The Immortal Lee County Killers - The Essential Fucked Up Blues! Studio recordings @320
Formed in summer 1999 in Auburn, AL, by guitarist Chetley "Cheetah" Weise (formerly of Quadrajets) and drummer Doug "the Boss" Sherrard. Combining punkish garage rock pathos with the basic elements of Chicago and Mississippi Delta blues, the Immortal Lee County Killers emerged as purveyors of perhaps the loudest and most aggressive blues-based music ever. Using only drums and heavily distorted guitar, the group recorded The Essential Fuck-Up Blues barely four months after forming for Estrus on Weise's eight-track in an dilapidated shack that had served as rehearsal space. Utilizing a switching foot-operated system, Weise pounded out both guitar and bass sounds through seperate amplifiers, both cranked to their limit. A handful of split singles followed on various indie labels. Sherrard departed in early 2001 to be replaced by the loud and flamboyant J.R.R. Token ("the Token One"), also late of Quadrajets.
Track List: 1. Let's Get Killed 2. Killer 45 3. Train She Rides 4. Go To Hell On Judgement Day 5. Big Damn Roach 6. Said I'd Find My Way 7. Won't Cook Fish 8. Sometimes The Devil Sneaks Inside My Head 9. Rollin' Stone
1. Move With Me Sister 2. Down in Allen's Mills 3. I'm Inside You 4. Headlights 5. Breakaway 6. Dreams of You 7. The Offer 8. Part of This Earth 9. Stand by You 10. Lost Weekend 11. No No Never 12. Friends Again
Luna was formed in 1991 by Dean Wareham after the breakup of Galaxie 500, with Stanley Demeski of The Feelies and Justin Harwood of The Chills. Guitarist Sean Eden joined in 1994, Lee Wall replaced Demeski on drums in 1997, and Britta Phillips replaced Harwood on bass in 2000. Luna released their final album, Rendezvous, in 2005 after playing their final concert at the Bowery Ballroom in NYC.
Track List: 1. Lovedust 2. Weird And Woozy 3. Black Postcards 4. Black Champagne 5. Swedish Fish 6. Renee Is Crying 7. Mermaid Eyes 8. 1995 9. Rememories 10. Dizzy 11. Orange Peel 12. Romantica
Lard - The Last Temptation of Reid (1990) Studio recordings @320
After departing from legendary punk band, Dead Kennedys, Jello Biafra collaborated with several artists in the years to come, one of which being Ministry guitarist, Al Jourgensen. What exactly happens when two innovators of two completely different genres join forces? The Last Tempation of Reid happens; a politically fueled, fast paced, and creative album and one of the best, and most overlooked albums of the 90's.
A funky bass riff opens "Forkboy" and hooks you in quickly with a fast and furious heavy metal opening track. Industrial metal and hardcore punk blend seamlessly in this fantastic start and what is probably the best song on the album. Jello's vocals do nothing but increase the creative and extremely unique sound that this track brings.
"Pineapple Face" is a mindf*ck of a song that goes from a formula similar to "Forkboy" albeit slower, to a psychedelic, non-sensical, and contact-high inducing chorus...and it's pure genius. This is more of what you'd expect from Jello with it's crazy and politically driven lyrics that make little sense but you just know has a very deep meaning somewhere in there. In conclusion, listen to this song high, and you won't want it to end.
"Mate Spawn and Die" is extremely reminiscent of Dead Kennedys songs such a "Holiday in Cambodia" with it's simple descending riffs that screams hardcore. The lyrics are mostly rhythmic spoken word. It's one of the less memorable of the songs on this album since it just doesn't quite have the energy that the rest of the album has, though it certainly has its charm with its catchy, nostalgic riffs and lyrics.
