satin Sheets," and played in the later, non-cabaret version of Ze Whiz Kids, circa1975. Ze Whiz Kids, primarily a theater group, also included the late Tomata Du Plenty, of the Screamers. According to Satz, The Knobs "never really played. We were going to play, had publicity ahead of us, photo sessions and a flyer that announced that we were coming soon!" Yet the Knobs never played an official show, because as Satz says "we had no songs." Like that's stopped anyone else? 

However, the Knobs did play one intimate "performance" at a Fremont rehearsal space called The Funhole. This A-list evening was written up in a Seattle punk fanzine Twisted. Satz chainsawed a stage monitor during "Chain Saw Sex." 'Nuff said. The Lewd's first show was in the Northwest punk Bethlehem, Vancouver, B.C. The Lewd opened for the Ramones on June 8, 1977 for an evening of pure insanitainment. Johnny Vinyl, a member of a local band that used an unpronounceable symbol for their name (it's commonly pronounced "Aaiieee!") remembers the Lewd opening up for the Ramones at Seattle's 

They released a great three-song EP on Scratched Records in 1979. The record was a home studio recording, and included the insane "Kill Yourself." The B-side numbers, "Trash Can Baby" and "Pay Or Die" are equally great crash 'n' burn punk tunes, all with Blobbo (Kurdt Vanderhoof of Metal Church) playing bass. 

In late 1979, Satz and Blobbo moved The Lewd to San Francisco and Blobbo switched over to guitar, adding Bob Clic on bass. This band recorded some demos and played SF for nearly a year until Blobbo quit to form his new venture Metal Church, who released quite a few heavy metal albums. Bob Clic moved to guitar, and part-time model Olga de Volga came in on bass. Olga had played with other bands, including one called VS and often played Lewd shows wearing outrageous black leather outfits. The band appeared on the 1980 seven-inch, four-band EP S.F. Underground 2 (Subterranean Records) doing the fast-paced punker "Mobile Home." With Christopher Reece in as drummer, they released their only LP, "American Wino," on ICI Records in 1982. Having fully absorbed the emerging faster hardcore punk sound, this blistering document features one side of studio recordings done in Hollywood, and another side culled from a live performance at Target Video Studios. This album is a crucial document of the San Francisco early '80s hardcore scene, right up there with releases by Flipper, VKTMs, No Alternative, Dead Kennedys, etc. 

After the LP was released, Bob Clic left and the band fizzled out soon afterwards. Olga moved to Hawaii, and Chris Reece became a member of Social Distortion. In 1999 Sats and Clic played with The Loudmouths for two live shows in San Francisco, billed as The Lewdmouths. Both shows were insane and the band sounded great. These shows were so much fun it prompted the pair to reform The Lewd, although not as a career minded working band, this time it's only for the kicks they get out of playing these songs again. (source: The Lewd)

- Great Thx to Fredrik -

Sunday, October 09, 2016

BROKEN TOYS - Dirt 1991

Before I waste my time today with ripping some records first a post. The Broken Toys from Boston play bubblegum-based punk rave-ups with so much raw energy and urgency that they vividly recall New York’s finest, the Ramones. Over the past ten years, The Broken Toys have released countless singles and cassettes, appeared on numerous LP and CD compilations and toured Europe no less than five times. Earlier this year, Broken Toys signed with the German label Incognito Records and Dirt, their thirteen-song debut, is crammed with hooky, guitar-driven ditties like “Control Myself,” “Nothing to Do,” and the sarcastic “I’m Aware You’re Perfect” Broken Toys’ melodic sense arid occasional use of harmonies make their best cuts not only infectious, but danceable. Melodic ‘77 Punk rock which sounds sometimes like the Ramones. These guys specialize in rockin’ three-chord punk with memorable choruses and raw performance and production values. Above average; has the added benefit of good energy and loads of sarcastic humor. Have they seen 1990 in Hamburg/Marquee and was thrilled. If you’re into '77 style, get this quick. You can’t go wrong.

