February 2007

Saturday, February 24, 2007

Red Temple Spirits - 1989 - If Tomorrow I Were Leaving for Lhasa, I Wouldn't stay a Minute More

1. City of Millions
2. Soft Machine
3. Dive In Deep
4. Alice
5. Wild Hills
6. A Black Rain
7. Meltdown
8. Confusion
9. Rasinbowsend
10. Set The Controls for the Heart of the Sun

Los Angeles quartet Red Temple Spirits skillfully mix post-punk influences - mid-period Cure, Savage Republic, early (Death) Cult - with a loving dose of lysergic psychedelia (Syd Barrett and Roky Erickson are particular touchstones). Bassist Dino Paredes and guitarist Dallas Taylor coax entrancing drones and pulses from thier instruments with judicious uses of echoe and other effects, while shamanistic frontman William Faircloth (a colorful immigrant from Britain's original '60s psychedelic movement) delves into mysticism (Native American on the first album, Tibetan on the second) with a grace and passion rarely seen before.

Dancing to Restore an Eclipsed Moon is an astonishing debut. The luxurios packaging (doubleLP/single CD) mirrors the care put into the music, which tastefully incorporates flutes, bells, natural sounds (water, birds) to create a heady atmosphere of ritualistic ecstasy. Short catchy compositions like 'Dark Spirits' and 'Dreamings Ending' alternate with several long and complex pieces.

The follow-up album is far more direct, both in the melodic music and the lyrics, which turn towards external/environmental stimuli. As crystallized by the gorgeous 'Dive In Deep' and an incandescent cover of Pink Floyd's 'Set the Controls for the Heart of the Sun,' the theme of hope for the magic and beauty of life in the face of despair remains. Prior to the Spirits, Faircloth lent his vocal ululations to the similarly psychedelic Ministry of Love, a trio that included guitar wiz Mark Nine. Although lacking the Red Temple Spirits' brilliant chemistry, there are some great moments on the five-track EP, including 'Living in the Moment' (a showcase for Nine's e-bow mastery) and Faircloth's touching ballad, 'You're Not On Your Own'

*(The Above Text is taken from the Trouser Press guide to records, written by Greg Fasolino)

Download Link :

http://rapidshare.com/files/18121878/RTS.rar

Monday, February 19, 2007

Radio Birdman - 1978 - Radios Appear + Burn my Eye EP

http://www.megaupload.com/?d=FYE5UD6X

Some Aussie punk for you guys...some of their tracks have a surf feel and they do a cover of the 13th Floor Elevators' song 'You're Gonna Miss Me'!

After the release of their debut LP, Radios Appear (the title comes from a lyric in the Blue Öyster Cult song "Dominance and Submission"), in Australia a year later, Radio Birdman seemed poised to break Aussie punk worldwide. And although the American label Sire (then the home of the Ramones) was quick to sign them and distribute Radios Appear internationally in 1978, there was a gap of three years before they released a second album, Living Eyes. During that time, dozens of other Aussie punk bands stole their thunder, and Radio Birdman split up almost immediately after Living Eyes was released. Sire never released the record outside of Australia, and Radio Birdman, who should have been the biggest band in Aussie punk, was now a highly regarded punk forefather.

Tuesday, February 13, 2007

Thin White Rope

Thin White Rope - 1990 - Sack Full Of Silver

1 Hidden Lands (3:04)
2 Sack Full of Silver (2:13)
3 Yoo Doo Right (6:04)
4 Napkin Song (1:31)
5 Americana/The Ghost (4:34)
6 Whirling Dervish (3:43)
7 Triangle (5:39)
8 Diesel Man (4:42)
9 On the Floe (3:43)
10 On the Floe (4:51)

Sack Full of Silver is, in many ways, one of Thin White Rope's most fully realized sets, blending the group's early alt-psychedelic influences and a growing taste for dusty Americana flavors. Having completed a 16-date tour of the Soviet Union, the group collected covers of Marty Robbins, Lee Hazlewood, and others for the Red Sun EP, followed shortly by this batch of originals penned during the trip overseas. Like all Thin White Rope releases, Sack Full of Silver is defined by the voice of Guy Kyser: the aural equivalent of the flat, parched, endless landscape his characters seem to inhabit. Sobering realizations, like dead ends, await them around every corner. In an environment where failure, desperation, and hopelessness are common currency, adding up one's losses and moving on feels like a great victory. It's clearly no easy task. "The Ghost" catches its subject in the moment before that turning point, looking ahead as a life of loss begins to flood in.

