Another Les Rallizes elpee ....... Track one. Truncated version of ' Field of Artificial Flower ' begins with a brief blast of white noise segues into a European (German ? ) pop song.. Then at 2:22.. Les Rallizes Dénudés mid song in full flight. 'Heat Wave' is everything I love about the group. Great rhythm section, infectious bass line squalls of over the top feedback. The sixteen minute duration seem like five . (Studio - 1970) is a snippet of an acoustic tune. 'Otherwise Fallin' in Love' is a fave, lovely arrangement . Pretty good album overall.. .
1 Field of Artificial Flower 2:22 2 Heat Wave (Live 12-17-76) 16:15 3. (Studio 1970) 2:18 4. Otherwise Fallin' in Love (Studio 1980) 8:21 5. B3 - Wake Waking (Unknown) 8:20
Brilliant live album showcasing the feedback drenched supreme guitar playing of Kawabata Makoto backed up the the best rhythm section on the planet. Recorded live in store, Chicago 9/10/01 . Released as a limited edition run of 1000 copies . That quickly sold out...
1. Space Age Ballad/La Novia (Including in E.) 28:16
From 2005..'Uncut Magazine's Guide To The New Psychedelic Outlaws'.
1 Entrance - Grim Reaper Blues 4:32 2 Oakley Hall - Hiway 7:15 3 Comets On Fire - Sour Smoke 8:47 4 Six Organs Of Admittance - The Desert Is A Circle 2:56 5 Citay - Seasons Don't Fear The Year 6:44 6 Black Mountain - Druganaut 3:48 7 Howlin Rain - The Hanging Heart 9:09 8 PG Six - The Dance 6:04 9 Ghost - Water Door Yellow Gate 5:58 10 Dead Meadow - Indian Bones 6:41 11 Wooden Wand - Portrait In The Clouds 3:38 12 Sunburned Hand Of The Man - Adult Costume 6:49 13 Jackie-O-Motherfucker - Hey Mr Sky
There are a couple of omissions . No ' Books' or 'Bouncing Babies' .The psychedelic essence that made the Teardrop Explodes one of best post punk bands is .
Great collection ..
1. Reward 2:44 2. Passionate Friend 3:31 3. Treason (It's Just A Story) 2:58 4. Ha Ha I'm Drowning 2:36 5. The Culture Bunker 5:30 6. Colours Fly Away 2:55 7. Sleeping Gas 3:46 8. Suffocate 3:41 9. When I Dream 3:44 10. Tiny Children 3:52 11. .....And The Fighting Takes Over 3:54 12. In-Psychlopaedia 4:05 13. Christ Versus Warhol 3:57 14. You Disappear From View 3:00 15. The Great Dominions 4:57
Five years after releasing both Snuffbox Immanence and Tune In, Turn On, Free Tibet, Ghost returned with Hypnotic Underworld, and there were some changes in the band. Cellist Hiromichi Sakamoto and percussionist Setsuko Furuya (whose marimba gave those albums such a distinct sound) are gone, replaced by a great young rhythm section of Takuyuki Moriya (bass, conta bass, cello) and Junzo Tateiwa (drums, tabla, percussion). Also, Ghost co-founder Taishi Takizawa continues as producer but rejoins the group as a musician as well (he has served only as producer since the mid-'90s). Of course, Masaki Batoh is still here, along with longtime keyboard player Kazuo Ogino and guitar hero Michio Kurihara. With a brief U.S. tour (October 2002) under its belt, the band really jelled, and with Hypnotic Underworld, Ghost have released their most expansive set yet. The four-part title track starts somewhere near the Heliocentric Worlds, with Takizawa's sax playing over the sparest of bass figures and percussion as wisps of electronic ether float in and out. This morphs into a fuzzbass-led groove with great soprano sax that leads into a hard rock movement with a choir adding to Batoh's vocals and an ending so surprising I'll leave it for the listener. This epic track is followed by a glorious cover of Earth & Fire's "Hazy Paradise." The production here is amazing, with harpsichords, Mellotron, and sitar melting into each other and a majestic Kurihara guitar solo at the end. "Kiseichukan Nite" features a very pretty Celtic harp and recorder over a simple bass ostinato and Batoh speaking in Japanese with little washes of electronic treatment creeping in. This album is all over the place stylistically, yet it all sounds like Ghost, even with the electronic treatments and almost prog rock keyboards that hadn't been present on their prior