Thursday, 23 June 2016

REZILLOS
































"can't stand the Rezilloz"
Year:  1978
Country:  UK
City:  Edinburgh
Label:   Sire
Format:  CD , LP
Tracks:  13
Time:  30 min.
Genre:  rock
Style:         Punk  Rock































The Rezillos are a punk/new wave band formed in Edinburgh, Scotland, in 1976. Although emerging at the same time as other bands in the punk rock movement, the Rezillos did not share the nihilism or social commentary of their contemporaries, but instead took a more light-hearted approach to their songs, preferring to describe themselves at the time as "a New Wave beat group".[1] Their songs are heavily influenced by 1950s rock and roll, 1960s English beat music and garage rock, early 1970s glam rock, and recurring lyrical themes of science fiction and B movies, influences that mirrored those of US bands the Cramps, the B-52s, and X who were starting out at the same time. The Rezillos' biggest hit in their home country was the UK Top 20 single "Top of the Pops" in 1978, but they are best known outside the UK for their cover version of "Somebody's Gonna Get Their Head Kicked In Tonight", which featured on the soundtrack to Jackass: The Movie in 2002. Since the Rezillos recorded it, the song has been covered by other punk bands, including Youth Brigade and Murphy's Law.
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Monday, 20 June 2016

KILLING JOKE








































"Idem"
Year:  2003
Country:  UK
City:  London
Label:  Sony
Format:  CD
Tracks:  10
Time:  60 min.
Genre:  rock , electronic
Style:        Post Punk





























Killing Joke is the eleventh studio album by English rock band Killing Joke, released on 28 July 2003 by record label Zuma Recordings. Recording for the album in 2002 marked the end of a six-year hiatus that began in 1996 and it was Killing Joke's first studio album in seven years. Produced by Andy Gill of Gang of Four, the album featured former Nirvana drummer and Foo Fighters frontman Dave Grohl, who is also a long-time Killing Joke fan, on drums. This is also Killing Joke's second self-titled album, following their first in 1980, as an effect of the hiatus. The album was produced by Andy Gill of Gang of Four.
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"Idem"
Year:  1980
Country:  UK
City:  London
Label:  Polydor
Format:  CD , LP
Tracks:  12
Time:  38 min.
Genre:  rock
Style:         Post Punk





























Seminal post-punk band who have gone through numerous internal conflicts and line-up changes, as well as a variety of different styles and sounds. Formed in Notting Hill in 1979 by Jaz Coleman, Geordie Walker, Youth and Paul Ferguson, their dark experimental style provided one of the main steps on from punk rock. Massively influential on a range of different styles of music, they pioneered the industrial rock style with 90's Extremities, Dirt And Various Repressed Emotions. The band have inspired many industrial bands including Nine Inch Nails, Prong and Ministry. They have been cited by Trent Reznor, Nine Inch Nails 's leader, who mentioned his interest for their early material, saying that he studied their music. Al Jourgensen of Ministry has presented himself as a "big fan" of the group. Godflesh's Justin Broadrick was particularly influenced by their early releases containing dub versions. The band has also been cited by alternative music acts such as My Bloody Valentine and LCD Soundsystem. Shoegazing guitarist and composer Kevin Shields of My Bloody Valentine mentioned the band and praised more specifically Geordie's touch that he described as "this effortless playing producing a monstruous sound". In 2002, James Murphy of electro-punk band LCD Soundsystem sampled the music of "Change" on his debut single "Losing My Edge".
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Friday, 17 June 2016

LIVE AT THE ROXY



































"Live at the Roxy"
Year:  1977
Country:  UK
City:  London
Label:  EMI
Format:  CD , LP
Bands:  15
Tracks:  15
Time:  37 min.
Genre:  rock
Style:         Punk  Rock




























