The world's worst spot the difference competition. Surely there was more than one picture of The Brood available to the genius responsible for designing the sleeves for Get Hip? Anyhow... Farfisa-heavy garage band from NYC. Good stuff. Download it.
Related trivia: Jon Horne, brother of lead singer, Chris Horne, won the Buddy Bradley Look-a-like contest in Peter Bagge's Hate comic.
In some sense, a respite from the tidal wave of garage punk, budget rock and surf I've been uploading recently, but in other ways an upping of the ante. bIG fLAME were a Manchester three-piece whose output while they existed was restricted to a handful of 7" singles on independent labels. So, no thematic leap from somebody like The Fingers, for example. The band were resolutely political, amateur in the 'Good job done by non-professionals' kind of way, and most of all had a sound as if the history of jazz were written for drums, guitar and bass then pushed down the stairs. They are loud, fast and discordant in a particular early-80s way. Some say Minutemen, and I can see why they do, but bIG fLAME are much less considered, much more organic. Anyhow, if you're only here for The Gories, give it a go. Try starting with Sargasso. A song like a gas explosion.
Planet Pimp, and its genius CEO Sven Erik Geddes, managed to out-do even the casual, don't care, ennui of The Mummies by unleashing this classic piece of exploitation. Releasing a record by the Kings of Budget Rock? Take it down a step by releasing poorly-recorded live tracks in a glued-together DIY sleeve.
Just in time for Christmas, it's Supercharger. If I had to pick one single that exemplified the whole early 90s garage scene this would be it. Two tracks on one side, beautifully sloppy graphics on the sleeve, and completely apt 'production' from Trent Ruane.
A one-sided, two-track single which came with issue five of Speed Kills magazine. Gaunt were an Ohio band who seemed to fall between the cracks in the garage scene, not 'punk' enough and too 'professional'. This is a great single.
The inevitable Gories post. On beautiful shit brown vinyl and limited to 1000 copies, this release was on Australia's mighty Giant Claw, an offshoot of AuGoGo records. Illustration on the sleeve was by Kent Myers who used to produce a comic called Detroit! Murder City Comix, a few early copies of which passed through my hands back in the day. I got rid, so they couldn't have been that good. More Gories to come.
The Statics were a bunch of kids, mainly Master Zack Hoppenrath, from Seattle who charmed the cynics of the garage punk scene into releasing their music. In this case, Steve Turner out of Mudhoney, who released this EP on his very own Super Electro Sound Recordings label. The sound is very much that William Hampshire-inspired Seattle garage sound. Comes complete with a cover of the Supercharger 'standard' (arf) Sooprize Package for Mr. Mineo.
A quick confession. I've had this record since 1994 and I always thought it was a two-tracker; the a-side being called Hell-O Haunted and the b-side being Black Strings. Closer scrutiny of the cover tonight reveals the text 'include 3 songs'. It turns out Hell-O and Haunted are different songs. When you hear how they run together you will understand why I thought it was just one (relatively crazy) track and why I have not chosen to seperate them now. The Evil Hoodoo. A great band.
Two tunes from The Phantom Surfers. Johnny Bartlett's own composition, Flutter Foot backed up with a cover of Skip Roper's Playa Raton. Both tracks were later anthologised on the 1999 compilation LP/CD 'A Decade of Quality Control 1988 to 1999'.
Two covers. A side - The Avengers. Recorded live at Sun Studios, August 19, 1991 (no overdubs) and is an outtake from the Memphis Sol Today LP. B side - Cab Calloway. Recorded live at The Antenna Club in Memphis, August 18, 1991. Band line-up, Jeff Evans - Guitar, vocals on "Minnie", Don Howland - Guitar, vocals on "White Nigger", Rich Lillash - Drums, Jon Spencer - Guitar, backing vocals.
A split single featuring Memphis, TN's Oblivians playing King Louie Stomp, an instrumental song by Impala. This version, however, has vocals by Mr. King Louie himself. Sharing this esteemed company are Torino's furious-sounding Two Bo's Maniacs.
Snak Rock superstars The Go-Nuts were that most prog-rock of things, a surf/garage 'supergroup' featuring members of The Phantom Surfers, The Untamed Youth and The Mummies. They were also greater than the sum of their parts but probably never got their due thanks to their stupid stupid schtick of dressing up as superheroes. And staying in character. There was almost a Go-Nuts TV pilot made, which would have been interesting, and you can see their influence on shows like Yo Gabba Gabba and Glee. Every record they made featured at least one different recording of The Go-Nuts theme. Bit by bit I'll post them all.
The Pastels first single from way back in 1982 has never, to the best of my knowledge, been anthologised or reissued in any way. Which is a shame as it's the perfect blueprint for the C86 scene they were so integral to, but in many ways distanced from. After a second single on Rough Trade they released three classics on Creation (before it went shit), culminating in the still massive in this house, I'm Alright With You / Baby Honey.
This release, on the Television Personalities' Whaam! label, has a typically ramshackle (as per early Pastels) a-side and a b-side which pays beautiful tribute to record producer George 'Shadow' Morton's work with The Shangri-Las and pre-dates similar work by Belle and Sebastian ('Another Sunny Day' on The Life Pursuit being the most obvious lyrical comparison).