"Drug Raid at 4am" and "Can God Fill Teeth?" are less like songs, and more like audio plays. In the former, Jello stars as a police officer sent to a house that is said to be housing a load of drugs. The song is basically him acting like an overly aggressive and insensitive copper screaming at a "suspect" pleading for mercy with fast, energetic instrumentals playing throughout. It seems to be pointing out police brutality and the pointless war on drugs. It ends rather humorously, for after the pure chaos that this song has you endure, the character simply says "Oh. Sorry. Wrong house."
The latter is a full blown spoken word audio with a soundtrack accompaniment. It starts with a faux commercial and a man accusing it of being a Big-Brother like conspiracy theory while slow, ominous guitar plays. It gets oddly disturbing as the guitar and drums speed up and chaos erupts as the sounds of painful, slapstick-esque screams and drilling is heard. He drills out his teeth to find wires leading up into his brain that was recording everything he's been saying. The track is oddly mesmerizing and addictive and is perhaps one of the most creative songs I've heard since...well "Forkboy."
A smooth bass riff opens "Bozo Skeleton", another neutral paced with well-flowing and catchy vocals and rather heavy instrumental work, especially from the drummer. It continues to remind us that this is certainly a legendary combination of hardcore and indutrial kings, for this song shows a very evenly divided ammount of elements from both, which is rather impressively done.
Perhaps the most metal song on the album, "Sylvestre Matuschka" doesn't take it's time getting awesome. With sinister vocals and great chord progression, this song stands out in the album. It's fun and great headbanging material.
What follows is a cover of "They're Coming to Take Me Away, Ha-Haaa" by Napoleon XIV. If there is a God, he made Jello Biafra so he could cover this song. The snare drum accompanies his joyfully twisted and insane vocals as occasional screams are heard. Jello steals the show in this. He sounds like a true classic Mad-Hatter kind of insanity and is truly a joy to listen to.
"I Am Your Clock" is an interesting song. It is a speech by Jello as disorganized guitar plays. Now, this song is over 15 minutes long. As I said in my Passover review, I can't really stomach songs this long. It's a personal thing, but it frustrates me a bit that it takes five minutes for the song to change its sound at all and then goes right back to the same formula as the previous five minutes. Rinse and repeat. This is tolerable for shorter songs, but having to sit through the same riff for 15 minutes just isn't my thing.
This album is a must listen if you like Dead Kennedys, Ministry, industrial music, punk rock, heavy metal, or are just looking for something different. There are combinations and collaborations that don't work, and then there's Lard, who continued to make creative new music up until their indefinite hiatus in 2000. I recommend everything they've done, but this more than the others.
~by Jacob Russell
Track List:
1. Forkboy
2. Pineapple Face
3. Mate Spawn & Die
4. Drug Raid at 4 A.M.
5. Can God Fill Teeth?
6. Bozo Skeleton
7. Sylvestre Matuschka
8. They're Coming to Take Me Away
9. I Am Your Clock
This is the last Tail Gators album to feature the original lineup with
Keith Ferguson on bass. The title track was written about Keith coming
off the road and that's exactly what he did after this album was
finished. With the exception of a release or two by local Austin bands
he played with between leaving The Tail Gators and his early demise
"Hide Your Eyes" is his last record.
The album lacks the concise
punch of peak Tail Gators such as "Mumbo Jumbo" and "OK Let's Go".
Despite the cracks beginning to show it's still a good time Rock 'n'
Roll album as only Don Leady & company can do. The opening track
rocks the hardest and should have been a radio single. "Rockin' in the
1990's" sounds dated to say the least but even the Stones "Exile on Main
Street" had one or two songs that didn't add much.
Even at a
difficult point in their career (the road taking its toll, the departure
of Ferguson) The Tail Gators manage to crank out a decent album of
no-frills, good time Rock 'n' Roll and "Hide Your Eyes" makes a mighty
fine addition to the collection of any Rock 'n' Roll fan.
~J.J. Vickers
Don't confuse this band with the Tail Gaters or the Tailgaters... Texas ...very own.....Tail Gators.....Don Leady....Keith Ferguson and Gary "Mudcat" Smith....Swamp-rock....
