Stricher - Stricher (1982)

Only album by this german post-punk band on Rio Reiser's label David Volksmund Produktionen (which released especially in the early 80s some good bands/records).

Stricher were founded in Berlin by Helmut Schweiker, Jan Selber, Jochen Hansen, Maike Christiansen and Siewert Johannsen and their record was produced by Rio Reiser. The LP is extremely hard to find and is nowadays a little expensive when you hold it in your hands. Musically, the band offers a consistantly good mix between punk, new wave and dark rock. It is the healthy mix of melancholic songs and hard numbers without being monotonous. Really a great record.

http://depositfiles.com/files/wotxg4sz5

Zatopek - Zatopek (1983)

NDW band Zatopek one and only LP released in 1983. Jazz-funk-ska new wave

http://depositfiles.com/files/l02s6wdq6

Neonbabies - 1983 (1983)

Third and last LP by NDW band Neonbabies. More pop material here.

http://depositfiles.com/files/r4n5l904x

Neonbabies - Harmlos (1982)

Second LP by NDW band Neonbabies

http://depositfiles.com/files/ekyuqtjbg

Neonbabies - Neonbabies (1981)

Neue Deutsche Welle Neonbabies debut LP.

http://depositfiles.com/files/kin63k5na

Robin Lane and The Chartbusters - S/T (1980)

     Even if Robin Lane & the Chartbusters' self-titled 1980 debut album didn't quite meet the expectations of the band and their rabid Boston following, it did capture their blend of new wave pop with dynamic folk-rockish guitar lines for the first time on a widely distributed national release. At the fore were singer-songwriter Lane's own husky vocals, delivering songs that for all their melodic hooks were tinged with far greater darkness and ambivalence than most pop-rock of the time, new wave or otherwise.

   Although Robin Lane & the Chartbusters was Lane's first album, she had actually been active as a singer-songwriter for about a decade. Back in 1969 she had sung backup vocals on "Round and Round" on Neil Young's classic Everybody Knows This Is Nowhere. In the 1970s she left California to move East, and only a little prior to hooking up with the Chartbusters, she'd been playing far mellower, folk-rock-aligned singer-songwriter material. Those were the kinds of songs she was doing when she got a deal with Private Stock, Blondie's first label.

    Soon afterward, a newfound love for acts like Patti Smith, Television, the Clash, the Sex Pistols, Talking Heads, Tom Petty, Cheap Trick, and Dwight Twilley sent her own music into a much different path. Hanging out with Boston bands like the Real Kids and at the legendary local venue the Rat got her in touch with most of the musicians who would become the Chartbusters: guitarist-vocalists (and ex-Modern Lovers) Asa Brebner and Leroy Radcliffe, bassist-vocalist Scott Baerenwald, and drummer Tim Jackson. "I put this other band together and actually enticed them to be my bandmates, because I had this deal with Private Stock," remembers Lane. "And then about a month or two later, Private Stock folded. So I had my new band and new direction."

http://depositfiles.com/files/truzt978l

Family Fodder - All Styles (1983)

Family Fodder was less a band than a never-ending collective of musicians messing with tapes in the basement of a London flat...

In 1983, Pearce borrowed some of the band's record advance money from their new label, Fresh, to fund another project's tour. The resulting album, All Styles, came out of these diminished funds and was scratchy, ill planned, and home-recorded. It sold only about 100 copies when released.

A double album, "All styles", released in 1983, a record on which every song is meant to represent a particular musical style (progressive, folk, classic, funk, jazz, punk...) with a new sound (cleaner, with more synths), and Michel Legrand and Kurt Weill covers. Great work!

http://depositfiles.com/files/tnsui9g3h

Family Fodder - Monkey Banana Kitchen (1980)

UK avantgarde post punk band. Their music is fun feeded, at time intimate, crossover of acoustic and soft rock elements blending it all in mellow punk, illbient kind of new-wave with reggae style dubs of classical music with 'out there' french beat chants or etrange english chansons.

