Flys - Flys Own (1979)

Not aggressive enough for the punks, a tad too bratty to be suitably labeled "power pop," and hardly pedestrian enough for the pub circuit, The Flys may well have eluded categorization despite a relatively accessible sound.  Flys Own (perhaps intended to be read as Fly Zone?) was the second and parting LP from these Coventry, UK kids and a big, big improvement over their debut Waikiki Beach Refugees which I posted a couple months ago.

In addition to Flys Own abundant grit and nervy panache there's some fantastic songs to speak of - "16 Down," "Energy Boy," "When 2 and 5 Make 9," and "Night Creatures"  That last one I might add was covered as a b-side to Superchunk's seminal 1990 "Slack Motherfucker" 7" (and amazingly they seemed to have more fun with it than the Flys)!  There's a lot to love on this classy and often sassy affair, not terribly removed from say, The Rich Kids Ghosts of Princes in Towers from the same era, if that means anything to you.  Maybe it's just me but I'm sensing trace elements of Bowie too.  In all respects this platter is a gem.

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Flys - Waikiki Beach Refugees (1978)

From a cosmetic standpoint, it might be easy to mistake this vintage, Conventry, UK crew as just another punk aggregation (suppose it doesn't help when you're album is reissued on a label dubbed Captain Oi) but that would be more or less inaccurate.  The Flys skewed considerably towards the "proto-punk" environs of Richard Hell, and to a lesser extent the New York Dolls.  Coming up in the glut of similar minded bands in the UK punk free for all spanning 1976-78, few were paying attention to this band, and I'm sure to their dismay they're less spoken of now than they were back then.  Waikiki Beach Refugees is far from a desert island classic, so to speak, but it's nervier moments - "Fun City," "Saturday Sunrise" and "We Don't Mind the Rave," really deliver.  The Fly's second outing Flys Own is more impressive, and I'll attend to it in another post

The 2001 reissue of Waikiki tacks on eight bonus selections, mostly culled from singles.

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Wire - Silver/Lead (2017)

Silver/Lead is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it's about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk. Colin Newman and Matt Simms' guitar work is alternately jagged and luminous, while bassist Graham Lewis's ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it's how the various instruments mesh together that really counts. And Newman's production creates a sonic space in which even the smallest gesture is accorded some recognition. Highlights include the optimistic dazzle of 'Diamonds In Cups', with its almost T. Rex-style buzz and chug, and the moody swing of 'This Time'. Elsewhere on the musical spectrum, there's the menacing widescreen grandeur of 'Playing Harp for the Fishes' and breakneck-paced guitar pop of 'Short Elevated Period'. Wire are one of the world's most ground-breaking bands, their influence acknowledged by bands as diverse as Blur, Sonic Youth, R.E.M. and Savages. But they have never been interested in exploiting past glories. For Wire, there is only ever one possible direction: forwards. So it's perhaps not surprising that over recent years, they've played strings of sold-out shows, achieved career-best record sales, and been cited as a strong influence by yet another generation of bands. Wire's last three albums garnered nothing but rave reviews. From 2013's strangely beautiful Change Becomes Us ('It's fantastic.' Pitchfork) to the crackling motorik of 2015's Wire ('It's all really well turned, potent and crisp.' The Guardian), and last year's punchy mini-album Nocturnal Koreans ('It's a cracker and sounds defiantly modern.' The Quietus). Consequently, although it may be being released on the band's 40th anniversary, Silver/Lead is an album which has nothing to do with the past and everything to do with the future.

http://depositfiles.com/files/8oxqp00a5

Chrome - Techromancy (2017)

The legendary CHROME, led by longtime guitarist/vocalist Helios Creed, releases its 2017 full-length! 'Techromancy' brings back the driving rhythms and metallic riffs of the band's more rocking early '80s 'Red Exposure'-era.

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PIL - This Is Not A PiL Album (comp, 1984)

Here is a collection from an Australian boot that came out in 1984.

1 - Blue Water
2 - Where Are You?
3 - Mad Max
Tracks 1-3 were recorded at Pasadena Convention Center, USA, November 8th, 1982. Mad Max is an early version of Bad Life.
4 - Profile
Recorded at the Olympic Auditorium in L.A., May 4th, 1980. It's an early version of Home Is Where The Heart Is.
5 - Poptones
6 - Careering
Old Grey Whistle Test on February 12th, 1980. The OGWT recordings from this record were pretty shotty so I replaced them with better quality files of the same performance.
7 - Belsen Was A Gas
The Rainbow Theatre in Finsbury Park, London, 1978.
8 - Problems
From somewhere in Paris in '79.
9 - Another
Originally a B-side to the Memories single. This track was from the Sci-Fi Festival, Queen's Hall, Leeds, September 8th 1979.
10 - Pied Piper
London, '80. Pied Piper was originally on the comp. titled Machines.
I amplified most of these tracks on Audacity way beyond the recommended clipping levels because they were too muffled and quiet.

http://depositfiles.com/files/9zdpnqib9

Public Image Ltd. - Live @The Russell Club, Manchester, UK, 1979

One of the first gigs to feature a standing Jah wobble, arranged at short notice after appearing on Granada TV. Tony Wilson being the producer of the programme, and known to put on nights at the Russell Club, aka 'The Factory'; was asked by Lydon if  he 'still had that club of (his)', and they 'might as well do a gig then'!
Through word of mouth alone a decent crowd turned up, and A Certain ratio supported.
The 'new' drummer, referred to throughout the performance was one Richard Dudanski, late of the pub rock legends, the 101er's.
A good quality soundboard recording of a very rare PiL appearance in 1979.

Track listing:

1. Chant
2. Death Disco
3. Memories
4. Public Image  [False Start #1]
5. Public Image  [False Start #2]
6. Public Image
7. Annalisa
8. No Birds Do Sing

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STRAIGHT EIGHT - Shuffle'N'Cut (1980)

Here's now a great album by this awesome band from London and their music is quite brilliant. On this release are twelve powerpop gems which kicks the blues out of every depressive mind. Info from their MySpace site says: "Formed in early 1976, the band after gigging the UK pub rock circuit soon went on to being discovered and signed by Pete Townshend of WHO fame. He released the first album 'No Noise From Here' on his EEL PIE record label. Subsequently the band got picked up by Transatlantic Records (UK) and RCA in the States. Releasing 'Shuffle'N'Cut and then their 3rd album 'Straight To The Heart' in 1982. Unfortunately just as the band were due to begin a World Tour supporting The Who, drummer Keith Moon died and the rest is history. Line-up was Rick Cassman, Boot Kingsman, Steve Cherry and Rod Berriedale-Johnson. After a massive departure from the UK music scene, the band are busy arranging a best of compliation CD. Lead vocalist and main songwriter Rick Cassman has also been busy playing and producing in The Deputies and has also been involved with Twickenham's Club Acoustica. The Band recently got back together for a few numbers at Club Acoustica and enjoyed it so much they are planning an official reunion gig sometime in 2010 to celebrate their 30th aniversary!!" Great Band, Great Stuff, Great Record!!

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