Wednesday, September 01, 2021

FASTBACKS - Never Fails, Never Works 1991

Let’s beam us into September with a request which was said about five months ago in the Veins post. I went to the vast expanses of my record collection and found it there, and after a long disappearance, I brought them back to life: Never Fails, Never Works was released via Blaster! records, I guess a bootleg, and we find their first two singles plus other songs from the early days. A total of twelve fantastic lost American punk nuggets which burn your house down, annoy your neighbors, and even Scotty is speechless with such great melodic stuffNow useful information, and I have to admit, I don't know where from: "One of the few first-wave punk bands who not only survived to the end of the century but did so with their original sound and focus intact, Fastbacks were formed in Seattle, WA, by three high school friends, Kurt Bloch, Kim Warnick, and Lulu Gargiulo. Bloch and Warnick began playing guitar in high school while Gargiulo took lessons in classical guitar at age seven but never played rock & roll until joining the band (though photos she took at local rock shows caught Bloch's eye, sparking a friendship). All three shared a great enthusiasm for both Queen and the Ramones; Gargiulo also loved '60s pop music, Warnick was big on '70s hard rock, and Bloch's taste embraced both. In classic punk rock fashion, Fastbacks were born when Gargiulo saw some nameless band playing at a local punk club who were so horrible that she was convinced even she could do better. With Gargiulo teaching herself rock guitar, Bloch (drums), Warnick (bass), and a friend named Shannon Wood (vocals), Fastbacks began practicing in the fall of 1979 and played their first show the following February. Later that year, Wood dropped out, Warnick stepped up to the vocal mike, and Bloch abandoned the drums to take over as lead guitarist, resulting in a core lineup that would remain in place for the next twenty years. The band then hired the first of a very long line of drummers, fifteen year old Duff McKagen, who would leave after about a year to move to Los Angeles, where he later joined a fairly popular hard rock band (estimates at the number of drummers who have worked with Fastbacks range from 12 to 20).

In April 1981, the band released their first single, "It's Your Birthday"/"You Can't Be Happy," which found their basic sound already firmly in place -- loose, scrappy punk rock with strong pop hooks, punctuated by Bloch's Rick Nielsen-meets-Johnny Ramone guitar solos, Warnick and Gargiulo's singalong harmonies, and Bloch's songs, which struck a balance between self-effacing humor and introspective self-analysis without sounding pretentious.

Over the next ten years, the Fastbacks were a largely local phenomenon; while they gigged fairly often in and around Seattle and scored the occasional show opening for bigger bands (including the Ramones, Public Image Limited, and John Cale), like most Seattle bands of the day, their popularity failed to spread outside the Pacific Northwest. While they never broke up, the group's activities slowed down in the mid-'80s, and it wasn't until 1987 that they released their first full-length album, ...And His Orchestra. Bloch joined the Young Fresh Fellows as a guitarist in 1989 and started producing other bands; Warnick began working at the offices of Sub Pop records, and Gargiulo pursued her career as a cinematographer. But Fastbacks had a small but loyal fan base, and when Seattle became the epicenter of the rock world in 1992 in the wake of Nirvana's commercial breakthrough, the group finally began receiving national attention. Sub Pop released a collection of the band's many singles and compilation tracks that year, The Question Is No, which became their first widely distributed album; while sales were modest, the press was wildly enthusiastic. Three more albums for Sub Pop followed, with 1994's Answer The Phone Dummy offering the group the luxury of being able to record an entire album in one studio over a period of two weeks. Even more importantly, some of their local fans had become rock stars, and the Fastbacks began opening for the likes of Mudhoney and the Presidents Of The United States Of America.

The big payoff was when Eddie Vedder invited the band to open three West Coast arena shows for Pearl Jam in 1995, and then twenty eight dates in America and Europe the following year. These high-profile dates didn't propel Fastbacks in rock stardom (which they certainly weren't expecting anyway), and the band continued to schedule themselves around Bloch, Warnick, and Gargiulo's other commitments until 2002, when Warnick, to the surprise of her band mates, announced that she was quitting the band, telling a reporter "As much as those songs mean to me, I've just grown tired of having to be a singer in a rock band."

A collection of stray singles tracks and unreleased recordings, Truth, Corrosion & Sour Bisquits was released in 2004; it captured the band in typically tuneful and energetic form, and proved that the Fastbacks called it a day every bit as fresh, enthusiastic, and powerful as when they began."

Great band, great music, great record - A Must Listen!

Saturday, May 20, 2023

RAMONES - Swallow My Pride EP 1977

Nun, with the Ramones you never can't go wrong and I don't want to write much more about the four from New York, we all know their story. Famous band, one-two-three-four forward Punkrock with a lot of leather on it. This is, I think, the fourth 7Inch and both songs on the A-side were taken from the second album Leave Home while the flip is a goodie which was recorded live at The Roxy in Los Angeles. This music is still absolutely high class and I'm always in a good mood when I listen to and often play them when I'm in trouble or pissed off. In the meantime their original records have increased in value and I advise anyone who doesn't know the band, they really exist, to buy their records because there's hardly a bad one out there.

