Saturday, June 30, 2007

CRAZY LEGS: 3-Amazing albums from this brazilian rockabilly rockers..

CRAZY LEGS: Live to Win

"It all started in the early 90's, when I knew Sonny who was introduced to me by a friend. Both of us were looking for musicians to form a rockabilly band. Since that day, a great friendship and a history commenced. Then we formed a band called Outsiders with other friends which lasted until 1995. With that band, we got knowledge and experience about rockabilly, instruments and stuff. In 1996, we formed the rockabilly trio, Crazy Legs, that got the reputation of the finest Brazilian rockabilly act, performing in many clubs and rock festivals all over the country. The band changed the line up a few times over the years. In the summer of 2001 we released our debut CD, titled Off Society Rules under the independent label '13 Records'. This CD brought the opportunity of TV appearances, good reviews on rockabilly websites and the songs presented by radio shows and DJs. The band is full of energy, new projects and V8 power set list with red hot performances. The rest is pure ROCKABILLY!!!!"

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CRAZY LEGS: Off-Society Rules

1. Please please dad
2. 16 & pine
3. jack & his triumph
4. tainted love
5. dirty girl
6. take and give
7. leave me alone little baby
8. mostest girl
9. off society rules
10. rock boppin' baby
11. cause she's so fine
12. someday, someway
13. sole our situation

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CRAZY LEGS: Right on Time

1. intro/susane
2. love a holic
3. king of the road
4. bob pretty baby
5. all i want is to get drunk
6. love crazy baby
7. just say i do
8. move around
9. bad luck girl
10. i have to settle down
11. pretty pretty baby
12. girl on my mind
13. what a long week

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VOLEBEATS: (1995) Bittersweet (Ep)

A six-song EP, Bittersweet contains well-written and pleasing country/folk songs with Oakes and Smith's vocals delivering the same pure and unpretensious charm that made Up North such a great record. The arrangements are simple, but affecting; plus, you get a intriguing and darkly seductive cover of Barry White's "I'm Gonna Love You Just A Little More, Baby."by Jack Leaver, All Music Guide

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RICHARD HELL: (2002) Time

A born ad-man helped invent punk; our gain.
Richard Hell was bounced out of Television early on, which was best for both parties. His coarse yelps of teen poetry shared little with that great band's virtuosic guitar solos and pinpoint musicality. Rather, Hell's flair lied in sloganeering: "I'm a member of the blank generation!" "Love comes in spurts!" Surely, the world lost a fine ad-man when he turned to music. Like love, Hell's career is best surveyed in spurts, with his most interesting work spread across different bands and eras — hence this two-disc collection of studio work and bootlegs, including songs from the Voivoids, the Heartbreakers and Hell's infrequent modern-day excursions into Jay Ruttenberg

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VOLEBEATS: (1994) Up North

The Volebeats' Up North is a folky, country record that's inviting and likable in its simple and uncomplicated presentation. Songs of longing, such as "Back in Your Heart," are driven with the locomotive shuffle of brushes on a snare, and garnished with the lonesome cry of a lap steel or Matthew Smith's single tremolo lead guitar lines. But what really elevates this record is songwriting that is ripe with memorable melodic content and an acute sense of lyrical phrasing. Just as important is the way in which the two principle writers and singers Jeff Oakes and Smith work off of each other vocally. Whether in unison or tight harmony, together or in counterpart fashion, their voices, backed by the low-key instrumentation, create a mood that captivates and brings these deceptively simple songs to Jack Leaver, All Music Guide

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VOLEBEATS: (1997) Sky and The Ocean

Though previous releases certainly offered worthwhile pleasures, the Volebeats hit their songwriting stride with their third full-length, Sky and the Ocean, which has been cited as a treasure of bittersweet country music for people who don't particularly care for the genre. It's more old-school country-rock than alt-country, conjuring the reverb-heavy production values of the '60s while showcasing the group's straight-ahead arrangements and Motor City twang. Singer Jeff Oakes and lead guitarist Matthew Smith wrote most of the material, but guitarist Robert McCreedy seemed to bloom, contributing two of the album's strongest cuts: the celluloid Western atmospheres of the title track, and the prairie love croon "Two Seconds." The three harmonize their heartache over engaging, melancholy folk-rock jangles that strongly recall the Byrds, especially on "Somewhere in My Heart" — though the rockabilly verve of "Warm Weather" sounds closer to the country-rock efforts of ex-Monkee Mike Nesmith. The Volebeats would shift gears for their next album, the widely praised Solitude, leaving the peaceful, easy feeling of Sky and the Ocean and pointing their twanging reverb and lonesome melodies toward world music, surf and cinematic Tristram Lozaw

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VOLEBEATS: (1999) Solitude

Detroit's Volebeats specialize in a sort of classic pop (à la the Walker Brothers) form of north woods country music. Each record is a statement of bittersweet longing couched in lovely harmonies, ringing guitar waves, and bountiful tides of reverb. However, if not the "bitter" half of bittersweet, Solitude may at least be the road map toward the dark side of Middle America. The album is bookended by the instrumentals "Desert Song" and "Music Box" -- the latter an exercise in collapsing wide open spaces, the former a muslin-wrapped sepia-toned portrait of a Main Street dime store gone ghost town. In between, the Volebeats work in their familiar palette of dual vocals (the angelic twang of Jeff Oakes and the plaintive '60s-tinged croon of Matthew Smith, both in fine, subdued form here), echo chamber sonics worthy of any pipeline-riding surf outfit (but at quarter speed and recorded in the depths of February), and the muted wallop of Scott Michalski's drumming (itself a main character in many of the songs' casts of sounds). The Volebeats often border on bleak but never give in to the darkness, even when exploring the maddening inner dialogue of traitorous love lost, as on "Back in a Minute," amidst the backdrop of "cold nights and scattered stars." There's always the comfort in sadness. And, when the suburbs of Detroit with their bleak, seemingly interminable winters and endless, intertwining highways are the environment in which your psyche is formed and your songs are crafted, borderline bleak is totally honest. There are moments of instrumental joy here, or at least nods toward rocking out for fun and frolic -- such as the Link Wray-esque "Speed Boat." But on Solitude, the prevailing winds blow toward the kind of sentiments expressed on "Just as You Are Beautiful" -- unrequited love observed with painful detail. No depression? The Volebeats may have redefined the term with Chris Handyside, All Music Guide