The Roxy London WC2 is a live album of recordings taken from various punk bands that played the Roxy club in Covent Garden, London between January and April 1977. The original Harvest Records release in 1977 (cat. no. SHSP 4069) included tracks by Eater, Johnny Moped, and The Unwanted that were left off the 1991 Receiver reissue (cat. no. RR 132). Also, The Boys, The Damned, Sham 69 and The U.K. Subs appear on the reissue but not the original. Finally, even for bands that appear on both discs, some of the tracks have been changed (e.g. Wire’s "1 2 X U", X-Ray Spex’ "Oh Bondage Up Yours!", etc.) The Receiver album was re-released in 2001 by Sanctuary as a double CD set. The original 12-track album reached number 24 in the UK Albums Chart and spent five weeks in the chart.[1] The album was described as "seminal" by The Virgin Encyclopedia of Popular Music and others. In 2004, it was recognised as one of the five "Classic Punk Rock Compilation LPs" of all-time. with writer Johnny Normal declaring, "Capturing the full force of the first wave head on, The Roxy is an essential historical reminder of the power and the glory of punk rock". Author and critic Dave Thompson called it “one of the most important (and poorest sounding) live albums ever made, a document of the Roxy Club from on and off stage”. However, it has also been described as "a punk rock album of 10 unknown acts who can barely play". Paul Marko's book The Roxy London WC2: A Punk History (2007) delved deeper, featuring more obscure bands than those on this compilation.
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Thursday, 9 June 2016

HARD LEFT



































"we are hard left"
Year:  2015
Country:  US
City:  Oakland , CA
Label:  Future Perfect
Format:  CD , LP
Tracks:  14
Time:  38 min.
Genre:  rock
Style:         Oi!         Mod
































HARD LEFT is a hard mod band from members of Lunchbox, Boyracer and Black Tambourine. Hard Left wear their politics on their sleeves. HARD LEFT hearken back to the early days of punk to tell stories about now and to motivate the listeners. HARD LEFT is about action – lift every voice and chant, join arms and resist. Musicallly the band can to remind the classics of Oi! music and ppunk rock, but also the clean, few distorted and elegant mod sounds. But the band's politics are more anachronistic than nostalgic. Unions are relatively weak nowadays. Even in the Bay Area, public opinion has not sided with BART strikers in the last couple of years. Still, even if history has conspired to vilify communism and annex the notion of a "labor movement" to textbooks in most people's view, Hard Left's propaganda in our era of inequality feels highly relevant. Their knowing adherence to outmoded album cover iconography shows that Brown and Schulman are confident enough to own their unfashionable idealism. "Since the collapse of the Soviet Union — of course, that sort of communism needed to fall — but it paved the way for this end-of-history thought and sort of liberal triumphalism," Brown said. His wife, McKean, he continued, put it best when she dubbed Hard Left "Utopian Oi!"
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Friday, 3 June 2016

GREEN DAY



































"kerplunk"
Year:  1991
Country:  US
City:  Berkeley
Label:  Look out!
Format:  CD , LP
Tracks:  12
Time:  29
Genre:  rock
Style:        Pop        Punk




























Hard to believe  but GREEN DAY was once a truly "alternative" and DIY band, and they often played live concerts in squats or social centers from its begining in 1986 until 1994, when the band signed with several majors with the album "Dookie". Before they worked next to independent label now already defunc "Look Out Recordds" and gained few money for concerts. This one is a very good example of simple mix of pop and punk. Not fast, simple, short... and honest... I think. A fistfull of songs not so good perhaps than Dag Nasty, Descendents or All, but good anyway.
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Tuesday, 31 May 2016

THE MEKONS































"The quality of mercy is not strnen"
Year:  1979
Country:  UK
City:  London
Label:  Virgin
Format:  CD , LP
Tracks:  18
Time:  50 min.
Lyrical themes:  anarchism , pacifism
Genre:  rock
Style:         Post-Punk





