Track List: 1. Hallelujah, I'm Coming Home 2. Come On Baby 3. Hoodoo 4. Rockin' In the 1990's 5. Nuevo Loredo 6. Let's Have Some Fun 7. Long Tall Young Boy 8. Wear Your Black Dress 9. 20-75 10. Pick Up The Deck 11. Shake Dance 12. Let's Go Boppin' Tonight 13. Somethin's Got A Hold On Me
Disk 1 1 Sparks — Tryouts For The Human Race (1979) 6:08∂ 2 The Animated — Edith C. Sharp (1981) 1:53 3 Rain Parade — Night Shade (1985) 2:50 4 Kommunity FK — Anti-Pop (1983) 2:48 5 Hesitations — Window Love (1982) 2:20 6 Colour Scream — The Monster And I (1988) 3:58 7 Steve Stain — Piece Got Teeth (1986) 2:47 8 Christian Death — Jesus Where's The Sugar (1988) 3:11 9 The Whitefronts — The Ancient Farmer (1986) 6:08 10 X-1 Whiteman — During Moss (1989) 7:53 11 The Dickies — Stukas Over Disneyland (1983) 3:12 12 Tom Recchion — Lepidoptera (1996) 2:11 13 Sis Q Lint — Jap Monster Movie (1984) 1:47 14 Extremes — Bloody Yellow (1979) 3:19 15 The Furys — What's Done is Done (1986) 2:52 16 Concrete Blonde — Happy Birthday (1989) 2:22 17 John Trubee — Angelic Overview (1984) 2:47 18 The Jigsaw Seen — Jesus of Hollywood (1990) 3:17 19 Ace=1, AOS C/S — Examining Upstart Art (1977) 1:11 20 Sparks — When I'm With You (1980) 5:45 21 Blue Trapeze — Mask & Marquee (1986) 2:56 22 Strong Silent Types — Fred Cadaver (1982) 1:53 23 100 Flowers — Horizontal (1983) 1:06 24 Indian Bingo — Flow (1990) 3:43
Disk 2 25 The Crawdaddys — Bald Headed Woman (1994) 1:52 26 Rick Potts — Don't Think (1999) 2:39 27 Le Forte Four — Japanese Super Heroes (1999) 3:58 28 Colour Scream — Jasmines Faith (1988) 2:50 29 Kommunity FK — Haunt (1985) 3:29 30 Clay Idols — This House's River (1990) 3:10 31 Heroic Struggles — I'm Life (1988) 5:13 32 Christian Death — Will-O-The-Wisp (1986) 3:15 33 The Animated — Plastic Heaven (1981) 2:02 34 Zoogz Rift — With My Bare Hands (1988) 11:30 35 Battery Farley — April In April (1985) 3:29 36 Necropolis of Love — Talk (1982) 4:27 37 The Whitefronts — Kaluka Mocha (1986) 1:37 38 American Gorilla — Forsaking All Others (1982) 2:40 39 Urinals — She's a Drone (1985) 0:39 40 Concrete Blonde — Tomorrow, Wendy (1990) 5:09 41 30 Windswept Dimes — Nestor's Carbuncles (1981) 4:43 42 Tom Recchion — Jazz 2,000 A.D. Part 3 (1996) 4:05 43 Nip Drivers — Elephant Man (1985) 1:09 44 Indian Bingo — Pathetic Thing (1990) 3:24 45 The Dark Bob — King of the Darkness Ring (1987) 3:30 46 Geza X And The Mommymen — Hungarian (1981) 2:35 47 Stahlbau — Als Fuhrer Geeignet (1983) 1:25 48 Go-Go's — Our Lips Are Sealed (1981) 2:47
All credit and thanks go to: http://lapostpunk.blogspot.com
With their lurching sea shanties, debauched murder ballads, messed-up
tangos and whiskey-soaked gypsy stomps, some reckon they're from the
same stable of stallions as Tom Waits and Nick Cave; others point out
the last gang in town swagger of The Clash and the hellbound blues that
John Lee Hooker first dragged out of the swamp. Featuring between 7 to
12 musicians playing - guitars, drums, fiddle, trumpet, banjo,
washboard, upright bass, gong, mandolin, accordion, harmonicas,
saxophone and even empty bottles & tie racks to build their unique
Bourbon Soaked Gypsy Blues Bop N Stroll.