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NINE INCH NAILS: (1992) Broken (Ep)

As a placeholder between the full-length Pretty Hate Machine and The Downward Spiral, Broken packs a serious punch. Angrier and less poppy than Machine, this EP is full of noisy hooks, if such a thing is possible (check out that guitar riff on the full-throttle "Wish"), and much closer aesthetically to the industrial subgenre that informs Trent Reznor's music. As song titles like "Help Me I Am in Hell" suggest, Broken is a work of undiluted rage, which is, of course, a big part of its appeal. --Genevieve Williams

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NINE INCH NAILS: (2002) And All That Could Have Been

The biggest difference between a kick-ass studio album and a kick-ass live album? Intensity. Live: And All That Could Have Been, recorded on Nine Inch Nails' 2000 "Fragility 2.0" U.S. tour, provides that trait in abundance. It helps that Trent Reznor has a band, instead of just a battery of keyboards, to help him work through 16 tracks of the raging yet surprisingly listenable musical vitriol that made him a star. The live musicians, who allow him some freedom to play with tempo, help kick "Closer" up a notch and lend some atmospheric weight to a slow version of "The Frail." The band rips into older material with gusto; Reznor sounds just as pissed off performing "Head Like a Hole" as he did in 1989. The CD closes with "Hurt," which might seem like an odd choice, but somehow, after everything that's come before, it's like the denouement of a tragedy. While a CD can only capture a piece of NIN's onstage energy, their first live album is an intense, sometimes overwhelming recording, further vindication of NIN's continuing popularity and influence. --Genevieve Williams

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NINE INCH NAILS: And All That Could Have Been CD 2

"And All That Could Have Been Cd 2" (also called the second half of HALO 17 as well as the term I will use, _Still_) contains everything that a Nine Inch Nails album should have: powerful songs, originality, emotional lyrics, and a feeling that Trent Reznor placed a piece of his soul into each track. What _Still_ lacks is the driving industrial sound that made NIN famous - this is replaced by notes from a grand piano and the occasional 80's keyboard. If you are only a fan of albums like The Downward Spiral and Pretty Hate Machine (both excellent albums, IMO), then _Still_ will not be a purchase you'll want to make. If, however, you are a fan that is open to many different musical experiences, this is DEFINITELY the album for you. Many of the songs are truly beautiful, while others are rendered in a unique way that will give longtime fans a different take on old favorites.
Track List:
1 - Something I Can Never Have
2 - Adrift and at Peace
3 - The Fragile
4 - The Becoming
5 - Gone, Still
6 - The Day the World Went Away
7 - And All That Could Have Been
8 - The Persistence of Loss
9 - Leaving Hope
The versions of "The Day the World Went Away and "And All That Could Have Been" are my favorites of any released versions to date, and well worth purchasing the album for. This rendition of "Something I Can Never Have" is also very good, and the take of "The Becoming" is... unique (I have very mixed feelings about it; liking it at some times, hating it at others). So, why only 4 stars? The sound levels are inconsistent - I've found myself having to turn up the volume on some songs considerably to hear them, while needing to turn it down on others. This, however, is a small complaint - the album is very much worth purchasing (and, as another reviewer pointed out, you can usually buy it on the NIN website if is out (so you don't have to resort to the obscene prices some of the resellers were charging).

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NINE INCH NAILS: We're in This Together

Nine Inch Nails (abbreviated as NIN) is an American industrial rock band formed in Cleveland, Ohio circa 1988 by Trent Reznor. As its main producer, singer, songwriter, and instrumentalist, Reznor is the only official member of Nine Inch Nails and remains solely responsible for the musical direction of the band. His lyrics are largely concerned with dark explorations of the self, and the time between major studio albums (bridged by releases of remixes and live albums) has been extended by Reznor's battles with personal issues. After recording a new album, Reznor usually assembles a live band to tour with him extensively; this live component is generally considered a separate entity from Nine Inch Nails in the recording studio. On stage, NIN employs spectacular visual elements, and the performances often culminate in the destruction of musical instruments.
NIN's music straddles a wide range of genres and techniques while retaining a characteristically intense sound. Underground music audiences warmly received the band's early activity, and Nine Inch Nails went on to produce several highly influential releases in the 1990s to international acclaim, including two Grammy Awards. Media coverage of NIN reached a peak in 1997, when Time magazine named Trent Reznor one of the 25 most influential people in America.

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Thursday, June 28, 2007

MEPHISKAPHELES: (1997) Maximum Perversion

Mephiskapheles was one of the best ska bands from the mid to late 90's. The singer and primary songwriter, the Grand Invidious, was perhaps old school ska's final, dying gasp. His music is such a complex combination of emotion and ideas; it really manages to capture an authentic flavor of intelligent, refined, subdued evil. His lyrics are usually very good but they can be pretty puerile at times; still, I find that they are often the perfect icing on the cake of a great ska tune and they are always kept within the theme of the band.
If you've never heard of these guys, give them a listen. They are one of the most overlooked ska bands in the history of the genre. I highly recommend this album as well as their other good album, God Bless Satan. Give Mightay Whitay a pass, as it's much lesser in quality.

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MEPHISKAPHELES: (1994) God Bless Satan

Mephiskapheles was a third wave ska band based in New York. Originally called "Skatterbrains," their later name is a portmanteau of "ska" and "Mephistopheles", of Goethe's Faust. As their name suggests, their lyrics are often playfully Satanic in nature. The band has since broken up. God Bless Satan was the debut album of third wave ska band Mephiskapheles, released in 1994. The album has ironically playful, satanic undertones.