albums. They turn in a version of Syd Barrett's "Dominoes" that is so completely personalized as to be virtually unrecognizable. "Piper" is a rocker featuring some blistering guitar work, and "Ganagmanag" is a classic Ghost-style instrumental trance jam, highlighted by Takizawa's flute and amazing production work. Batoh's vocals have never been stronger, and Ogino's various keyboards add a new dimension to the Ghost sound. Kurihara, as mentioned, is brilliant on electric guitar. The sound achieved by Takizawa and the band is a stunning mixture of ancient acoustic, hard electric, and electronic that Jimmy Page should be envious of. Hypnotic Underworld is a new high-water mark from one of rock's most interesting bands. Highly recommended. (allmusic)
Silver Apples (1968) Contact(1969) .The original pioneeringelectronic duo who's oeuvre of pulsating rhythms , drones and hums . Paved the way for Suicide and Neu! to name two . Silver Apples began in 1967 after Simeon began using a vintage oscillator ,dubbed the Simeon which grew to nine audio oscillators and eighty-six
manual manual controls .
The last great David Bowie album is 'Scary Monsters Super Creeps' . 'Reality' is his best album since then *.
Instead of being a one-off comeback, 2002's Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003's Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-'70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the sound of Heroes through Scary Monsters, with the latter functioning as a sonic blueprint for the album. Basically, Reality is a well-adjusted Scary Monsters, minus the paranoia and despair — and if those two ingredients were key to the feeling and effect of that album, it's a credit to Bowie that he's found a way to retain the sound and approach of that record, but turn it bright and cheerful and keep it interesting. Since part of the appeal of Monsters is the creeping sense of unease and its icy detachment, it would seem that a warmer, mature variation on that would not be successful, but Bowie and Visconti are sharp record-makers, retaining what works — layers of voices and guitars, sleek keyboards, coolly propulsive rhythms — and tying them to another strong set of songs. Like Heathen, the songs deliberately recall classic Bowie by being both tuneful and adventurous, both hallmarks of his '70s work. If this isn't as indelible as anything he cut during that decade, that's merely the fate of mature work by veteran rockers. So, Reality doesn't have the shock of the new, but it does offer some surprises, chief among them the inventive, assured production and memorable songs. It's a little artier than Heathen, but similar in its feel and just as satisfying. Both records are testaments to the fact that veteran rockers can make satisfyingly classicist records without resulting in nostalgia or getting too comfortable. With any luck, Bowie will retain this level of quality for a long time to come(allmusic)
1. New Killer Star – 4:40 2. Pablo Picasso – 4:06 3. Never Get Old – 4:25 4.The Loneliest Guy – 4:11 5. Looking for Water" – 3:28 6. She'll Drive the Big Car – 4:35 7. Days – 3:198. Fall Dog Bombs the Moon – 4:04 9. Try Some, Buy Some – 4:24 10. Reality – 4:23 11. Bring Me the Disco King – 7:45
The Best Best of Fela Kuti ranges through his entire career, though the focus is appropriately on the '70s. Kuti's infectious combo of high-stepping soul revival and African township jazz has never been equaled. And his band was chocked with excellent musicians, starting with the keyboards and saxophone of its leader but also including propulsive drummer Tony Allen, baritone saxophonist Lekan Animashaun, trumpeter Tunde Williams, and bassist Franco Aboddy. As good as the music is, The Best Best of Fela Kuti really shines when it comes to the songwriting. It's an excellent primer on Kuti's various protest targets -- the oppressive Nigerian government and military, the increasing Westernization of Africa, unnecessary violence, hypocrisy, and pride -- and wisely includes explanatory notes for each track. The editing and compilation work are also done very well. Though many of the tracks had to be modified down to the ten-minute range, the flow is natural and very smooth. The one caveat is the detrimental effect of diminishing returns; Kuti's style was practically trademarked, and after over 150 minutes of jams, the tracks tend to blend together and obscure their individual significance. Overall though, this is an incredibly important work; it's the first truly historical item on Kuti and should finally bring the magic of Fela Kuti to Western audiences. (all music)