The Wire magazine listed "Monkey Banana Kitchen" among their "100 Records That Set The World On Fire (While No One Was Listening)" and wrote: "A loose collection of friends and, more often than not, wanderers, Family Fodder reached their apex (or at least one of them) with Monkey Banana Kitchen. The music took the ferocity of contemporaneous British punk and scaled it way back. They also eschewed the giant pop hook, replacing it with the hoop jumping of songs in three languages, instruments played for only four seconds, harmonic call-and-response motifs and opaque but symbolic political lyrics. Multiple reprises of phrases and fragments result in a much more subtle and effective memory-tickle. I can't count how many instruments finally made it onto the album, though piano (providing much of the rhythm), melodica, sax, synth and cowbell dominate. Their integrated eclecticism is actually layer after thin layer of dub, jazz and New Wave - peering down into this multi-ply music, you detect traces of structural complexity, and the pop that's there blurs. Lesson No 537 from Fodder members: participate only when absolutely necessary - knowing when to pare down makes it easier to transcend."

http://depositfiles.com/files/cj44aiznl

Experimental Products - Prototype (1982)

A two member synthesizer group founded in 1982 from Philadelphia Pa.
Founding members were Mark Wilde and Michael Gross.
It released self produced vinyl during the 80's playing with analog synthesizers and drum machine.

http://depositfiles.com/files/g7qjiupl2

Sue Saad &The Next - Sue Saad & The Next (1980)

Sue Saad and the Next was an American new wave band from Los Angeles, California. Its self-titled first album reached No. 131 in the US Billboard 200 in 1980. Although sometimes characterized as one hit wonders, the band achieved a cult following following their breakup in 1986. Sue Saad and the Next also provided part of the soundtracks for several films during the 1980s such as Roadie (1980), Looker (1981) and Radioactive Dreams (1985).

http://depositfiles.com/files/stfa9rmso

White Russia - Language And Noise (1982)

Noisy punk from Germany.

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The Shortwave Mystery - Signals From Afar 1983-1985 (compilation, 2011)

Recordings compilation of american minimal synth/darkwave band The Shortwave Mystery in the years 1983 - 1985.

http://depositfiles.com/files/4oo8ejn2a

Haustor - Haustor (1981)

Debut LP by croatian new wave rock band formed in 1979, active during the 1980s. Haustor released its self-titled debut album in 1981. All of the songs were written by either Sacher or Rundek. Sacher's reggae song "Moja prva ljubav" (My First Love) became a hit, and it still remains popular in the former Yugoslav countries.

http://depositfiles.com/files/sbau5x6ia

Pigbag - Dr Heckle And Mr Jive (1982)

Debut LP by english funky post-punk band Pigbag. The album consisted of eight instrumental tracks, and included the single, "Getting Up" (#61 U.K.). Pigbag disbanded in 1983 after five singles and three albums.

Simon Underwood, previously of The Pop Group was invited to join, along with his old friend and tenor sax player Ollie Moore. Simon's connections with manager Dick O'Dell landed their first gig, supportingThe Slits at Bristol's Romeo and Juliets. Based on the crowd's enthusiastic response to a 20 minute performance of their first song, O'Dell invited them to record the track for his label Y Records the very next day.

Their first single, "Papa's Got a Brand New Pigbag", was released in 1981 on Dick O'Dell's Y Records, taking inspiration for the title (if not the music) from James Brown's "Papa's Got A Brand New Bag". The instrumental release quickly became an underground dance hit, selling many thousands of copies and appearing high in the independent charts. Feeling that he had created and lost control of a 'monster' with too many egos to contend with, Hamlin abandoned the band.

April 1982 saw the release of their first album "Dr. Heckle & Mr Jive", which was massively successful topping the indie charts for several weeks. A major college tour followed in the spring which put a lot of stress on the band, particularly Roger Freeman. "Papa's" was re-released, receiving club play and making the

UK charts, peaking at number 3. The band also made two appearances on "Top of the Pops" on April 8th & 22nd. Freeman departed before the first (turning up later in Dr. Calculus).

http://depositfiles.com/files/cwv4h7t6z

The Headboys - The Headboys (1979)