1. "Mephiskapheles" – 4:57
2. "Satanic Debris" – 4:16
3. "Bad John" – 3:24
4. "Centre of the Earth" – 2:50
5. "Hard Times" – 3:24
6. "Doomsday" – 3:15
7. "Rank & File" – 2:05
8. "Eskamoes" – 4:01
9. "Saba" – 5:59
10. "The Ballad of Admiral Stockdale" – 2:40
11. "Danse Me Not" – 4:01
12. "Finnigan Froth" – 2:12
13. "The Bumble Bee Tuna Song" – 5:29

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THE METEORS: (1985) Psycho Down

"The last album by the undisputed kings of psycho!.. When I heard this I almost cried ubtil I heard the album..opening up with 'Halloween scream' - another Mikey Myers tribute.. manic guitar, frantic bass.. everything you've come to expect from the undead kings.. next we have 'King of the 'mutilators' with Paul letting us know 'who really wears the crown'.. now track three 'Crawling'.. first a slap bass..a slow,dark song about love (surprise, surprise)..'Peaace of mind' and 'I ain't no good for you' are typical Meteors hellish insanity. Now, to the best song on the album.. 'Do ya wanna make a monster (blow by blow).. fast, manic and deserving of the title 'pure psycho'..'Something wicked (this way comes) is a great slow instrumental, eerie and dark.. great song..'No way out'.. is another thumpin' song reminiscent of 'No surrender' era wreckin'.. 'Freak' opens up with a great, 'The daddy' lays down the drum rhythms perfectly.. '**ck of and die'..another slapper.. this song basically says Paul's attitude with the world.. slow, but powerful.. and finally 'Psycho down'.. great vocals, fuzzy guitar..the my opinion, 'Made in Heaven, inspired in Hell." Dixie Kattle

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THE METEORS: (1995) Stampede & Monkey's Breath

On first listening of "Sewertime Blues" and "Don't Touch the Bang Bang Fruit", I listened with my jaw dropped to the floor. This is truly a brilliant band with an amazing guitarist. Nobody could possibly find a flaw in the debut "In Heaven". This being the third Meteors CD I bought, I am just kind of disappointed. A lot of the songs are bland and tend to sound the same. There are a few songs that stand out, but this isn't an album I reccommend to someone new to the Meteors. I would go with one of the two mentioned earlier... rockmaschine

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THE METEORS: (1981) In Heaven

This is the debut album from the Psychobilly masters, The Meteors, and is also the first and last album with the Fenech/Lewis line up. And what a killer album it is, packed full of Lewis freakouts and Fenech rockers that will get any psycho wreckin' in no time. Every second of this album is great, from the opening rocker "Shout So Loud" to the insane rewrite of the Stones "Get Off Of My Cloud" to the blood splattered love song "Psycho For Your Love". The creepy "Love You To Death" is a Jack The Ripper like tale with some great guitar work by Fenech, while Lewis warns of the zorch men that are coming in the stomping "Attack Of The Zorch Men". The horrific ode to werewolfs, "The Room" helped land the Meteors the support slot for the Cramps '81 UK tour after a demo of the song had been played for Lux and Ivy. The album ends with the classic "Rockabilly Psychosis". Fenech and Lewis had a kind of song writing rivalry that produced some great songs from both, this is no more apparent than on this album. This is a must have Psychobilly album. Squares Beware!!! Cool Ghoul

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THE METEORS: (1986) Teengares From Outer Space

The roots of Psychobilly start here. This CD has the first singles and previously unreleased tracks by the kings of Psychobilly, The Meteors. These recordings were made during the Fenech/Lewis period of the Meteors, back when they used a stand-up bass. Every song is a Psychobilly classic. Songs like "Maniac Rockers From Hell", "Graveyard Stomp", and "Radioactive Kid" are Psychobilly at its raw and insane best. "Just The Three Of Us" and "Blue Sunshine" would be re-recorded later by the Meteors after Lewis left the group, but these versions are still the best. Also the instrumental "Jupiter Stroll" would later go on to to be the musical backdrop of the Meteors classic "The Hills Have Eyes". P. Paul Fenech shows early on his amazing song writing ability and his insane guitar playing that have only gotten better with age. The Meteors pretty much single-handedly created this hell spawn of rock n' roll known as Psychobilly and these songs are the start of it all. This is a must have for any true Psychobilly. It's also a great place to start if your just getting into Psychobilly or The Cool Ghoul

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Sunday, June 24, 2007

SONIC YOUTH: (1983) Confusion is Sex

Abrasive and archaic, theatrical and confrontational, Confusion Is Sex marks the opening strides that Sonic Youth made during their long slog through the American underground scene of the '80s. And yes, this album is underground if anything -- it's lo-fi to the point of tonal drabness, as the instruments seem to ring out in only one tone, that of screechy noise. Yet that tone in itself is part of the album's style, which is one of antithesis. The album isn't comprised of songs but rather soundscapes, while the instruments are your traditional guitar-bass-drums-vocals lineup but are performed most untraditionally. Taken as a whole, Confusion Is Sex is a spellbinding listen, especially the first time through. If you're a bona fide Sonic Youth fan, chances are you'll find it especially spellbinding -- the more of the band's albums you've heard, the better. However, if you're unfamiliar with the band, or a casual fan at most, chances are you're going to be thoroughly tested -- this is not an easy album to enjoy. As inaccessible as it may be, however, Confusion Is Sex is a cornerstone of Sonic Youth's career, their true opening salvo toward underground heroism, though miles and miles away from such highly regarded albums as Daydream Nation (1988) or Dirty (1992) Jason Birchmeier, AMG

1. (she's in a) bad mood
2. protect me you
3. freezer burn/I wanna be your dog
4. shaking well
5. inhuman
6. the world looks red
7. confusion is next
8. making the nature scene
9. lee is free

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D-load album :-)