Disc: 1 1. Lady 2. Shakara 3. Gentleman (edit) 4. Water No Get No Enemy (edit) 5. Zombie 6. Sorrows Tears And Blood 7. No Agreement
1.Ja Funmi – 7:08 2.Eje Nlo Gba Ara Mi – 7:14 3.Mo Beru Agba – 3:27 4.Sunny Ti de Ariya – 3:46 5.Ma Jaiye Oni – 5:07 6.365 Is My Number/The Message – 8:16 7.Samba/E Falaba Lewe – 8:07
King Sunny Ade & His African Beats: Sunny Ade (vocals, guitar, keyboards); Jacob Ajakaye, Segun Shokumbi, Niyi Falaye, Femi Owomoyela, Mattew Olojede, Tunde Demiola (vocals); John Okeumeu, Bob Ohiri, Segun Ilori (guitar); Demola Adepoju (steel ... Full Descriptionguitar); Martin Meissonier (keyboards); Jelili Lawal (bass); Mofes Acambi (drums); Shina Abiodun (congas); Adeyemi Adisa (bongos); Alhaji Timmy Olaitan, Rasaki Alakodun, Jomoh Gbadamosi (talking drum); Gani Alashe (shekere); Michael Babalola (maracas).
After nearly 15 years as Nigeria's biggest musical draw and juju music's reigning monarch, King Sunny Ade went global in 1982 with a brief but fertile stint on the Mango label. The three albums that resulted — Juju Music, Synchro System, and Aura — gave Ade unprecedented exposure on the Western market and introduced a slew of music lovers to the sounds of Afro-pop. Juju Music was the first of Ade's Mango titles and remains the best of the lot. Over the course of seven extended cuts, King Sunny Ade & His African Beats lay down their trademark mix of talking drum-driven grooves, multi-guitar weaves, lilting vocal harmonies, and pedal steel accents; for this major-label debut, the band also chucks in some tasteful synthesizer bits and a few reggae-dub flourishes. Besides classic juju pop like "Ja Funmi" and "Ma Jaiye Oni," Ade and his 20-piece entourage serve up percussion breakdowns like "Sunny Ti de Ariya" and a heady blend of soul, dub, and synth noodlings on "365 Is My Number/The Message." Throughout, Ade deftly inserts Hawaiian slide guitar licks and Spanish-tinged lines reminiscent of Hendrix' "All Along the Watchtower." Juju Music should not only be the first-disc choice for Ade newcomers, but for the Afro-pop curious as well.(allmusic)
By the mid-'90s, Material was simply another word for Bill Laswell , so as Laswell' s fascination with ambient mysticism grew, so did Material's tendencies in that direction. After 1991's dark and reggae-inflected The Third Power, Hallucination Engine's long, spacy jams aren't exactly a dramatic departure, but the combination of Wayne Shorter and various North African elements is certainly interesting. In fact, the array of guest musicians is more diverse than ever Triklok Gurtu, Jonas Hellborg,Zakir Hussian Bootsy Collins-- the list goes on and on and even includes Wiliam Burroughs (who intones a hilarious list of "Words of Advice" over a churning mid-tempo funk groove). In his ambient mode, Laswell has been accused of turning too little music into too much track length, and there's some justice to those criticisms; here, "Black Light" and the unbelievably well-named "Eternal Drift" both plod along for far too long with far too little development. But that William Burroughs track kicks in just as you're about to fall asleep, and it's followed immediately by a very funky and very jazzy remix of "Cucumber Slumber." "The Hidden Garden/Naima" proposes an interesting juxtaposition of Arabic pop song and modal jazz, with dramatic and beautiful results, while "Shadows of Paradise" brings the album to a close with a gentle whimper, not a bang.