- Great Thx to Fredrik -

Saturday, March 10, 2018

THE DISHRAGS - Love/Hate 1997

A quick re-post now: When the Dishrags formed 1977 in Victoria, British Columbia, they were like the Runaways without Kim Fowley's behind the scenes machinations: three teenage girls, singer & guitarist Jade Blade, bassist Dale Powers and drummer Scout, devoted to the Ramones and the Clash and creating their own short, sharp shocks. Moving to the more punk-friendly Vancouver scene (where bands like D.O.A. and the Pointed Sticks were already defining the sound of western Canada's new wave) in 1978, the Dishrags made their debut on the now-legendary Vancouver Complication anthology. If they had never made another recording, the Dishrags would remain beloved in punk-fanboy circles for the track "I Don't Love You." 103 seconds long and built on an insistent, scratchy guitar riff and a positively crazed drum part played primarily on the ride cymbal, "I Don't Love You" is as clangorous and primitive as U.K. second-wavers like the Slits or the Desperate Bicycles, but it also features an instant-classic pure pop chorus that would do the Buzzcocks or the Undertones proud.

The Dishrags followed that up with a slightly more polished three-track EP, "Past Is Past," and following a lineup change (Powers being replaced by second guitarist Sue MacGillivray and bassist Kim Henriksen) the band traveled to London to record the EP Death In The Family. Produced by Chris Spedding and featuring a more traditional punk-pop sound akin to the Adverts' first album, Death in the Family was insistently tuneful and clever. The wistful title track seemed to have actual hit single potential, while "Love/Hate" explored a darker post-punk sound along the lines of Siouxsie & The Banshees. Though RCA's U.K. imprint released the EP, it disappeared almost immediately, and the Dishrags broke up. Over a decade and a half later, the Canadian reissue label Other People's Music gathered the complete recordings by the Dishrags -- the two tracks recorded for the Vancouver Complication sessions, including the previously unreleased "Bullshit," the single, the EP, and ten demos and live tracks including covers of Lou Reed's "Vicious," the Ramones' "I Don't Wanna Walk Around with You," and the Clash's "Janie Jones," alongside previously unheard Dishrags originals. This is a textbook example of how to do a punk-era reissue properly. Review by Stewart Mason (source: AllMusic)

- Great Thx to Dante D -

Friday, April 23, 2021

ÜBERDOSIS GRAU - Schritt Ins Nichts EP 1997

Powerful, energetic and ponderous mucke far from slogans with deep thought lyrics by this three-piece from Frankenthal, a small kaff in the south of Rheinland-Pfalz and Überdosis Grau exist since approx. 1993, emerged from the Slime cover band "Die Letzten" they have remained loyal to the minimalist line-up: Flo (vocals/guitar), Tobi (bass), Stefan (drums). This is their debut slab on Freibeuter Records with four goodies. Like most bands, Überdosis Grau started with cover numbers. The repertoire included songs from Toxoplasma, Ramones and Nirvana, among others. Above all, these bands shaped the style of their own songs which they mixed with a dose of depression and a bit gloom. However, pressure and speed were not saved, so that the current style of the band could develop. To date they have released two albums and on few compilations. In any case interesting band far from Pogo. Listen!

Sunday, October 25, 2020

THE NEIGHBORHOODS - No Place Like Home 7'' 1980

The Neighborhoods came out of Boston around 1976-77 while the whole punk scene was going on at the Rathskeller (The Rat) in Kenmore Square. The Hoods were an excellent rock group playing Mod punk-type music a-la early Who and much like the Jam and Generation X in their early days. David Minehan was the lead singer and guitar player who from the very beginning had a great stage presence and played guitar like it was his last night on earth. In the back was Mike Quaglia keeping the rock steady beat and Jim Bowman keeping the bass lines strong so Dave could weave in and out. By 1979 the band changed bass players and John Hartcorn was there to add more bass rhythm and energy to the mix. The band was now on fire and easily won the WBCN Rock'N Roll Rumble held at the Rat. The Hoods power-rock was infectious with songs like “Monday Morning”, “Teachers Pet”, “Flavors”, “She’s So Good” and “Think It Over.” In 1980 they released a single on Ace Of Hearts label called “Prettiest Girl” & “No Place like Home” which got a lot of airplay in the local New England area. Soon the Hoods were a favorite local attraction in RI and especially at the Living Room with sell-out crowds. The Hoods were on the verge of going nationally but based on stories we later learned, mismanagement caused the band to split for a brief moment in July 1981 but as it turned out, it was the end of an era in the early Hood history. It’s a shame they never got to release an album from that time frame to capture that great raw power era...