Emerging out of the final chords of "Americana" and "Desert Rock" it rises from the sound of wind-swept sand to a triumphant anthem in the mold of an old folk song. Revealing that they are working within a wider frame of reference, the group adapt Can's "Yoo Doo Right," distilling the original's 20 minutes into a compact, bursting rock number. Though the gray area in between these two styles produces less memorable results, Thin White Rope's brand of American roots has aged more gracefully than the work of some of their contemporaries. Sack Full of Silver remains as fine an introduction to Kyser's vision as any. ~ Nathan Bush, All Music Guide


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Thin White Rope - 1985 - Exploring The Axis

1. Down In The Desert
2. Disney Girl
3. Soundtrack
4. Lithium
5. Dead Grammas On A Train
6. Three Song, The
7. Eleven
8. Atomic Imagery
9. Real West, The
10. Exploring The Axis
11. Macy's Window
12. Rocket USA - (live)
13. Roger's Tongue

Review by Nathan Bush

Hailing from the northern California town of Davis, Thin White Rope was initially pegged as a proponent of the paisley underground movement. Such labeling, however, tells half the story at best. The list of bands the group went on to cover over the course of their ten-year career is actually more revealing. Songs by Suicide, the Stooges, Lee Hazlewood, Marty Robbins, Bob Dylan, Can, and a James Bond theme have all been rendered by the band in the studio and on-stage. That list goes a long way in explaining the mixture of raw, angular riffs, southern twang, and icy psychedelia that characterizes Exploring the Axis, the group's 1985 debut. What it does not convey, perhaps, is the relative bleakness of Thin White Rope's music.

Frontman Guy Kyser, guitarist Roger Kunkel, bassist Stephen Tesluk, and drummer Jozef Becker outline a series of barren landscapes, their instruments kicking up clouds of dust from the parched earth like a rollicking, rickety ghost-train headed south. At times Jeff Eyrich's productions approach the wintry heir of Martin Hannett's work with Joy Division. This climate is ideal for Kyser, who delivers tales of isolation, allusion, and death; his voice a perpetually unsteady quake.

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Monday, February 12, 2007

The Punks - 2005 - The Punks

The Punks - The Punks (80 MB)
Rave-Up Records
2005

1. My Time's Coming
2. Chains Of Madness
3. Darker Side
4. Drop Dead
5. Rocks Funeral
6. No Mercy
7. Drug Fueled Accident
8. Sinister Boy
9. Quick One


The Punks!!!! Ahhh, another long forgotten badass 1970's RnR band, this time from Detroit, Michigan. Heavily influenced by artists such as Iggy & The Stooges, MC5, & Blue Cheer. This is the 2005 reissue version put out by Italian label Rave-Up Records, (currently sold out and out of print) possibly the finest label still releasing records by relatively obscure and classic RnR/Garage/Punk/Glam bands.

Singer Frantic of The Punks

This is what Matt Gimmick had to say in October 2001 about The Punks, featured on the Motor City Music website (they also issued a Punks CD a few years ago, titled The Most Powerful Music On Earth, which more or less contains the same songs on this release, plus a few live versions):

"This Volume I collection of songs was recorded between 1975 and 1977. These tracks aren't from some slick dressed commercial over-rehearsed band of rock star wanna-be's. They were culled from a live performance, rehearsals and low buck studio recordings. It's High Energy - and best described by the word "raunch." If it were to be categorized, this CD should be filed under the Listen Loud section.

There were bands The Punks enjoyed listening to and seeing; groups such as The Underdogs, Unrelated Segments, Velvet Underground, MC5, The Stooges, SRC, early Alice Cooper, and Blue Cheer - the list goes on and on. This CD represents their answer and contribution to the demise of the late great 60's era, especially in and around the Metro Detroit area. After 1970 or so, the Detroit scene died, so the punks geared up and decided to make their own noise.

The studio tracks were preparation recordings for an anticipated recording contract with a major label that didn't materialize. "My Time's Comin', "Drop Dead" (a song about feeling good) and "Sinister Bly" were recorded at The Punks' Saline headquarters in Waterford, Michigan. "Chains of Madness," a song about being possessed, and "Drug Related Incident" were recorded at League G studios, utilizing old Motown Records recording equipment. Includes as well "Darker Side," "Rocks Funeral," and "No Mercy (For The Damned)" - a title and song for a follow-up to the Dirty Dozen movie, and "Quick One," about... well, you know! The two live cuts were from the infamous IAC Club in Pontiac, Michigan. These shows were crazy. The audiences were usually drunk, drugged up and rowdy as hell. The late great Lester Bangs of CREEM Magazine would show up with friends to rejuvenate his senses and fill his need for some loud train-wreck type rock'n'roll. "On The Bum," a tune about being a poor rock musician during the disco period, and "Always Had This Problem," - not really an upbeat outlook on life - are two cuts from a show in 1976. Plans are to release more live material on a second volume in the near future.

