I've had this one a long, long time. Purchased from Virgin Records in Manchester when it was at the bottom of Market Street. There's a flaw in the pressing, which is probably why it was priced at 49p. An LP on the estimable Object Records for only 49p. How could I resist? It's a great pop record. By no means perfect, but when it gets it right it really gets it right. They released a second, self-released LP which I may upload in future, but it's not a patch on this one. Click on the labels to link to a copy of their tremendous final single, Joanne.
Mo mo mo Man... Or Astro-Man? I've had this one in draft form for months so it felt right that I release it ahead of a bunch of other stuff. According to the Astro-Man? Ad Nauseum blog there were 900 copies of this Cincinatti-sourced release. It's also one of the very few MOA? releases which plays at 45rpm. Tracks are Complex 34, Space Helmet, Alpha Surfari and Manta Ray. The latter two are covers; the first of a Surfaris track, the second a faithful rendition of a Pixies original.
Considering how much The June Brides meant to me for a brief period in 1985 I'm amazed by how unfamiliar I am with the track, Disneyland, on the flip of this release. Bear in mind this is a single that's been in my possession for twenty seven years. It's clearly the early onset of dementia. Or terminal drunk brain. The A-side also sounds too slow. Probably a hangover from seeing them live on many occasions.
Anyhoo, it's good poppy stuff. The Brides are back amongst us again, releasing a flurry of formats on Occultation and popping up at various venues and hostelries. Check 'em out.
Hey! It looks like we're back. And just in time to post this Xmas treat I've been saving up all year. I've also been working on the Sympathy Xmas Tens and will upload them if I get the chance to finish off the tagging before tomorrow night
I've had this one lined up for ages but overlooked it in favour of other, more esoteric, angry, or rare releases. More fool me, this is a superb slab of girl-crazy pop punk. The Muffs seemed to be one of those bands who, if one of those bands was going to break through, would be that band. For whatever reason it didn't happen. It was, however, a huge kick to hear their version of Kim Wilde's Kids In America light up the opening credits of 1995 hit movie, Clueless.
The flipside to this is a great cover of Beat Your Heart Out by The Zeros ("The Mexican Buzzcocks"). Enjoy.
Released in a hissy fit by Shane White ("I totally regret putting that out," White admits. "Total passive-aggressive bullshit.") this single release of practice session versions of songs hastened the end of The Rip-Offs. (See 'We Never Learn' for the full story). Only one show followed its release (not including the Flogging A Dead Horse gigs of 2007). It's actually not that bad, but it's not a patch on their official releases. Enjoy.
We've not had an insert-heavy upload for a while and I don't remember previously uploading a double seven inch set (please feel free to correct me if I'm wrong) so here's a release that does both. This comes as a seven-inch-sized comic book with two records included. A bit like those old Power Records sets. I know nothing about The Wolfmen. Grunnen Rocks lists them as being from the USA with only one other release; a 7" on Dionysus. Of The Mummies, I know that this is about as 'produced' as The Mummies ever got. These two tracks have no production credit but a quick comparison with the Tales From The Crypt bootleg clearly indicates that they come from the Mike Mariconda-produced sessions for the aborted Crypt LP. For both parties take on that I recommend a read of Eric Davidson's We Never Learn. I'll upload Tales From The Crypt in the near future. Read Long Gone John's lame-o comic with great art by The Coop while you listen to this. Enjoy.
This is a nice, solid project. The Keystone Records label only released four singles in total, but if they're as well-presented as this one they're certainly worth seeking out. With Freddie Fortune and Michael Maltese you certainly know what you're going to get, so here's four more slices of Frat Nouveau backed by the ever Phabulous Pallbearers. Fortune and Maltese have a great tumblr here. Enjoy.
On enquiring who the loon was that had livened up Dexy's recent appearance on Later With Jools Holland I was informed that it was Pete Williams, ex of the band who had left when the original line-up had split in 1981. He'd gone on, with other ex-members, to form The Bureau, whose first single I had bought at the time (25p from the reduced rack in Woolworths) but had subsequently moved on. I was keen to own it again so picked it up at eBay for a relatively small amount (no, not 25p). It's as catchy as I remember it and is definitely cut from the same cloth as Dexy's. Enjoy.
There's not really much out there about the Gloo Girls. For some reason they don't even feature on the Grunnen Rocks database, despite ticking many of the boxes required for inclusion. This single was released on Dionysus in 1992 and appears to be out of print, and there was a ten-track release Attention Shoppers on Celluloid. They appear to be active in some form as they have a Facebook site but, again, there's not really much information about them. They're from New York and there's something about them that reminds me of Girls At Our Best. Especially the flipside, Barbie U.S.A. Enjoy.
It's the end of the month and once again I've failed to get into double figures for records shared. It's not that I've not been busy; the list of discs digitised gets longer, but editing audacity files and tagging the damned things takes time. And when that's done I don't always feel like trying to find something interesting and/or entertaining to say about a record or band. Moan moan moan.
So here's a great and, relatively, rare release from Ohio's Gibson Bros. For the uninitiated, Gibson Bros are one of the great missing link bands of the past twenty years. Their most easily available record, Memphis Sol Today on Sympathy, muddies the waters by having Jon Spencer on it. There's an interesting piece about them here which further explains that.