 After the Hoods regrouped they decided to go in a different direction. Gone was John Hartcorn on bass and he was replaced with Tim Green who added a more funky style playing to the new music. The band material now was based more on higher energy and less on bright melodies. In 1984 they finally released their first mini-LP "Fire Is Coming" with another new bass player named Lee Harrington who had joined the year before. That was followed by a full record for Restless record label in 1986, "...the high hard one...." and "Reptile Men," in 1987. The band also did a national tour with the Ramones in 1988.....

Friday, November 05, 2021

CRETINS - Man Between Walls 10'' 1985

Hanover 1978, the Ramones number (Cretin Hop) makes the choice of the future band name easier for a couple of 13-18 year olds on their way to fame and fortune. But before they start, the instrument distribution is drawn quickly during the first practice: Mof-Remmington R. (vocals/guitars/keys), Andrew B.Evans (guitars), Frank G. T. Holl. E. Wood (bass), Carl Cesario (drums). The first gigs followed and also the first vinyl releases, a song on the legendary Hannover Fun Fun Fun compilation (recorded at the Glockensee Festival in March 1980) and their first EP Samen In Darm, both on NoFun Records. A long pause begins shortly afterwards. In 1984 the Cretins came back with a slight change in line-up and Weird System released the superb Split 7Inch with the befriended band Blut+Eisen and two more songs on the Keine Experiemente! II compilation. A year later this 10Inch followed on white vinyl, 1000 copies, and with six melodic pieces that clearly no longer have the hard punk sound of their initial phase and are already clearly taking a different musical direction. Another single followed in 1987 and then the Cretins were buried to devote themselves to new projects, which that is will come soon.

Wednesday, March 30, 2022

U.K.SUBS - Dance And Travel In The Robot Age 1980

We are slowly approaching spring and heating up once again on the penultimate day of March with the next record. Band: UK Subs Charlie (vocals), Nicky (guitars), Paul (bass), Pete (drums), label: Black & White, recorded live @ Milan Palalido, Italy on 16.02.1980. Seventeen rough classics and the recording was made by the late Tracy Crazy, from the Italian combo S.I.B., who also took the photographs used on the cover. Whilst not recorded with the most sophisticated equipment, but "Dance & Travel" captures the Subs at the height of their powers with a blistering set of what would become the classics that are the mainstay of their live performances to this day. The gig in Milan was part of a seven date European tour that the Subs played with the Ramones. Thus all is said, recommended for Punkrockers aged 12+.

You Can't Take It Anymore/Rat Race/I Couldn't Be You/I Live In A Car/Tomorrows Girls/Telephone Numbers/Kicks/Warhead/Public Servant/C.I.D./Rockers/Organised Crime/Brand New Age/Killer/Dirty Girls/Stranglehold/Emotional Blackmail

- Great Thx to Fredrik -

Sunday, January 24, 2016

THE WILD WEEK END - Hipertiroid EP 2003

Second issue by this great punk rock with power pop influences band from south Italy. Ramones, high energy Rock’N’Roll, real kids, distorted guitars and you gotta like it! Four tracks, four trashers! Limited edition of 300 copies, released on Lo-Fi Records. Here's a bit info from their MySpace page and it's worth to click over: The Wild Week End has always been a trio with the boast of representing the one and only rock'n roll pearl in a city, Salerno, which is musically full of shit. Born in 1999 by an idea of Yena/Peppe Ferrari, original bass player, tha band is formed also by Gian Paolo Trifone/Wild JP, guitar and vocals and Joe Braccialetto on drums. After several line-up changes and demos the label Lo-Fi Records took notice of the band and their first EP "Next Your Bombs" came out and has been very well reviewed by the best italian music magazines. It is also very appreciated on the pages of Maximum Rock N Roll, Feb. 2001, and goes up to number third on its playlist of the month. In 2003 it was time for the second EP "Hypertiroid". 2004 is the year of the full CD on Nicotine Records. The band will also appear on the Alphamonic four tape compilation, with lots of great italian and international bands and in 2006 follows their second album Orrendo Rock. So the band is still hot and with their dirty garage sound they hit every party, cool shit.