SONIC YOUTH: (1985) Bad Moon Rising

An album quite unlike any other in the colorful Sonic Youth canon, Bad Moon Rising captures the New York band in 1985 during its most morose phase, one that is quite forbidding yet fascinating all the same. The proper album is an eight-song tapestry of droning guitar feedback, distant clattering percussion, and dreamy vocal mumblings, all of it woven together by sullen interludes of ambient noise. With the exception of the closing "Death Valley '69," nothing really stands out per se. Each song shares the same late-night shadowy feel as the others, with no outright singalong hooks to be found anywhere; it's just one ambling slab of dark noise rock. "Death Valley '69" then brings it all to a feverish close, driven by runaway guitar riffs and a frantic vocal duet by Thurston Moore and Lydia Lunch. It's a piercing capstone to an otherwise hazy album and is no doubt one of the highlights of Sonic Youth's overall output. Most editions of Bad Moon Rising don't end there, however. DGC's CD-era re-release appends the Flower EP, which fits in rather well. Similarly morose, these few songs are perhaps even more out-there than the Bad Moon Rising ones, especially "Halloween," which is a subtle five minutes of creeping guitar tingles accented beautifully by Kim Gordon's whispery hallucinations. Overall, this music is a definite leap forward from what Sonic Youth had been doing previously on Confusion Is Sex (1983) and Kill Yr. Idols (1983); it plays as one long piece, a work that perhaps reflects the spirit of the time, American gothic through the glassy eyes of willful moonlit paranoia. And as such, it's certainly a step toward EVOL (1986), the band's successive release, which is likewise obsessed with the dark side of America and likewise informed by sweeping waves of ambient guitar noise, but much more song-based and focused than Bad Moon Rising's dreamscape Jason Birchmeier, AMG

1. intro
2. brave new run (in my family)
3. society is a hole
4. i love her all the time
5. ghost bitch
6. i'm insane
7. justice is might
8. death valley '69
9. satan is boring
10. halloween
11. flower

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Sonic Youth made their first moves toward rock with EVOL, a stunningly fluent mixture of avant-garde instrumentation and subversions of rock & roll. The band benefits greatly from the addition of structure, which gives its aural experiments a firm grounding, but the addition of drummer Steve Shelley is essential to the group's new, dangerous edge. With the added propulsion, the fearless rush of "Expressway to Yr Skull" (aka "Madonna, Sean and Me") and the near-pop of "Green Light" are undeniably powerful as are the eerie textures of "Shadow of a Doubt." Stephen Thomas Erlewine, AMG

1. tom violence
2. shadow of a doubt
3. star power
4. in the kingdom #19
5. green light
6. death to our friends
7. secret girls
8. marilyn monroe
9. expressway to yr. skull
10. bubblegum

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D-load album :-)

SONIC YOUTH: (1986) Made in USA

A soundtrack to an obscure 1986 movie, Made in USA captures Sonic Youth trying to fit their expansive ideas into the brief space allotted to incidental film music. Keeping the atmospherics but scaling back the noise, the band manages to evoke textures different from its albums, textures that are drier and less overtly avant-garde. Nevertheless, Made in USA doesn't rank among their finest work, not because it's on a smaller scale, but because it all sounds tossed-off; there isn't much thought to any of this music. Even so, the disc is still quite listenable, which shows how good the band was in 1985 and Stephen Thomas Erlewine, AMG

1. mackin' fro doober
2. full chrome logic
3. secret girls
4. cork mountain incident
5. moustache riders
6. tuck n dar
7. moon in the bathroom
8. thought bubbles
9. rim thrusters
10. linoln's gout
11. coughing up tweed
12. pre-poured wood
13. hairpiece lullaby 1 & 2
14. pocketful of sen-sen
15. smoke blisters 1 & 2
16. the velvet plug
17. giggles
18. tulip fire 2
19. the dynamics of bulbing
20. smoke blisters 3 & 4
21. O.J.'s glove or what?
22. webb of mud 1,2 & 3
23. bachelors in fur!

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RAMONES: Collection

Another fine compilation of the most and the greatest american punk band..

1. blitzkrieg bop
2. beat on the brat
3. i wanna be your girlfriend
4. i remember you
5. sheena is a punk rocker
6. rockaway beach
7. teenage lobotomy
8. surfin' bird
9. i wanna be sedated
10. she's the one
11. needles & pins
12. rock 'n' roll high school
13. do you remember rock 'n' roll radio
14. the kkk took my baby away
15. she's a sensation
16. psycho therapy
17. daytime dilemma
18. my brain
19. garden of serenity
20. merry christmas
21. pet cemetary
22. i believe in miracles
23. tomorrow she goes away
24. poison heart
25. i don't wanna grow up
26. r.a.m.o.n.e.s.

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D-load all covers :-) (The Clash - Angelic and SLF inlcuded)
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THE CLASH: Rockin' the Red Point (Re-up)

* Reference number: Make Me Smile MMS0792
* 1992 Italian release
* Partial show from February 2, 1982
* Venue: Sun Plaza Hall, Tokyo
* Sound Rating: 9
* Variations: This is the only CD version known to me. Tracks from the Tokyo show have been released from the same master many times in different combinations, including as White Riot (LP), White Riot in Tokyo (CD), Yellow Riot (CD), This is Live Clash (CD), Give 'Em Enough Dope (CD), Che Guevara (CD), Death or Glory (LP) and Pier Pressure (CD).
* TRACKS: London Calling / Safe European Home / White Man In Hammersmith Palais / Brand New Cadillac / Charlie Don't Surf / Clampdown / This Is Radio Clash / Armagideon Time / Jimmy Jazz / Tommy Gun / Police On My Back / White Riot

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STIFF LITTLE FINGERS : Radio Unplugged Brazil (Bootleg)

Three bootleg tracks recorded from a radio show when the band toured in Brazil....

1. I Could Be Happy Yesterday
2. Silver Linning
3. Alternative Ulster

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**homemade covers

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ANGELIC UPSTARTS: (2002) Sons of Spartacus (Re-up)

1. safe heaven
2. lonely man of spandau no.2
3. supergrass
4. chuck taylor (ace of hearts)
5. caught in the crossfire
6. action man
7. don't get old (in tony's britain)
8. south shields born 'n' bred
9. tally ho ginger
10. maxwell dynasty
11. stop the city
12. the great divide
13. bandiera rossa
14. stand up
15. anti-nazi

pw = hhattack

D-load album :-)