One of the first of the C86 bands which were inspired by that 'scene' but who pre-dated the cassette itself, Brighton's 14 Iced Bears first presented their catchy, DIY pop aesthetic on this single from the Hove-based Frank Records label. Frank was run by Mark Flunder, ex-Television Personality and later-to-be of The McTells and (more importantly for this blog) Cee Bee Beaumont. I think the last time I saw him was on stage making up part of a pick-up version of The Count Backwards supporting The Mummies at The Fratshack in Euston Station.
14 Iced Bears went on to earn the ultimate badge of C86 acceptance, a single on Sarah Records. I used to have it but, unlike this release, it had no sentimental value so it was released back into the wild. 14 Iced Bears still play out occasionally, and were recently spotted at Indietracks. Enjoy.
This is a record that has sat on my shelves for a long, long time. I was originally sent it by the band. Or their label. Or some mysterious third party. There was no covering letter. Just a few press clippings and this ten-inch sparkler. Sadly, it arrived at the point at which I was least prepared or able to be arsed with yet another band-waggon-jumping car-themed garage record. How wrong I was. Still, they got on fine without my input, later releasing a full-lengther on Estrus and murdering Buzzocks' E.S.P. Enjoy.
The Redskins were a politically-motivated late 80s pop band. Led by NME journalist Chris Dean (he wrote under the nom-de-plume X. Moore for no apparent reason) and favouring a skinhead look and brass-heavy, Dexys-like, Northern Soulish sound, they had a couple of very minor hits (this included). It's a catchy, pleasant enough compilation-tape filler. It came bundled with a free 12" which I'll eventually add. Enjoy.
Well, oops. It wasn't meant to be such a long time between updates. Things got a bit bogged down when I decided to run Mad Mummies March. That didn't happen but my head was turned by Mad Mummies May. Which also didn't happen, but I have at least now digitised all my Mummies vinyl. In celebration here's the legendary Fuck C.D.s! It's ... The Mummies on Wild Billy Childish's old Hangman label. This is proper budget rock as it's essentially Never Been Caught with three fewer tracks. Sterling marketing, there, Billy. Nice one.
Anyhow, you know how this sounds. It's The Mummies. There may be differences in the mastering between this and the Telstar-released LP, but how would I know. I'm just a tone deaf lunk who loves the sound of amateur hour. There will be more. Enjoy.
Another furious garage stomper from Estrus and a band who'd been around the block a few times by the time this record, seemingly their final single, was released. I don't really have anything else to say. Enjoy.
Canada vs. Japan. Bum cover Don't Come Close To Me by Teengenerate, Teengenerate cover A Promise Is A Promise by Bum and both bands cough up a version of one of their own songs. This double 7" was released by Lance Rock Records in 1994. Enjoy.
We've not had a 10" on here since... the last Mono Men upload. If you're going to have a stag do then a good move would be to have it in a bowling alley, with live music from The Mono Men. Good work, Tom. So much classier than acting like a twat in whichever European city is accessible via the arse-end of bargain airline flights.
This is totally different to the CD release as I made my own, random, decisions about when and where to cut the tracks. Always an interesting decision with live recordings. This is, without doubt, much better than the CD release, which sounds like a lamb vomiting. Additionally, you can pop the bowling pins out of the cover of this release (the shrink wrap is holding them in). I bet you didn't get that when you wasted your money on the CD release. Enjoy.
Having already declared my undying, unshakeable love for McCarthy elsewhere on the blog, there's not a lot more to say about them*. There's a bare bones webpage here, which hasn't been updated in a long while, but has some useful snippets, including a discography with comments from Malcolm Eden. Here's what he had to say about the tracks on this, their final single release. Enjoy. Get A Knife Between Your Teeth "The title comes from anti-Bolshevik propaganda. The Bolsheviks were represented by their opponent as rabid barbarians with a knife between their teeth. You can see an example of this propaganda on the cover of our compilation album, That's all very well but. This was an attempt at a dancey number, but I'm not sure it came off. At the time we also recorded a song that sounded like Rick Astley, but it never got released." Nobody Could Care Less About Your Private Life "I gradually moved away from a psychological point of view towards a political one. This song sums up this process. I quite like the song because it's slow without being laborious. Originally the drums were there all the way through the song, but during the mix we decided to bring them in half way through, which means the song builds up quite nicely." With One Eye On Getting Their Pay "Here's a song I'd completely forgotten about, that I had to play again. We recorded the songs about this time in Midnight Records' studios, and Nick Ralph, Midnight's manager, gave us all the time we wanted. I don't suppose he made much money for his trouble because Midnight went bankrupt a few years later. But anyway we had plenty of time to work on drum and guitar sounds, etc. I think that's why our later songs generally sound better. Plus we were working with Kevin Harris, a producer and engineer who we got on very well with. He was good at getting the sounds we were aiming at. We also started adding keyboards, which is surprising because none of us could play. Here I think I did the solo, which sounds relatively difficult, so I must have had about two hundred stabs at it."
Can The Haves Use Their Brains
"This song is very derivative - a mixture of the Byrds and the Smiths - but still quite pleasant, I think."
I've got to be honest, my terms of reference for Seaweed are lost in the mists of time. I can't remember what they are. They sound like pop would have sounded if the much touted Grunge revolution had really made one bit of difference, but it didn't so they're kind of in limbo. The flipside in particular is the sound of nothing. The a-side, Bill, makes me think of skater 'dudes' in baseball caps, long shorts and the thing some singers do with the microphone where they hold it in their hand above their head and sing as if somebody has set the mike stand too high. What? It makes sense to me. Enjoy.