Tonto's Expanding Headband ,'West Coast' duo Robert Margouleff and Malcolm Cecil. Band name courtesy of a massive synthesizer invented by Cecil . T.O.N.T.O. acronym for (This may pop up in a quiz or pub discussion ) The Original and New Timbral Orchestra . Due to the large expansive symphonic sound created . Zero Time was released in 1971.. The first four tracks are excellent... Track one 'Cybernaut ' is a nice melodic tune. First thing I notice is how old the synths sound . Anyone who's familiar with an early John Carpenter soundtrack . There are similarities . Same equipment maybe. 'Jetex 'is next . This sounds like the opening track from Pink Floyd's 1973 opus 'Dark Side Of The Moon' . Track three , 'Timewhys' , has a Cluster vibe which I very much like . Track four 'Aurora' is an ambient slice of awe ..
Michael Rother was the guitar and keyboard playing half of the groundbreaking Krautrock group Neu, and earlier, a founding member of Kraftwerk. Flammende Herzen (Flaming Heart) is his first solo album, recorded by and produced by Conny Plank in 1976 and issued at the dawn of punk in 1977. Flammende Herzen is, in a sense, the complete and utter flowering of a vision Rother held from Kraftwerk through his work with Klaus Dinger in Neu and through his short-term collaboration with Moebius and Roedelius in Harmonia. Rother's signature guitar sound is twinned with an analog delay, the simple mechanical or "motorik" percussion all wound around simple, yet transcendent, melodies that are nearly anthemic in their strident execution. With percussion assistance from Jaki Leibzeit of Can, Rother crafts a driving, soaring ride into the sonic abyss that is rich with melody and rock & roll rhythm. For Rother, music is a thing filled with light, and tracks such as the title, "Zyklodrom," and "Karussell" feature a cylindrical weave of electronic and organic percussion, opaque but insistent synthesizers playing chord progressions, and, of course, acoustic and electric guitars either chiming in single- and double-string Brucknerian motifs or churning on two or three chords hypnotically into the ether. While some of the themes presented here later became the foundation for a ponderous kind of new age disc music, there is plenty of spaced-out psychedelia and churning rock & roll ellipsis here ("Feuerland") for fans of early Krautrock. This remains one of Rother's strongest and most visionary records. (allmusic)
1.Up The Bakerloo Line With Anne (18:48) 2.Return To BB City (8:26) 3.Tape Kebab (8:58) 4.Tony Wanna Go (14:31) 5.Geheim (Half Past One) (6:42) 6.Mighty Girl (8:41)
In the early 70s, British DJ John Peel was a great supporter of what later became known as Krautrock and Can recorded four sessions for his show (15 - 20 minutes recorded live at BBC studios) from 1973 - 5. Can's albums were all recorded at their own studio with Holger Czukay producing, so this really captures them in an unfamiliar setting. Can always incorporated a lot of improvisation in their shows, and most of the music on this CD is what Holger Czukay called 'spontaneous compositions.' The CD starts with a lengthy piece from what is generally regarded as the classic Can line up with Damo Suzuki on vocals. Up The Bakerloo Line With Anne (possibly named for DJ Anne Nightingale) starts rather tentatively with some of Karoli's trademark blues raga guitar, before quickly hitting a Future Days style groove. Czukay and Liebezeit hold down the rhythm, while Karoli and Suzuki free form all over the place and Schmidt adds odd washes of colour from his keyboards. This is Can at the top of their game, demonstrating an almost telepathic interplay and conjuring up mind spinning sounds apparently out of thin air, although the fact that they had been playing together 10 hours a day for several years probably helped. When the piece fades out at 18.46 you're left with the feeling that they'd just got started and there was much more to come. The next two tracks were recorded 18 months later, and bear a strong resemblance