To witness The Punks doing it live was like a preparation for a major hangover the next morning. There was no enthusiastic jumping around by guitarists Steve Rockey, Alan Webber or bassist Rod McMahon. Lead singer "Frantic", a/k/a William Kuchon, took care of the craziness. Frantic had more energy than a kid on speed, and enjoyed working it out while drummer Craigstone J. Webshire III was content to shred drumsticks the size of logs in the pursuit of annihilating his drum kit. It was loud and aggressive music, fast and rockin', at times slow and heavy with nontraditional guitar interactions of feedback/wah wah/distortion mixed with driving bass runs and an atomic bomb relentless backbeat. Add Frantic's stage presence - a smiling defiant singer with a dislike of the wimpy mainstream acts of the day coupled with a stance on stage that projected a "Hey! Let's get crazy, let's go over the top because there ain't no rules" attitude. Frantic believed he was just a voice cryin' in the wilderness, and he stood proud with an obnoxious-repetitious-ear splitting band of brothers behind him that loved to crank it up. It was destruction volume and energy - not so clean, nice or politically correct in any way, shape, form or fashion. At the time there was no media-coined "punk rock." There were no safety-pinned spike-haired, hey-look-at-me-I'm-tougher-than-you fashion hounds. There was just this band called The Punks, who had no delusional ideas of who they were or what they were trying to accomplish. So sit back, crank it up, and enjoy."

You heard what the man said; Sit back, crank it up, and enjoy!

Wednesday, February 7, 2007

Sunnyboys - This Is Real (Singles/Live/Rare)

CD 1 Studio Side: Singles A&B, Rare and Unreleased

Love to Rule/Stop & Think /To the Bone /The Seeker/What You Need/Tomorrow Will Be Fine /Happy Man /Alone With You /Guts of Iron/Physical Jerk /My Only Friend /Tell Me What You Say/You Need A Friend/No Love Around/This Is Real /Pain/Show Me Some Discipline/Love in A Box/Comes As No Surprise /Bottom Of My Heart /You Need A Friend

CD 2: Live 1981 - 1982

Collectively recorded at the Governors Pleasure, The Rocks, Sydney, January 1981; Bombay Rock, Melbourne, February 1981; Myer Music Bowl, Melbourne, January 1982 and the Family Inn, Rydalmere, Sydney, February 1982.

Why Do I Cry/Guts Of Iron /Love to Rule /Strategy Idol /Tomorrow Will Be Fine /My Only Friend /Alone With You/What You Need /I'm Shakin'/Tunnel Of Love/I Don't Want You /Happy Man /I Can't Talk to You /The Seeker /I Want to Be Alone /Let You Go /Thrill /I'm No Satisfied /Trouble in My Brain /You Need A Friend /Happy Birthday

Sydney band The Sunnyboys remain one of the most highly regarded and best-loved bands of the Australian 'post-punk' era. Fronted by the enigmatic and youthful singer/songwriter cum guitarist Jeremy Oxley, the band breathed some freshness and vitality into the Sydney music scene in the early 80s. Essentially The Sunnyboys wore their influences on their sleeve; The Remains, The Flamin' Groovies, The Kinks and The Beatles with a dash of Detroit muscle thrown in for good measure. They produced melodic power pop classics.The Sunnyboys announced their break-up in June 1984.

A MUST HAVE !!!

Download Links :
http://rapidshare.com/files/15272649/sunnyboys_studio_1.rar
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http://rapidshare.com/files/15261379/sunnyboys_studio_2.rar
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http://rapidshare.com/files/15281772/sunnyboys_live_1.rar
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http://rapidshare.com/files/15241859/sunnyboys_live_2.rar
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Thursday, February 1, 2007

Brainbombs - 2000 - Singles Compilation [Sweden]

Brainbombs - 2000 - Singles Compilation [Sweden]

01 - Jack the Ripper Lover

02 - No End

03 - Anne Frank

04 - No Guilt

05 - No Place

06 - No Guilt

07 - Wishing a Slow Death

08 - Stacy

09 - It's a Burning Hell

10 - Second Coming

11 - Psychout Crash Kid

12 - I Detta Satans Rum

The Brainbombs are Swedish, but anyone expecting cute, natty garage rockers like the Hives or psychedelic vikings like the Soundtrack of Our Lives should immediately recalibrate their heads. Imagine early Throbbing Gristle's sociopathic obsessions with rape and murder (minus the performance-art pretensions) mixed with the willful amateurism of Half Japanese, and that's still only the half of it. The creepy thing about the Brainbombs is that unlike, say, G.G. Allin, who was clearly simply unhinged, this lot explores its seedy obsessions with a detached, almost offhand quality that makes the snuff-film fantasies of songs like "No End" that much ickier. Musically, these 12 songs are an intriguing blend of proto-punk stomp and arty explorations (think of pre-Pere Ubu art-punk weirdos like the Electric Eels), but the lyrics will be a dealbreaker for many.

[info: allmusic.com]