The debut album by one of my all-time favorite bands. The title derives from the "Infinite Monkey Theorem" which holds that an infinite number of monkeys typing on an infinite number of typewriters would eventually produce Shakespeare (the title is from "The Merchant of Venice" and the monkey has misspelled strained). There are many references to this in popular culture, my favorite being on "The Simpsons": Monty Burns has a roomful of monkeys at typewriters and he chastises one for typing "It was the best of times, it was the blurst of times?! You stupid monkey!" Anyway, back to the LP! The Mekons originated in Leeds, England, also the home of Gang of Four. And not coincidentally, this has much in common sonically with early Gang. In fact, the back cover has a photo of the Virgin labelmates instead of the Mekons, kinda like Stiff putting a photo of Eddie and the Hot Rods on the back of the first copies of The Damned's debut LP. I imagine they came up with the basic sound organically, together, being friends and all. The bonus tracks at the end are from a 1980 double 7" and finds them developing a more PiL-ish dubby sound. The Mekons moved all over the post-punk map before settling on the post-Gram Parsons honky-tonking for which they became famous, single-handedly inventing alt.country. For good or ill depending on your point of view. I love the band and basically feel they can do no wrong. They are one of the most entertaining live bands I have ever seen. I have in fact shared the stage with them as a rabid fan not once but twice - at NYC's Central Park in '91 when roadie Mitch pulled several of us up onstage to dance (this after passing me a pitcher of ice cold beer - it was crowded and hot as fuck) and at DC's 9:30 Club in '94 where I joined them for the shouted chorus of "Rock And Roll!" on Memphis, Egypt and even a verse after Tom gave me the nod to take it! There ya go, my rockstar moment-in-the-sun!
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"Four first EP's"
Year:  1981
Country:  UK
City:  London
Label:  CNT Prod.
Format:  CD
Tracks:  12
Time:  36 min.
Lyrical themes:  anarchism , pacifism
Genre:  rock
Style:         Post-Punk




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"The Mekons rock'n'roll"
Year:  1989
Country:  UK
City:  London
Label:  A&M
Format:  CD , LP
Tracks:  12
Time:  36 min.
Lyrical themes:  anarchism , pacifism
Genre:  rock
Style:         Alternative Rock























The Mekons are a British rock band. Formed in the late 1970s as an art collective, they are one of the longest-running and most prolific of the first-wave British punk rock bands. Through the years, the band's musical style has evolved, incorporating aspects of country music, folk music, alternative rock and even occasional experiments with dub. They are known for their raucous live shows. These days, The Mekons are often described as a post-punk, cowpunk and/or alt country band.
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"F.U.N. 90"
Year:  1990
Country:  UK
City:  London
Label:  A&M
Format:  CD , LP
Tracks:  6
Time:  18 min.
Lyrical themes:  anarchism , pacifism
Genre:  rock
Style:         Alternative Rock




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Sunday, 29 May 2016

VIVIEN GOLDMAN




































"Resolutionary (songs 1979-1982)"
Year:  2016
Country:  UK
City:  London
Label:  Staubgold
Format:  CD , LP
Tracks:  10
Time:  30 min.
Genre:  rock
Style:         Post-Punk         Dub


