Monday, June 18, 2007

ALICE DONUT : (1995) Pure Acid Park

Alice Donut's final album, 1995's Pure Acid Park, is regarded by some as a crass sell-out attempt along the lines of the Butthole Surfers' Electriclarryland, or the Meat Puppets' Too High to Die. The argument does have some validity -- the album was, after all, produced by Martin Bisi shortly after he helped lead Soul Asylum to their belated commercial breakthrough by sanding down their rough edges and glossing up the sound -- but while there is undeniably some sanding and glossing evident here, as opposed to raw early albums like Bucketfulls of Sickness and Horror in an Otherwise Meaningless Life, that's still not saying much: This is still fairly raw and noisy. In what's either a brilliant flash of perverse irony or plain uncomprehending stupidity -- and it's honestly impossible to tell which -- the album's most immediately accessible and downright commercial (in 1995's alternative heyday, that is) song is "Shining Path," a textbook example of grunge-era loud-soft dynamic shifts and Seattle-style stomp married to a lyric sneering at a former idol for being a sell-out hack. The album's definite low point, however, is a pointless and prettified cover of Roky Erickson's "I Walked With a Zombie" that not only can't touch the original, it's not even as good as R.E.M.'s limp cover from about five years Stewart Mason, All Music

1. millennium
2. dreaming in cuban
3. freaks in love
4. big cars and blow jobs
5. i walked with a zombie
6. the senator and the cabin boy
7. mummenschantz pachinko
8. insane
9. shining path
10. the unspeakable pleasure of being me
11. lost in space
12. cain

D-load album :-)
(( pw = hhattack ))

ALICE DONUT: (1991) Revenge Fantasies of the Impotent

The fourth metallic punk album from Alice Donut contains songs about mongoloid children having sex with dogs, housewives on killing sprees, and an instrumental rendition of Black Sabbath's "War Pigs," played on the trombone. Tasteless, witless and Jason Ankeny, All Music

1. rise to the skin
2. my best friend's wife
3. telebloodprintmediadeathwhore
4. what
5. dead river
6. sleep
7. naked, sharp & perfect
8. come up with your hands out
9. war pigs
10. good posture

D-load album :-)
(( pw = hhattack ))

ALICE DONUT : (1990) Mule

The band's career being a bemusing series of albums and performances, there perhaps isn't one true and absolute starting point to begin with the Alice Donut experience, but Mule is as good a candidate as any. It doesn't hurt that at this point the group had a variety of albums under its belt, not to mention what turned out to be one of its most well-known (on an indie level) songs to showcase, the extremely rude, wrong, and wonderful "Big Ass." Overall, Mule is another showcase for Antona's near-screeched perversions and hilarities, the band's way around psychedelic chime and hard rock craziness in equal measure, and the recurring belief that one can be funny, entertaining, and dramatic all at once. Certainly it's a wonder more people didn't try to track the band down and have the members killed given "Mother of Christ," which envisions the Immaculate Conception and its consequences in ways both Freud and Larry Flynt would approve of. Other songs deal with everything from a miserable, grinding marriage/abuse hell ("Mrs. Hayes") to the joys of "Roadkill" and a celebration of "Burlesque" involving everything from singing opera to public bondage and sex on Times Square. The ear the performers have for each other's strengths and abilities is pretty darn good -- a listener gets the sense that the songs were hashed out in rehearsal plenty of times and then turned into crazed tempo-shifting mini-epics. Which perhaps they weren't, but hey, one can dream. With sounds like straightforward twangy epic rock warmth sliding into slashing jams on "Roaches in the Sink" mixing with the multi-part epic of "Bottom of the Chain," it all turns out right. Besides, why resist an album featuring a twisted rip on "My Boyfriend's Back," along with a song with intentionally cruddy trombone and other random sounds leading into a heavy metal rant called "My Severed Head"? Ned Raggett, All Music

1. mother of christ
2. mrs hayes
3. roaches in the sink
4. crawlpappy
5. my severed head
6. bottom of the chain
7. burlesque
8. big ass
9. roadkill
10. tiny ugly world
11. j train downtown: a nest of murder
12. cow's placenta to armageddon
13. my boyfriend's back

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ALICE DONUT: (1989) Bucketfuls of Sickness & Horror in an Otherwise Meaningless Life

The album title sounds more than a little like a Butthole Surfers homage, and little on this 1989 album would disabuse one of the suspicion that this New York combo wants nothing more than to be the East Coast version of those fried Texas weirdos. An interesting mixture of straightforward hardcore punk, Zappa-style left turns into orchestrated noise, and a thoroughly snotty sense of humor, Alice Donut throw in some unexpectedly catchy elements as well: "Testosterone Gone Wild" is a full-on pop song, complete with guitar hooks and backing vocals on the chorus, and "Sky of Bones" has an unexpected resemblance to Redd Kross' psych-punk era. Tomas Antona's extremely high, occasionally piercing voice (think of the Three O'Clock's Michael Quercio mixed with Game Theory's Scott Miller at his whiniest) will be the dealbreaker for most, and the production is a good deal more trebly and thin than it needs to be, but for anyone with an interest in the noisy-artsy end of '80s indie rock, Bucketfulls of Sickness and Horror in an Otherwise Meaningless Life is worth a Stewart Mason, All music

1. lydia's black lung
2. testorene gone wild
3. sinead o'connor on T.V,
4. dorothy
5. sky of bones
6. egg
7. consumer decency
8. my life is a mediocre piece of shit
9. incinerator heart
10. bucket, forks, pock
11. demonologist
12. lisa's father (waka baby)

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ALICE DONUT: (1988) Donut Comes Alive

Alice Donut's thrashy debut quickly establishes the band's M.O: singer Tomas Antona's dog-whistle vocals are insufferable, the music's heavy metal leanings are schlocky, and the songs -- about Tipper Gore, Linda Blair and Joan of Arc -- are broad, irrelevant and not very Jason Ankeny, All Music

1. green pea soup
2. world profit
3. mason reese
4. great big big big head
5. diet cola syringe
6. new jersey exit
7. american lips
8. windshield of love
9. mad dogs on a bone
10. joan or arc
11. bedpost
12. sunshine superman
13. love is a frickle thing
14. tipper gone
15. death shield
16. i want your mother

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Sunday, June 17, 2007

MULETRAIN: (2004) Demolition Preaching

Spring of 2001: Aerobitch play their last concert. Muletrain is born. "Demolition preaching" (2004) is the first LP/CD. The second LP/CD is "The worst is yet to come", a destruction and survival handbook with an easy as useful premise: always hit where it most hurts. Punk, hardcore, rock and roll. 13 SONGS in 23 minutes: not more, not less. Powerful, angry, abrasive. One listening is more worth than thousand words: play it at eleven and let your neck creak with Muletrain. Excelent reviews (best spanish hardcore/punk album of 2006 for the Mondosonoro, top qualifications in Kerrang and Ox magazine...) and a european tour in october of 2006 are the first results of the record. The worst is yet to come, and you still don't know space >>>