to side 2 of Soon Over Babaluma. Return to BB City is a low key piece which recalls Quantum Physics, dominated by Schmidt's ghostly keyboards and Liebezeit's understated percussion. Tape Kebab is a fuzz guitar led freak out in the mould of Chain Reaction, but even more intense - this is one of Karoli's finest moments as a guitarist. Tony Wanna Go was recorded 9 months earlier, and is another long improvisation with some jaw dropping moments. Suzuki may have left, but in 1974 Can had lost none of their drive and fire. The last two tracks were recorded in 1975 at around the time of Landed, and show the band just past their peak. Geheim (Half Past One), as the title implies, is a reworking of Half Past One from Landed and features Michael Karoli on vocals - it's atmospheric stuff, but lacks the intensity of what went before. The last track is based around Irmin Schmidt's piano playing, and there is a splendid interplay with Karoli's guitar. It's highly structured and probably the closest thing to mainstream prog on the album, but as with Geheim there's a feeling that the band have lost some of their other worldliness and that they have started playing safe.This is an excellent collection of largely original material from one of the seminal Krautrock bands, and shows their development over 2 years and 3 studio albums. Few of their contemporaries had such a talent for improvisation - King Crimson were probably the only other band at the time who had the same kind of interplay - but very little of their spontaneous music has been officially released. This album shows just how good they could be. Strongly recommended. (progarchives)
Swans formed in NYC 1982 . Live they earned a reputation of being the heaviest band around . The musical approach was ultra-slow tempo alongside minimal chord structures at ear splitting volume . Not much love for The Burning World amongst Swan fans. The band didn't like the finished album either , production issues . 'The Burning World is pretty good I think . There is an undercurrent of darkness lurking under the surface . Gothic Americana , depression , addiction and death.
1 The River That Runs With Love Won't Run Dry 4:14 2 Let It Come Down 4:28 3 Can't Find My Way Home 4:48 4 Mona Lisa, Mother Earth 4:16 5 (She's A) Universal Emptiness 4:02 6 Saved 4:11 7 I Remember Who You Are 4:23 8 Jane Mary, Cry One Tear 3:51 9 See No More 5:30 10 God Damn The Sun 4:20
Recorded after singer/songwriter Mark Linkous' accidental, near-fatal drug reaction and subsequent 12-week stay in London's St. Mary's Hospital,Good Morning Spider dwells in the gray areas between dreaming and waking, sickness and health, and living and dying. The album takes these grey areas and makes a world out of them, blending classic songwriting with an experimental sound that borrows from hi-fi and lo-fi. It's a natural progression from their debut, Vivadixiesubmarinetransmissionplot , which introduced Sparklehorse 's refreshing mix of classic songwriting and sonic experimentation Good Morning Spider adds bubbling synths, ambient electronics, horns and drum loops to the mix, giving songs like "Painbirds" an unclassifiable -- but distinctively Sparklehorse -- blend of darkness and childlike innocence. From driving, punky songs like "Pig" and "Cruel Sun," to frail, winding ballads such as "Saint Mary" and "Come On In," to the experimental pop of "Ghost of His Smile" and "Sunshine," the album encompasses a rainbow of sounds and emotions but never loses focus. (AMG)
Broadcasted live on BBC TV .Primal Scream were a late addition to the bill .The audience got a lot more than they bargained for . On this form There's no better Band, in Britain then or right now .
1.Intro (Come Together ) 2.Accelerator 3.Miss Lucifer 4. Rise 5. Suicide Sally & Johnny Guitar 6.Kill all hippies 7.Detroit 8.Jailbird 9. City (false start) 10.City 11.Rocks 12.Kowalski 13.Swastika eyes 14.Movin´on up 15.Do you wanna hear some the Stone Roses....
Great compilation. Twenty years of post garage 'nuggets'.