Track List: 1 -Go East 2 -Cheers For The Tears 3 -S.O.S (Swim Or Sink) 4 -Rather You Shot Me Down 5 -High Jeopardy Thing 6 -Run For Your Money 7 -Lightning From A Blues Sky 8 -Off To Rehab 9 -Alone In The City 10 -Good For You 11 -Heroin (Put My Brothers In The Ground) 12 -Goodbye To Another Year
Undertow was a straight edge hardcore punk band from Seattle,
Washington, active during the early and mid-1990s. They released
material on Indecision Records, Bloodlink Records, Excursion Records and
Overkill Records. Indecision Records released a comprehensive
discography entitled Everything, which has 28 tracks spanning Undertow's
entire active period with John Pettibone on vocals.~Wiki
This
cd contains all of the material that Undertow recorded with Joel DeGraff on
vocals, as well as 3 tracks with John Pettibone on vocals, and then a very
peculiar final track. Here's how it breaks down in the liner notes:
Track List:
Tracks 1 & 2 - Undertow/Resolution split 7" Tracks 3-6 - Demo '91 Track 7 - Words To Live By comp 7" Track 8 - previously unreleased (from the same recording session as track 7) Tracks 9 & 10 - no info
Young, Loud and Angry!
Wanting to contribute something, my wanting to stay anonymous friend sent me this.
I'm not a big metal fan but there are some bands and music that I do like. This is one of those recordings that I like and is worth having just for their cover of the Beatles "I Want You".
Track List: 1. Devine Step (Conspectu Mortis) 2. Son of Lilith 3. Semtex Revolution 4. Sirens 5. Metamorphosis 6. Pale Sister 7. About Life 8. I Want You (She's So Heavy)
The Blue Flames - Drivin' and Dyin' In Texas (2009)
The Meteors - Corpse Grinder (1995)
Studio recordings @128
YEP....only 128...buy 'em if you like 'em.
The Blue Flames – Drivin' N' Dyin' In Texas
Track List: 1 Bad Lil' Girl 2 Satan Baby 3 Bad Indian 4 Dangerous 5 Fire Of Luv 6 Johnny Voodoo 7 Predictable 8 Sinsational 9 I Need Your Luvin 10 Don't You Love Another 11 White Rabbit
*****
The Meteors - Corpse Grinder
Track List: 1. I'm Just A Dog 2. Electro 3. Hoover Back 4. Bad Moon Rising 5. Rhythm Of The Bell 6. The Edge 7. Here's Johnny 8. Go Buddy Go 9. You Crack Me Up 10. WildKat Ways 11. Don't Touch The Bang Bang Fruit 12. Dateless Nites 13. Corpse Grinder 14. Rawhide 15. Surfin' On The Planet Zorch 16. Please Don't Touch 17. Disneyland 18. My Kinda' Rockin
Deadbolt's "I Should Have Killed You" seems to bring this band full circle in that it reminds me very much of their first cd "Shrunken Head". There is a pervasive gloom surrounding this whole cd (wonderfully Deadbolt!) and it seems to be tight and polished. Stand out songs are "Scary Voodoo Girl", "Telephone the Dead", and "Tell Me Where He Lies". See if you can catch the awesome "Tijuana Hit Squad" reference in "Spot Where They Gunned Him Down"! If you're already a fan it is a must have of course. If you're new to Deadbolt, I would highly recommend "Voodoo Trucker", "Tiki Man", and "Tijuana Hit Squad" which I think are better records.