1. black zodiac
2. fist magnet
3. fucked up karma
4. inside
5. chemical shuttle
6. next level
7. torn
8. demolition preaching
9. she's in love with black metal
10. born again
11. outside
12. our rope
13. riot hop

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DEMONS: (2000) Riot Salvation

The debut from Swedish punk revivalists "Demons" has all the raucous energy and plain-stated devotion to recklessness that any good outing in this genre should. The vocals are snotty, the guitars cacophonous, and the resulting wall of rock & roll sound stands up like a proud monument to musical excess. Highlights include the boisterous "Nothing Special" and "Hurts to Smile," not to mention the complete abandon of "You're Gonna Trash Me." A few numbers like the lackluster title cut don't quite make the grade, but there's nothing on Riot Salvation that's bland enough to tame the group's swagger. Fans of countrymen Hellacopters as well as mutual influences like the Stooges and the Sex Pistols will certainly enjoy this 2000 Gearhead Records offering. ~ Vincent Jeffries, All Music Guide

1. some days
2. clock strikes 13
3. riot salvation
4. nothing special
5. you're gonna trash me
6. stand back
7. revenge party
8. 69 ways
9. busted
10. don't get cocky
11. hurts to smile
12. beat-on-me

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BLACK FLAG : (1984) Slip It In

Slip It In followed My War almost immediately, and while a bit better (fewer mega-volume angst drones), the band still wanders a bit, experimenting with expanding the breadth of hardcore into a newer hard rock/punk sound. This is especially true of Greg Ginn's guitar playing, which was becoming increasingly avant-garde and exciting. Rather than simply coughing up one clichéd solo after another, he wandered harmolodically up and down the fretboard as a jazz player like Blood Ulmer would, making the material more interesting than what most Black Flag-influenced bands were playing.... by John Dougan, All Music

1. slip it in
2. black coffee
3. wound up
4. rat's eyes
5. obliteration
6. the bars
7. my ghetto
8. you're not evil

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D.O.A.: (2003) War and Peace

There have been a couple of D.O.A. comps here and there, but War and Peace tries to do the near-impossible and cover 25-years worth of Joey Shithead and company on one disc. Does it succeed? Well, pretty fairly -- even if the band is better-represented with its earlier work on something like Bloodied but Unbowed -- this is at least a solid tribute to sheer persistence. It also goes back to the very beginning, in 1978, with its restrained musical criticism -- as their 7" debut, "Disco Sucks," remains a snarling, gargling, goofily voiced explosion, and pretty damn on-the-nose when it came to being punk in the understood sense of the post-Sex Pistols scene. The vast majority of songs come from the band's first ten years, and understandably so, given that's when the group made its name, and more or less codified its never-say-die punk stance. If Shithead has only changed his approach and sound by inches over time (most notably with reggae, and a sometimes calmer, poppier approach), it's not because he has a lack of targets specifically in his sites. Addressing nuclear paranoia ("World War 3"), and the Reagan years ("Fucked up Ronnie") in earlier days, the W.T.O. and multinationals are among the objects of wrath in more recent years, and at his best, Shithead makes his point with brusque, invigorating, and energetic songs. Years down the path, "The Enemy" and "Fuck You" still sound rude and great. A few rarities and one-offs help to fill out the collection, including "Behind the Smile," and a collaboration with Jello Biafra on "That's Progress," both originally from the Terminal City Ricochet soundtrack. A slew of sometimes hilarious archival photos, a roughly written but clear family tree, and complete lyrics and discography take care of the extra details for the Ned Ragget, All Music

1. disco sucks
2. new age
3. the enemy
4. the prisoner
5. world war 3
6. d.o.a.
7. unknown
8. waiting for you
9. fucked up ronnie
10. war in the east
11. liar for hire
12. war
13. fuck you
14. general strike
15. race riot
16. let's wreck the party
17. behind the smile
18. that's progress
19. already dead
20. liberation and execution
21. overtime
22. death to the multinationals
23. dead men tell no tales
24. we're drivin' to hell 'n back
25. just say no to the wto
26. mexican holiday

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D.O.A.: (1990) Murder

By the time of this 1990 release, D.O.A. was quite a distance from their peak '80s form. The best years were behind them, for sure, but the Canadian punkers still had plenty left to say. Sonically, there's nothing surprising about Murder. The songs are perhaps a little more political than most of their '80s issue material, but only voracious lyric-readers will notice the difference. Highlights include the rambunctious "The Agony and the Ecstasy" and a truly sinister cover version of "The Midnight Special" that is probably the record's best cut. The world of hardcore had already witnessed several generational shifts before this Restless Records offering hit the streets, and even more new artists were waiting on deck, as the punk landscape would quickly become overcrowded with bands who might not even have heard of D.O.A.. In such a competitive climate, it's good to know that this traditional punk outfit had the courage to stick to their early format so many years after their commercial heyday. Definitely not an essential recording, Murder still rates high among D.O.A. fans, but listeners new to the group should avoid this Vincent Jeffries, All Music

1. We Know What You Want
2. Afrikana Security
3. Guns, Booze & Sex
4. Waiting for You Pt. 2
5. Boomtown
6. No Productivity
7. The Agony and the Ecstasy
8. The Midnight Special
9. Banana Land
10. The Warrior LIves Again
11. Concrete Beach
12. Suicidal

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Monday, June 11, 2007

DIE TOTEN HOSEN: (1996) Im Auftrag des Herrn: Live

German punk/metal band Die Toten Hosen formed early in the '80s from the ashes of two Düsseldorf punk bands, ZK and KFC. Considering that three members of the Hosen were named Andreas, they took assumed names to avoid confusion: vocalist Campino (b. Andreas Frege; June 22, 1962), guitarist Breiti (b. Andreas Breitkopf; Feb. 6, 1964), rhythm guitarist Kuddel (b. Andreas Von Holst; June 11, 1964), bassist Andi (b. Andreas Meurer; July 24, 1962) and drummer Wölli (b. Wolfgang Rohde; Jan. 9, 1963). After releasing several albums in Germany, the group found a contract with the American label Charisma in 1992 for the collection Learning English: Lesson 1. Three years later, Die Toten Hosen moved to Atlantic for Love, Peace & Money but continue to record for EastWest in their native country, issuing Im Auftrag Des Herrn in 1996. After the band took a break from recording, Nuclear Blast released Crash Landing in the U.S. in spring John Bush, All Music