' Music journalist Greg Shaw formed Bomp ! in 1974 as
a platform for rock acts residing below the major label radar. The
result was nothing short of a rallying cry from a thousand garages,
bedrooms and basements; an euphoric burst of '50s rock, '60s
psychedelia, '70s punk and (eventually) '80s college fare that Shaw
branded "power-pop" '
1. You Tore Me Down - The Flamin' Groovies 2. Love of the Loved - Poppees 3. Jingle, Jangle 4. I.R.T. - Snatch 5. Busy Man - DMZ 6. I Got a Right - Iggy & the Stooges 7. Don't Push Me Around - The Zeros 8. Life of Crime - The Weirdos 9. Okay - Shoes 10. Giving It All - 20, 20/20 11. You're for Me - Singles 12. Running Away - The Romantics 13. Walking Out on Love - The Breakaways, Paul Collins 14. Just What I Need - Nikki & the Corvettes 15. Little G.T.O. 16. She Don't Know Why I'm Here - The Last 17. I Can Never Tell - The Crawdaddys 18. Last Year - Stiv Bators 19. Hindu Gods (Of Love) - Lipstick Killers 20. Left in the Dark - Vertebrats 21. She Cracked - Modern Lovers 22. Pull My Train - The Unknowns 23. Million Miles Away - The Plimsouls 24. Johnny, Are You Queer? - Josie Cotton 25. Frogs - Toy Love
1. Surfers Are Back - The Barracudas 2. Rumble at Waikki - Jon & the Nightriders 3. Intro '66 - Zebra Stripes 4. She's Not Mine - Mystery Machine 5. Hot Generation - The Pandoras 6. It's Just a Matter of Time - Tell-Tale Hearts 7. Stoneage Stomp - Gravedigger Five 8. Already Gone - Miracle Workers 9. Can't You Do Anything Right? - Lazy Cowgirls 10. Lick It - Dwarves 11. HOD - Distorted Pony 12. Everytime - The Things 13. With You Again 14. Tourists from Timenotyet - Steppes 15. Arnold Layne 16. Walking in the Rain - The Green Pajamas 17. Love Is Blue - Hangman's Beautiful Daughter 18. Singer Not the Song - Patti Palladin 19. Honey - Spacemen 3 20. Salvation - Sacred Miracle Cave 21. How Bread Is Made 22. Fantasy of Folk - Blair 1523 23. Evergreen - The Brian Jonestown Massacre
Monks, for those who don't know (get hipper) were a band active in the mid 60s. They were a bunch of soldiers stationed in Germany who left to pursue a career in music. They were originally The Troquays until, under the advise of some arty new German managers, they transformed into the Monks. They were apparently ear-shatteringly loud live and would be constantly seen in their Monks gear offstage as well as on. Most of the audience would react in a typically disgusted fashion as should have been expected with song titles such as "I Hate You" (well yeah I hate you with a passion baby / but call me) and "Shut Up" (got a reason to laugh / got a reason to cry / believing you're wise / and being so dumb / SHUT UP, DON'T CRY!). They broke up after just one album and a few singles, and each band member went back to the United States and began living regular lives. Really though, you should know this, because after so many years in cultish obscurity, the Monks seem to be getting their dues at last, excellent reissues, a book, also a very good DVD to their name. It's Monk time indeed. "Complication" was the only single released from Black Monk Time, the groups only proper album. It's a startling listen, from it's filthy sounding distorted guitar intro to it's pounding rhythm, but what always grabs my attention in this song are the vocals, or at least the way the vocals spit out the words - people cry / people DIE for you / people kill / people WILL for you / people run / ain't it FUN for you? / people go / for their DEATHS for you. On paper (and maybe even when you hear it) it's nothing particularly new or orginal, until you think about the fact it's from the early to mid 60s, before psychedelia and way before punk rock, and also the fact that these people used to be soldiers. The chorus' lyrics (complication / complication / complication / CONSTIPATION!) show that even though they're deadly serious about how fucked up the idea of war and soldiers and people at the top giving orders and everything else is, they know that they can't really do much about it, so they have a laugh about it instead. "Oh, How To Do Now" also features on Black Monk Time (the track before "Complication" oddly enough) and doesn't have quite the big ideas that the A-side has. That's okay though, because it is one hell of a groove, one of the Monks finest I'd say. It's a song about trying to get a girl, but doesn't go about it in a similar way that other songs of the same topic do. Monks have no manners it seems, they don't even try complimenting the girl, to get her attention it's - well I've been waiting a long long long time, he doesn't want her, he wants a girl, and she's at the right place at the right time. Does she react positively? We never find out, though the song is called "Oh, How To Do Now", maybe it's a guide on what to say to a woman if you want to take her home. Try it out, and see if you get slapped. (Judas Springsteen)
A Side Complication B Side Oh , How To Do Now link
'Acid Eater' is the follow to 'Shiny Crystal Planet', (already posted ) .. This interesting review is borrowed from the 'Japanese Times'.....