Vivien Goldman released only a few songs into the world in 1981, but they are critically acclaimed. Her release, the Dirty Washing EP, had "Launderette" as the A-side, a track that was co-produced by John Lydon (Johnny Rotten). There's a myth about music critics according to which they are frustrated wannabe performers. Evidence to the contrary: Vivien Goldman. The London-born, New York-based Goldman is one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop, and Afrobeat, but between 1979 and 1982, she was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, covering Goldman's first three musical formations; first as a member of experimental British new wavers The Flying Lizards, next as a solo artist with her single "Launderette" featuring post-punk luminaries, and then as half of the Parisian duo Chantage with Afro-Parisian chanteuse Eve Blouin. Goldman's eclectic musical crew included PiL's John Lydon, Keith Levene, and Bruce Smith; avant-gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; Viv Albertine, then of Goldman's good friends The Slits; and dubmaster Adrian Sherwood, who produced the majority of these tracks. Goldman sang in a lilting, clear-toned soprano honed during childhood. She began her singing career in the late '70s, doing backup with Neneh Cherry and Ari Up (The Slits) on Sherwood records by reggae artists including Prince Far I. Goldman was grooving to the innovations of dub. The contrast between Goldman's high, lilting tones and the deep rumble of the bass is a hallmark of all her work, giving a haunting frisson of sex and alienation to songs like The Flying Lizards' "The Window." Reggae had been her London soundtrack, but after moving to Paris in the early '80s, she absorbed music from Africa, an interplay audible in exultant Chantage tracks like "It's Only Money," a mix of steelpan, African soukous guitar, and sobbing Romani violin riding ferocious funk. As the 1990s began, Goldman moved to Manhattan and became New York University's "Punk Professor," teaching original courses on punk, Bob Marley, David Bowie, and Fela Kuti. But she never stopped singing and writing songs. Chicks on Speed released a later cut, "7 Days," on their 2006 Girl Monster compilation (COSR 033CD). Her house 12" records with artists including Berlin's Moritz von Oswald are compiled on LPs. Goldman has also co-written tracks with Massive Attack, Coldcut, Ryuichi Sakamoto, and Luscious Jackson. Early in 2016, she performed dub readings onstage with Boston's Berklee Marley Ensemble. Her multimedia beat goes on.
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Tuesday, 24 May 2016

JOE STRUMMER




































"earthquake"
Year:  1989
Country:  UK
City:  London
Label:  Sony
Format:  CD , LP
Tracks:  14
Time:  46 min.
Genre:  rock , acoustic
Style:        Rock  Folk






























"Earthquake weather" is a 1989 record by former The Clash frontman Joe Strummer. The album was well received by critics, but was not a commercial success. The majority of the album was recorded in Los Angeles, California in 1988 and 1989. It was the first time Strummer had worked on his own musical project. In previous years he had worked with Alex Cox on the soundtracks of his films "Sid and Nancy" and "Walker" in 1986 and 1987. He also worked on the production of his former Clash partner's, Mick Jones second album with the band Big Audio Dynamite in 1986. The album was released by Epic Records, sub label of the major Sony.
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"Walker - soundtrack"
Year:  1987
Country:  UK
City:  London
Artist:  Joe Strummer
Label:  Virgin
Format:  CD , LP , DVD
Tracks:  17
Time:  58 min.
Genre:  rock , acoustic
Style:         Folk Rock         Latin



























Joe Strummer had become friendly with filmmaker Alex Cox when Strummer contributed some songs to the soundtrack of Cox's movie Sid and Nancy, and Joe later tagged along for the drunken holiday in Spain that was Straight to Hell. In 1987, when Cox began filming his ambitious (perhaps too ambitious) film about the life of American mercenary William Walker, he brought Strummer along to play a small role in the film and compose the score. Strummer's music turned out to be just as ambitious as the film itself; Walker bears almost no resemblance to Strummer's work with the Clash, instead aiming for a airy fusion of several Latin musical styles (and showing a faint influence of the music of legendary film composer Ennio Morricone, though thankfully not stumbling into the clichés that have grown from his work). Strummer only sings on three cuts ("The Unknown Immortal," "Tennessee Rain," and "Tropic of No Return," which sound more like Mexican folk tunes than anything else), and while more than a few fans will wonder what Joe was thinking when he recorded this stuff, Strummer obviously took his assignment seriously and rather than forcing a period piece set in 1850 to bend to the force of his music, he pulled back the reigns on his rock influences and fashioned a series of simple but evocative pieces that conjure up the mystery and beauty of Nicaragua with commendable sense of dynamics and grace. In short, Strummer could have become a first-rate film composer if he'd stuck with it, and while Walker is something of an anomaly in his discography, it's also a lovely and engaging set of music (*NOTE = this review was writen by Mark Deming ).
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