The Headboys were a Scottish power pop act that scored minor chart success in 1979 with their excellent single, The Shape of Things to Come. The song was the first track on their debut and only LP, this self-titled release from the same year.
As a result of the success of the single, the band planned a U.S. tour and second LP, neither of which came to fruition.
While nothing on the record is quite as good as The Shape of Things to Come, there's plenty of other worthwhile tracks here such as the incredibly fun My Favourite D.J., the driving Changing With the Times and the delicate ballad Silver Lining.
Definitely worth a listen for any fan of late-70s power pop!

https://depositfiles.com/files/ti9ipdcjc

The Slits - Return Of The Giant Slits (1981)

Return of the Giant Slits is the second studio album by The Slits, released in 1981 by CBS Records on LP and cassette. In comparison with its widely acclaimed predecessor, Cut, released in 1979, it showcases a softer, more experimental sound, inspired by African music. Several months after its release The Slits disbanded.

The album was out of print for more than two decades until being reissued on CD by CBS Japan in 2004 and then by Blast First in 2007 with a bonus disc featuring alternate versions of songs from the album.

http://depositfiles.com/files/wwgdcays8

Numbers - Add Up (1979)

The Toronto based Numbers were a straight-up power pop quartet that released their one and only album, "Add Up" at the crest of that genre’s movement in the late-70s/early 80. Arguably, their moniker was accurate, in that their approach was pretty much by…well, the numbers. Not withstanding their lack of innovation, they delivered an excellent batch of tunes, with the emphasis particularly on the jagged lead-off cut, “Sideways Elevator,” which was also released as a single. Elsewhere on Add Up, The Numbers proved they could go head to head with such contemporaries as The Records and Plimsouls, evidenced by the sublime jangle of “Leave It To Me,” and “Can’t Take It.”

http://depositfiles.com/files/agst1iluw

The Swingers - Counting the Beat (1982)

Swingers formed after vocalist Phil Judd left Split Enz in the late '70s. Judd puttered about New Zealand with a punk band called Suburban Reptiles until they broke up. Taking the Reptiles' bassist and drummer, the trio became Swingers and in 1980 recorded their first single, "One Good Reason".

"Counting The Beat" it's Swingers debut album, "Practical Jokers", but retitled for the US/Canada and given new artwork and a different tracklisting/order.

http://depositfiles.com/files/8xkw08lav

Off Broadway

Off Broadway were a Chicago power pop band that signed with Atlantic Records in 1979 and had a minor radio hit with "Stay In Time." The band's debut album, On, almost cracked the Top 100, stalling at 101. It's a really good power pop record, Enuff Z'Nuff actually sound more like Off Broadway than Cheap Trick. The second single released from the album, "Bad Indication," was much better than the first single.
Off Broadway released a follow-up album, Quick Turns, on Atlantic Records in 1980 and continued touring for three years before breaking up in 1983.

Off Broadway - ON (1979)
Off Broadway - Quick Turns (1980)

Spherical Objects - Elliptical Optimism (1979)

Spherical Objects 'superior' second album. They must have shifted some units of the debut album, 'cus it sounds as if they went to a quality studio for this one. Whereas fellow Mancunian art-punks The Fall were sounding shitter in 1979, these boys went hi-fidelity, and even Disco(!) on a few of the tracks! Dunno if they were being ironic or not, if so its lost on me. That aside, this is a very inventive art-pop album in the Post Punk stylee.

http://depositfiles.com/files/irkjotegt

Spherical Objects - Past & Parcel (1978)

The Spherical Objects were one of those post punk groups formed by those leftie ex-student types in their mid-twenties, who were too old to be in a proper punk group like The Stranglers, who were Pub Rockers anyway.
They share much in common with The Desperate Bicycles, like a prominent organ, a singer with an awful bank manager tone to it, and made and financed their own records.
Object music was founded by singer and guitarist, Steve Solamar, and was responsible for many a great act to find its way onto vinyl for the first and last time.
The music is sort of a poor mans The Fall meets the Desperate Bicycles, and in accordance with the fashion of 1978, it was recorded and mixed in one day.

http://depositfiles.com/files/lsduqet9g

Alesia Cosmos

Experimental post-punk from France, founded in the early 1980's. A wide-ranging and experimental outfit, encompassing everything from pastiche pop to pure avant-garde, they made two albums.

Alesia Cosmos - Exclusivo! (1983)
Alesia Cosmos - Aéroproducts (1985)