Track List:
1. I Should Have Killed You 2. Scary Voodoo Girl 3. Telephone the Dead 4. When the Lights Come On 5. Hell Dorado 6. Spot Where They Gunned Him Down 7. Every Minute of the Day 8. She Ran Away 9. El Segundo 10. Tell Me Where He Lies 11. Big John 12. Fright Wig
Randy McAllister - Grease, Grit, Dirt & Spit {1998}
Studio Recordings @ 256
{Out of Print}
This guy is the real deal. One of the most overlooked blues player alive. This is a recording that gets better with time. Especially love the song "Your Hands On My Neck".
http://randymcallister.com/
Track List:
1. Eat, Drink & Sleep 2. When I Start Ta Trippin' 3. Makeshift Molly 4. You Ain't Barbie And I Ain't Ken 5. One Paycheck Away 6. Your Hands On My Neck 7. Suzie Goldigger 8. Porkchop 9. Bullets For Breakfast 10. When Does The Good Stuff Happen? 11. Duct Tape And Bailin' Wire 12. Hook 'Em And Gig 'Em 13. You Calm Me Down 14. Do The Math Fool
When Peter Murphy first joined Bauhaus in 1978, in Northampton, England, at the behest of guitarist Daniel Ash, he had never written a single song. It was impossible to tell that Bauhaus would be the gut-busting, genre-defying phenomenon it turned out to be - that is, for about six weeks, which is how long it took Bauhaus to get noticed and shoved into the studio at Beck Studios in Wellingborough. Within a couple of years they were hugely successful in the UK, and scored their second-biggest hit with a distorted, up-tempo cover of Ziggy Stardust. Bauhaus is largely considered to be the first gothic rock group, which makes Peter Murphy the first goth singer - in fact, he has been dubbed "The Godfather of Goth."
Five years and four albums later, the group split up, but Peter Murphy kept on making music, often with a penchant for metaphysical or religious lyricism, which went over the heads of many of his fans in the UK.
Track List:
1. Keep Me From Harm 2. Kill The Hate 3. You're So Close 4. The Sweetest Drop 5. Low Room 6. Let Me Love You 7. Our Secret Garden 8. Dream Gone By 9. Hit Song 10. Bonus Track 1
On their second album, the sneeringly-titled "Dropped", Mindfunk vent a
little label-related bitterness, and attempt to separate themselves
meaningfully from the funk-metal pack. World-class producer Terry Date
delivers the slowed-down grooves in an airtight, vacuum sealed
muscular-as-hell package that would presage the work he did for
Soundgarden on "Badmotorfinger." Its worth comparing the two albums as
_Dropped_ does contain more than one obvious nod in the direction of
Seattle ( and not just because they induct alt.rock's version of Pete
Best - Jason Everman - to play second fiddle to Louis J. Svitek's lead
guitar). Opener "Goddess", with its excellent riffing and understated
solo work, and the insistent, almost middle-eastern drone metal of "In
The Way Eye" are to me the most interesting of this rather lengthy,
mostly mid-tempo sophomore set. Having lost drummer extraordinaire
Reed St. Mark to Celtic Frost, much of the rhytmic energy and flashy
musicianship of their self-titled debut is gone. Stripped down thusly,
the songs reveal themselves to be brooding,intensely focused groove
monsters that can occasionally end up just slightly on this side of
meandering. The album's biggest sin is its sameness, and towards the
latter fourth of the album it starts to get a little long in the tooth.
"Mama, Moses and Me" is probably the only track that recalls the manic
energy of the debut, more often than not replaced with more moody,
solemn work like "Drowning." Solid, almost classy in some ways, but it
could have really used one or two more uptempo tunes and a few of the
psychedelic excesses shaved from the third album.