Before you listen to "Acid Eater," you might want to gather a few fetish items; this experience is worth externalizing. Start with a surfboard, a spacesuit and a videocassette of Barbarella. The world of "Acid Eater" was imagined by the refreshingly warped minds of Christine 23 Onna. This Osaka-based duo features Fusao Toda on electric guitar and Maso Yamazaki on drum programming, analog synthesizers and an echo machine. They refer to themselves as a "space mondo psychedelic group." Toda is best-known for her work with the all-female psychedelic rock band Angel in Heavy Syrup, which has opened for such space-psychedelic heavyweights as Hawkwind and Gong. Yamazaki is a major figure in Japan's noise scene, and counts Beck and Sonic Youth among his many fans. He first became known around 1987 in Osaka, from where he built his reputation, as the one-man show of Masonna, a bizarre distillation of grind-core, death metal, '60s psychedelia and serious electronics. Starting in 1991, Masonna found its expression in intensely violent gigs during which Yamazaki invariably inflicted "damage to both equipment and flesh." Apparently, performances were regularly curtailed minutes after they began. Judging from the music on "Acid Eater," Toda's feminine, socializing influence on Yamazaki is a step in a positive direction. Much of the music is framed by Toda's simple guitar patterns and has a steady beat, while sometimes betraying a wholly appropriate surf influence. Tunes such as "Top of Spot" and "Wild Private" follow a direct, bouncing line and are eminently danceable. Fear not, the album also retains elements of Yamazaki's dark inner universe. "Acid Now" and the title track are given over entirely to this realm. Those dark patches aside, though, one imagines Yamazaki now happily interacting with his audience rather than hurling synthesizers. If the atmospheric alterations of "Acid Eater" do indeed require us to don spacesuits and pack our laser guns, navigating the terrain is fairly easy and quite pleasurable...
Spunkis a bootleg album comprising of demos recorded with Dave Goodman during 1976 - 1977 . Glen Matlock was still in the group . Spunk appeared in October 1977 . A couple of months before 'Never Mind the Bollocks,Here's The Sex Pistols ' hit the shops . Nearly all the songs were re-recorded for 'Never Mind The Bollocks .Malcolm McClaren's company Glitterbest were in possession of the Spunkrecordings .This version hasthree bonus tracks added on at the end including the complete version of The Stooges 'No Fun'.
Johnny Rotten - lead vocals Steve Jones- guitar, backing vocals Glen Matlock- bass, backing vocals Paul Cook - drums, backing vocals
1. Lazy Sod (Seventeen) 2. Satellite 3. Feelings" (No Feelings) 4. Just Me (I Wanna Be Me) 5. Submission 6. Nookie (Anarchy in the UK) 7. No Future (God Save the Queen) 8.Problems 9. Lots of Fun (Pretty Vacant) 10. Liar 11. Who Was It (EMI) 12. York (Looking for a Kiss)
Tracks 1-5 recorded at the group's Denmark Street rehearsal room (mixed & overdubbed at Riverside/Decibel Studios), London, 13-30 July 1976. Track 6 recorded at Lansdowne/Wessex Studios, London, 10-12 October 1976. Tracks 7 - 12 recorded at Gooseberry/Eden Studios, London, 17-28 January 1977.
13. Anarchy in the UK (Denmark Street Demo July 76 )
The Ruts were one of the most exciting bands to emerge from the second wave of punk . By the time the debut album 'The Crack' had come out . They had two top twenty hits under their belts. . The band was cut short when singer Malcolm Owen died from a heroin overdose . The remaining members continued renamed as the 'Ruts DC' . Pioneers of the punky- reggae sound Ruts DC make a killer dub album . Recorded in the UK . Mad Professor creates a dynamic atmospheric sound . Heavy bass lines and echo drenched vocals could have easily emerged from Tubby's .
1. Whatever We Do 2. Militant 3. Push Yourself - Make It Work 4. Rhythm Collision 5. Accusation 6. Pleasures of the Dance 7. Weak Heart Dub 8. Love and Fire
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