1. Die zehn gebote
2. Niemals einer meinung
3. Alles aus Liebe
4. Einmal in vier jahren
5. Nichts bleibtdien ewigkeit
6. Musterbeispiel
7. Bonnie & Clyde
8. Gewissen
9. Wunsch dir was
10. Paradies
11. The Passenger
12. Hier kommt alex
13. Sheena is a Punk Rocker
14. Guantanamera
15. Zehn kleine jagermeister
16. Mehr davon
17. Boser wolf
18. All die ganzen jahre
19. Testbild
20. You'll Never Walk Alone
21. Schonen gruss auf wiederseh

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THREATS: (2003) Demos and Rarities

3.State Of Shock
5.Underground Army
6.Iron Maiden
7.Can't Stop Me
9.Dead End Depression
13.Underground Army
15.Writing On The Wall
16.Can't Stop Me
17.Dead End Depression
18.Politicians And Ministers
19.Go To Hell
22.Politicians And Ministers
23.Writing On The Wall
24.Dead End Depression
25.Can't Stop Me
26.Underground Army

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REVILLOS: Totally Alive in London!!

1. mystery action
2. motorbike beat
3. where's the boy for me ?
4. getting me down
5. man attack
6. minbending cutie doll
7. manhunt
8. your baby's gone
9. mad from birth to death
10. crush
11. glad all over
12. (my baby does) good sculptures
13. the last of the secret agents
14. flying saucer attack
15. do the mutilation
16. somebody's gonna get their head kicked in tonight
17. destination venus
18. i can't stand my baby
19. yeah yeah

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VA: PEBBLES Vol.1 - Original '60s Punk & Psych Classics

Originally released in 1978 by a small Australian record label, the first volume of the Pebbles series is one of the quintessential platters of obscure 60s garage rock. The songs here are rough, rowdy, and raw, bashed out by pimple-popping teenagers with a surplus of passion and youthful agression. The set boasts some of the most revered garage rock tunes ever- The Litter's "Action Woman," for example, is widely considered to be one of the greatest 60s punk tunes of all time. Which makes perfect sense when you consider the fact that its a brutal, cathartic masterpiece, brimming with manic energy and sexual frustration. The Preachers' rendition of the classic Bo Diddley tune "Who Do You Love" is a grimey, thuggish, violent masterpiece, decked out with some caveman vocals and a mencaing, roaring melody. The Haunted's "1-2-5" is the epitome of slinky, greasy rock n roll, and "Going Away Baby" by the Grains of Sand is a hyperactive barn-burning organ-bashing extraviganza. The Outcasts' "I'm In Pittsburgh" is pure, double-time proto punk, and the Wild Knights' "Beaver Patrol" is fantastically filthy. There are also a few flat-out weirdos: Kim Fowley's "The Trip" is a wonderfully sleazy psychedelic rant, and The Elastik Band's "Spazz" may very well be one of the most insensitive songs of all time- and it's still great. The JuJus' "You Treat Me Bad" features some fantastically odd lead vocals and a great, driving guitar line. The Soup Greens contribute a hilarious cover of Bob Dylan's "Like A Rolling Stone" which bears almost no resemblance to the original. But never mind that- with its driving, "Louie Louie" style chord progression and sing-along vocals, it's still a great song. The Gonn's "Blackout of Gretely" and the Sparkles' "Ain't No Friend of Mine" (both of which were included as CD only bonus tracks) are two of the loudest, rawest, and meanest garage tracks ever. There are a few somewhat unspectacular tracks: "Potato Chip" is an obscure track by the relatively well-known Shadows of Knight, possibly released as a promotion for a potato chip company, which features a spoken word "interview" with the band followed by a weird song about the titular snack food. The interview, which is obviously scripted and features the band cracking some terrible jokes in a bored monotone, is interesting for kitsch value and not much else. The song itself is weird, dull, and worthless. Positively 13 O Clock (a doppleganger for Texas' Mouse and the Traps) turn in a fun but largely forgettable cover of the Count Five's "Psychotic Reaction," and the Split Ends' "Rich With Nothin'" is a decent but unnecessary number that I could really give or take. Also, the packaging itself contiand a couple of truly boneheaded errors: Two of the songs listed as being on the CD (The Wig's "Crackin' Up" and "I Need Love" by the Third Booth) are left off of the disc. The compilers also left off the Squires' excellent "Going all the Way," even though it was one of the highlights of the vinyl edition. Nonetheless, this is an excellent garage compilation, and a key purchase for any fan of 60s Laszlo Matyas

1. Letter - Action Woman
2. Preachers - Who Do You Love
3. Floyd Dakil Combo - Dance Franny Dance
4. Outcasts - I'm in Pittsburgh
5. Grains Of Sand - Going Away Baby
6. Ju Jus - You Teat Me Bad
7. Haunted - 1-2-5
8. Soup Green -Like A Rolling Stone
9. Wig - Crackin' Up
10. Positively 13 O'Clock - Psychotic Reaction
11. Kim Fowley - The Trip
12. Elastic Band - Spazz
13. Split End - Rich With Nothin'
14. Shadows Of Knight - Potato Chip
15. Wild Knights - Beaver Patrol
16. Sparkles - Ain't No Friend of Mine
17. Gonn - Blackout Of Gretely
18. Third Booth - I Need Love
19. Weed - It's Your Time
20. Surprise Track

