Fantastic L.P. The London mod revivalist band released several singles but just one album before disbanding in 1981.
DOWNLOAD: http://depositfiles.com/files/b2rdxo1aa
суббота, 2 мая 2009 г.
DMZ - When I Get Off (1976-77)
Classic Garage Rock US
DMZ was a first-wave punk band from Boston, Massachusetts, strongly influenced by 1960s garage rock. In early 1976, Jeff Conolly (sometimes credited as J. Connally, a.k.a. Mono Mann, Monoman, etc.) stole the lead vocalist position in the nascent band by out-performing their singer at one of the band's practices.[1] Along with his vocals he brought two things the band lacked: keyboards (an electric piano) and original songs.
Just over one year later, in April 1977, the band went into the recording studio with Craig Leon (who had produced the Ramones first album). Four songs from that session were released by Bomp! on a 7" vinyl EP. DMZ was signed by Sire Records and went to New York to record their debut album, produced by Flo & Eddie. It was released in 1978 without much success and by the end of the year the group had splintered. Guitarists J. J. Rassler and Preston Wayne left to start the Odds, and Conolly, bassist Rick Coraccio and drummer Paul Murphy formed Lyres.
DMZ has re-formed periodically; a 1993 set appears on the Live at the Rat album.
Early drummer David Robinson (who had previously been in The Modern Lovers) left DMZ to join The Cars.
Before Jeff "Monoman" Connolly formed Boston's seminal garage rock terrorists the Lyres, he was in a late-'70s prototype known as DMZ. With the exception of a few musicians, DMZ and the Lyres were essentially same-sounding bands; DMZ just played with a little more speed and punk verve. Oddly enough, during the late-'70s signing frenzy of any band even remotely associated with the punk scenes in Boston and New York City, DMZ got a shot with Sire Records. The label, exhibiting near-total artistic myopia, teamed the band up with goofball has-beens Flo and Eddie as producers. While the resulting record was panned, it's far from a disaster, due mainly to DMZ's ferocity and trashy ebullience. Fans of mid-'60s rock such as the Seeds, ? and the Mysterians, and the Kinks, and who have an unending jones for speedy trash-rock and whiny Farfisa organs, will love DMZ.
01. Busy Man (DMZ EP (1977)
02. Can't Stand the Pain (orig. recorded by the Pretty Things)
03. You're Gonna Miss Me (originally recorded by the 13th Floor Elevators) (DMZ EP (1977)
04. When I Get Off (DMZ EP (1977)
05. Do Not Enter
06. Guilty Child
07. Shirt Loop
08. Lift up Your Hood (DMZ EP (1977)
09. Barracuda (orig. recorded by The Standells)
10. Comin' After Me
11. Bloody Englishmen
12. First Time
13. Oedipus Show
14. Rosalyn (orig. recorded by The Pretty Things)
15. Might He I.D.
16. From Home
17. Are You Gonna Be There
18. Pretty Girl
DOWNLOAD: http://depositfiles.com/files/fv1qopy7h
Simply Saucer - Cyborgs Revisited (1974)
Very rare proto-punk/space/psych-punk album. Like Hawkwind, Velvet Underground & New York Dolls all together in space trip!!!
DOWNLOAD: http://depositfiles.com/files/w61z4l9z0
Death - For The Whole World To See (1975)
Rare US Punkrock
So of course lots of reviews are going to compare this band to early Bad Brains. Besides the fact that they are all African-American, I don't think that is completely accurate. It's not proto-hardcore here...it's more proto-punk and more on, just straight, brutal Detroit punk rock here.
Songs 6 & 7 feature some of the same vocal peculiarities that the Bad Brains had but this is still 16th note, closed hi-hat punk rock and NOT hardcore ala Middle Class, Discharge, Bad Brains, Minor Threat, Die Kreuzen, etc.
These 1975 sessions were cut at the same time the Ramones were cutting their demos in NYC. Totally mindblowing, fast punk here. Hard to believe it was recorded in '75.
If you like Ramones, Johnny Thunders, Dead Boys, Mitch Ryder, Stooges, MC5's 2nd LP, Chuck Berry, Bad Brains' "Black Dots," and a million more things. These 7 songs coming out of the blue like this are truly one of the most historic discoveries of the punk / psych / post-punk / KBD -era to have ever been found.
Every time a reissue of a remarkable, lost record comes out, it’s difficult to resist the temptation to compile an amazed laundry-list of bands it mysteriously prefigures. Death’s …For the Whole World to See provokes such a response. Some licks sound like Husker Du. Some quivery vocals evoke H.R. of Bad Brains.
But better, perhaps, to view Death’s seven-song oeuvre as the logical bridging of a lacuna rather than a before-its-time aberration. Of course it makes sense that, in mid-’70s Detroit, three black brothers (Dannis, Bobby and David Hackney) might have gotten as into the Stooges and MC5 as into Funkadelic, that they might have synthesized the sounds of FM rock radio just as their white peers ransacked soul and funk. The Hackneys released a single, recorded and shelved an album, and then moved to Vermont with their family. They morphed into a reggae band. Time passed. The EP slowly acquired a cult record-collector following. Tapes were unearthed, and here we are.
Death’s music falls somewhere between ’70s hard rock and the more stripped-down, straightforward garage rock one might deem proto-punk. Obviously influenced by Cream and the Jimi Hendrix Experience, most of their songs span multiple parts and time signatures. “Let the World Turn” even features a drum solo. With the exception of that song, a reverby slow-jam, the album stays uptempo. It’s replete with wonderful, memorable moments, like “Freakin’ Out,” which mixes a classic-sounding garage riff with an unexpected chorus that sharply repeats the title phrase over a snare beat. “Rock-N-Roll Victim” avoids hard-rock clichй by augmenting the drums with handclaps.
There’s not a bad song in the bunch, but the songs from Death’s only official release are the clear highlights on …For the Whole World to See. “Keep On Knocking” is a simple, catchy rock song that gets all the elements right, particularly Bobby Hackney’s urgent vocals and David’s spot-on guitar solo. “Politicians In My Eyes,” the EP’s A-side, is masterful. Form meets content as Bobby alternately spits out and wails lyrics decrying hypocritical politicians. David’s guitars and Dannis’ drums, similarly, sound angry, accusatory. Fiercely energetic, it sounds so rooted in such a particular time and place that it has a kind of canonical familiarity, like something that’s been played on the radio for years.
01. Keep On Knocking 2:50
02. Rock-N-Roll Victim 2:41
03. Let The World Turn 5:56
04. You're A Prisoner 2:24
05. Freakin Out 2:48
06. Where Do We Go From Here??? 3:50
07. Politicians In My Eyes 5:50
DOWNLOAD: http://depositfiles.com/files/zwowswzq5
Size: 51.5 MB
Bitrate: 256mp3
Artwork Included
Подписаться на:
Сообщения (Atom)