~http://www.metal-archives.com/
Track List: 1-Goddess 2-Closer 3-Drowning 4-In The Way Eye 5-Zootiehead 6-Wisteria 7-Mama, Moses And Me 8-11 Ton Butterfly 9-Hogwallow 10-Billygoat 11-Hollow Link thanks to IHTN
What a backwards rock record The Dirt of Luck is. Seriously, think about it. Nevermind the double-edge of the title -- there's a mention of good fortune, but really this is just about the grit it coats itself in -- and just sit and listen to this record.
It's a tricky bit of music. At first, it seems perfectly on the up-and-up, of its time and place, because there's something geographic about Mary Timony's sound. When she was in the all-girl band Autoclave in D.C. -- and their short Discography, released on Dischord, is essential indie rock -- their sound tightened up in the tangled coil of that city's streets, in the camraderie of a tight-knit scene. She was in Boston when Helium made The Dirt of Luck, though, and this sounds like the dingy sludge and icy winds of a Northeastern winter. It's chilly and timeless, brittle with the energy of punk rock but delivered in subtler layers, evoking classic rock and other genres.
From there, even if its feels at home, the record is awfully damn confusing. There's the obvious -- that a band called Helium sounds so goddamn low. This is craggy, subterranean shit. Part of this comes from Timony herself (she often plays in a D-tuning), and part comes from Ash Bowie's thundering bass.
~Mathew Fiander Read more HERE:
Track List: Pat's Trick Trixie's Star Silver Angel Baby's Going Underground Medusa Comet #9 Skeleton Superball All The X's Have Wings Oh The Wind And Rain Honeycomb Flower Of The Apocalypse
Vocalist Lisa Kekaula guitarist Bob Venuum formed the BellRays around 1990 in Riverside, CA. Originally, the duo leaned heavily on a vintage R&B sound flecked with smoky jazz overtones. But with the addition of guitarist Tony Fate and Venumm moving to bass, the sound soon began to mix Kekaula's alley cat soul vocals with a biting punk rock bottom end. The In the Light of the Sun cassette release appeared in 1993, followed by the "Wall of Soul" 7" two years later. the BellRays issued their debut full-length, Let It Blast, in 1998 and supported it with an extensive tour that included a particularly fiery appearance at Austin's South by Southwest conference. By now, drummer Ray Chin had joined the fold, and the 'Rays were making waves with their furiously passionate sound. The Grand Fury LP dropped in 2001 from Los Angeles indie Upper Cut and was followed by a European release combining it with Let It Blast. Tours with notables like Rocket From the Crypt and Nashville Pussy continued to spread the word, and In Music We Trust reissued In the Light of the Sun. 2003 saw the Upper Cut release of Raw Collection, an odds 'n' sods compilation featuring B-sides, rarities, and vinyl-only material from 1995 through 2002. Red White and Black also arrived in 2003, and the band continued to crank out soulful garage-punk on 2006's Have a Little Faith and 2008's Hard, Sweet and Sticky.
~Johnny Loftus - All Music
Track List: 1. Noise Fragment 2. Too Many Houses In Here 3. Fire On The Moon 4. Snake City 5. Ska Driver 6. Screwdriver 7. Heat Cage 8. Evil Morning 9. Zero P.M. 10. Do You Speak English 11. Stupid Fuckin' People 12. Have A Little Faith In Me 13. Monkey House 14. Little Funky Jam 15. Warhead 16. Under The Mountain 17. They Glued Your Head On Upside-Down 18. Hello Hello
Track List:
01-Solid Gold 02-From Dark 'Til Dawn 03-I Will Be Kind To You 04-Last Night's Dream 05-Baby Don't You Think I Know 06-Pipeline Blues 07-I Don't Know 08-Black Panther 09-I Had A Good Home 10-Mean Fisherman
Bass – Willie Dixon
Drums – Clifton James
Guitar & Vocals– Johnny Shines
Harmonica – Walter Horton
Piano – Otis Spann (tracks: 06)