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Bitrate = VBR

VA: PEBBLES - Vol. 9: Southern California 2

The follow-up to PEBBLES VOL. 8: SOUTHERN CALIFORNIA isn't as jam-packed with classic garage soul-smashers as its predecessor, but still has several good songs I'm glad have been released somewhere! Highlights you'll find yourself loving: Ty Wagner's "I'm a No Count", The Caretakers' "East Side Story", The Standells' "Someday You'll Cry", The Magic Mushrooms' "I'm Gone" (yeah, believe it or not, they recorded something else after "It's A-Happening"!), Fenwyck's "IYE", The The Good Feelins' "Shattered", The Gypsy Trips' "Ain't It Hard" (the Electric Prunes' version is better, though), The Nervous Breakdowns' "I Dig Your Mind", The W.C. Fields' Memorial Electric String Band's "I'm Not Your Steppin' Stone" (better than The Monkees' more popular version!), The Velvet Illusions' "Velvet Illusions", Children of the Mushrooms' "August Mademoiselle", The Crumpets' "Mama Baby" (which sounds uncannily like The Chocolate Watchband's "Sweet Young Thing"), The Sounds Unreal's "Scene of the Crime", and The Starfires' "Cry for Freedom" (taken from the only surviving acetate!).
There are too many disposable singles here, unfortunately, but don't hesitate to add this to your garage rock collection. It's often better than previous PEBBLES installments in spots, and despite the inclusion of too much psychedelic pap, it's still essential listening.
Awesome Garage rawk!!!

1. I'm A No Count - Ty Wagner
2. East Side Story - Caretakers
3. Won't Get Far - Hysterics
4. Someday You'll Cry - Standells
5. I'm Gone - Magic Mushrooms
6. IYE - Fenwyck
7. Lost Innocence - Buddhas
8. I'm Not Alone - David
9. 40 Mles - David
10. Scene Thru The Eyes - Edge
11. Let Me In - Second Helping
12. Shattered - Good Feelins
13. Ain't It Hard - Gypsy Trips
14. I Dig Your Mind - Nervous Breakdowns
15. Up & Down - Moms Boys
16. I'm Not Your Stepping Stone - W.C. Fields
17. August Mademoiselle - Children Of The Mushroom
18. Velvet Illusions - Velvet Illusions
19. Won't Come Down - Perpetural Motion Workshop
20. Mama Baby - Crumpets
21. Scene Of The Crime - Sounds Unreal
22. Here To Stay - Mal-T's
23. They Say - Thee In Set
24. Cry For Freedom - Starfires

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Bitrate = VBR

Sunday, June 10, 2007

DISCHARGE: (2004) Tour Edition 001

A long-lived British hardcore band cited as a key influence by artists including Metallica and Anthrax, Discharge was formed in 1977 by singer Terry "Tezz" Roberts, his twin brother/guitarist Tony "Bones, " bassist Roy "Rainy" Wainwright and drummer Hacko. New frontman Cal was recruited as the decade drew to its close, with Tezz moving to drums as a replacement for the exiting Hacko; the first band signed to the newly-formed Clay Records label, Discharge issued their debut EP Realities of War in March of 1980, followed later that year by two more EPs, Fight Back and Decontrol. Tezz left the line-up soon after, and after recording the Why twelve-inch with temporary drummer Bambi, Discharge named Garry Maloney their permanent skinsman in time to record 1981's Never Again, which reached the number 64 spot on the UK pop charts.
In 1982, Discharge finally issued their long-awaited full-length debut 'Hear Nothing, See Nothing, Say Nothing, which reached the Top 40; a U.S. Tour followed, and upon returning home the group recorded a new single, "State Violence, State Control." Bones then left to form his own unit, Broken Bones, and was replaced by guitarist Peter 'Pooch' Pyrtle for the EP Warning: Her Majesty's Government Can Seriously Damage Your Health. In the wake of another seven-inch, "The More I See, " both Pyrtle and Maloney departed; the singles collection Never Again followed in 1984, and with new guitarist Les "The Mole" Hunt and drummer Nick Haymaker, Discharge released "Ignorance" a year later. Maloney returned to the fold for the 1986 LP Grave New World, which also featured new guitarist Stephen Brooks.... by Jason Ankeny, All Music

1. war is hell
2. state violence state control
3. you deserve me
4. never again
5. the more i see
6. hype overload
7. corpse of decadence
8. m.a.d.
9. you take part in creating the system
10. nightmare continues (live)
11. hell on earth (live)
12. realities of war (live)
13. doomsday (live)

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Bitrate = mp3 - 192kbps

SLIME: (1990) Compilation '81-87

Slime was a German punk rock band, founded in 1979 and disbanded in 1994. The pre-Slime band was called Screamer, and the post-Slime band is – contrary to the occasional rumors – not Emils (Slime backwards), but Rubberslime, with the member Elf. The band was founded by Elf (Guitar), Eddie (Bass) and Ball (Peter Wodok – Drums). Some months later, Dirk joined as vocalist. Christian joined the band in 1980 as second guitarist, and Ball left in 1981 and was replaced by Stephan Mahler. Slime were very influential to the German punk culture and their first album Slime I was actually the first German punk album banned. They are often considered to be the prototypical German punk or deutschpunk band.
Notable songs are "Deutschland muss sterben (...damit wir leben können)" ("Germany must die (... so we can live) (an allusion to "Deutschland muß leben, auch wenn wir sterben müssen" (Germany must live, even if we have to die), a World War I motto), "Bullenschweine" (police pigs), "Polizei SA/SS" (police SA/SS), comparing police to the SA and SS and "A.C.A.B." ("All Cops Are Bastards"). Slime produced many albums in the first years. They sang song against war (e.g. We dont need the Army), and they made a punk anthem with the song Hey Punk. They even produced songs against their government (They don't give a Fuck), their justice (Gerechtigkeit - means fairness), their police and their politicians (Sand im Getriebe). The song Yankees raus (Yankees out) is against imperialism. The following years, the neo-fascism in Germany was rising more and more, so they felt dutybound to sing against them.

1. a.c.a.b.
2. demokratie
3. on the run
4. bundeswehr
5. artificial
6. paranoia
7. no values
8. wasted wasted
9. we're always gonna win
10. ain't gonna take it
11. don't give a fuck
12. yankees raus
13. nazies raus
14. legal, illegal, scheissegal
15. polizei polizei
16. never wanna leave
17. tv song
18. hey punk
19. wish i was
20. karlsquell
21. streetdfight
22. we're alright
23. yankees out
24. 1,7% blues

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Bitrate = 192kbps