Mekons
Saturday, November 7th, 2009
what are some good songs by The Mekons and The Fall?
2 punk bands ive heard good things about both but I dont know any of their songs, can you help me? BA: Do you remember vs. Minutemen BA2: hows your day so far? Ba3: Favorite Neutral Milk Hotel song?
I recently got into them! by Mekons, I never rebel http://www.youtube.com/watch?v=g-K0bRlJEsE&feature=related Corporal Halki http://www.youtube.com/watch?v=kGrRueJdfvI&feature=related Where were you http://www.youtube.com/watch?v=71s-T8oUTQs and Fall of The Psycho Mafia http://www.youtube.com/watch?v=71s-T8oUTQs music scene http://www. youtube.com / watch? v = UjmgP0jeYh0 & Feature = related Who makes the Nazis? http://www.youtube.com/watch?v=Xkj0U0cwPDo&feature=related Bingo Masters http://www.youtube.com/watch?v=9L3hILbfRsA&feature=related great band man! BA: Do you remember BA2: stressful because of school Ba3: sorry not really into them
The Mekons – Where Were You? (Single)
|
MEKONS Curse of The Mekons Tour Music Poster
MEKONS Curse of The Mekons Tour Music Poster 84x59cm... |
|
MEKONS Honky Tonkin Tour Music Poster
MEKONS Honky Tonkin Tour Music Poster 84x59cm... |
|
Fear and Whiskey
$10.49 Some albums are of their time, and some are for all time. This record, originally released in 1985, is both. It was made in mid-'80s England, when Margaret Thatcher's government was carrying on a pitiless war against the nation's own less fortunate citizens. The corrosive stink of broken miners' strikes and dole-bound desperation suffuse the album like toxic perfume. The former punks from Leeds (n... |
|
The Mekons Rock 'n' Roll
$18.98 Long out of print on LP, Rock 'N' Roll, released in 1989, has been reissued with its original cover art as well as two added bonus tracks from the UK version. 14 tracks. 2001 reissue.... |
|
Retreat from Memphis
$12.89 Mere months after releasing "I Love Mekons," Jon Langford and crew respond with their 18th disc since 1979. Still reeling with a wry laugh from their brush with the major leagues at the turn of the decade, here they've downsized to a five-piece, ditched the musical eclecticism, and returned to tough, direct rock & roll delivered with laissez-faire punk passion. "Spinning Around in Flames" and "Th... |
|
|
Dark Ages: A Video Collection [VHS]
$8.25 ... |
|
Hello Cruel World
$13.48 Provincial punk iconoclasts turned pan-global maverick legends of music and art, the Mekons walk tall into their second quarter century still impossible to pigeonhole, still kicking against the pricks, still burrowing feverishly beneath the soft white belly of the rock beast. Hello Cruel World contains the lyrics to 125 Mekons songs, many of them illustrated by the band in stunning fashion. Als... |
|
|
Mekons United
... |
|
Nanmin kyanpu no pantomaimu (Japanese Edition)
... |
|
The Mekons - Me
$14.83 Description Not Available |
|
The Mekons - Punk Rock
$14.83 Description Not Available |
|
The Mekons - Fear And Whiskey
$14.83 Description Not Available |
|
The Mekons - The Mekons Honky Tonkin`
$11.98 Description Not Available |
|
The Mekons - So Good It Hurts
$14.83 Description Not Available |
![Cher - Believe [Single]](http://cdn2.overstock.com/images/products/muze/music/T297061.jpg)
|
Cher - Believe [Single]
$7.49 Disc 1:Believe - (Album Version)Believe - (Phat `N` Phunky Club mix)Believe - (Club 69 Phunk Club mix)Believe - (Almighty Definitive mix)Believe - (Xenomania Mad Tim And The Mekon Club mix)Believe - (Club 69... |
|
Mekons
$8.57 Buy and sell [Mekons] at great prices. |
|
Curse Of The Mekons
$6.97 Curse Of The Mekons |
|
MEKONS - Curse of The Mekons Tour - Music Poster
$6.99 MEKONS Curse of The Mekons Tour 84x59cm Music Poster |
|
|
Mekons Tickets
$1 Buy at Concert Tickets in MekonsMekons Concertticket tickets buy sell the mekons Mekons Tickets - Buy and sell Mekons Tickets and all other Concert Tickets at StubHub! Buy your Mekons Concert ticket today. on |
|
Curse Of The Mekons
$15.53 Buy and sell [Curse Of The Mekons] at great prices. |
|
Curse Of The Mekons/Fun '90
$12.99 Curse Of The Mekons/Fun '90 |
|
The Mekons Honky Tonkin'
$14.53 The Mekons Honky Tonkin' |
|
Curse of the Mekons/F.U.N. '90
$13.56 Curse of the Mekons/F.U.N. '90 |
|
The Very Best Of The Mekons
$7.42 Buy and sell [The Very Best Of The Mekons] at great prices. |
|
Heaven and Hell: The Very Best of the Mekons
$13.29 Heaven and Hell: The Very Best of the Mekons |
|
Heaven & Hell: Very Best of the Mekons
$12 Heaven & Hell: Very Best of the Mekons |
|
Heaven & Hell: Very Best of the Mekons
$193.04 Heaven & Hell: Very Best of the Mekons |
|
The Mekons - The Mekons Honky Tonkin`
$11.98 The Mekons: Boston Tar Baby (vocals, guitar, keyboards); Skelly (vocals, guitar); Der Cougar (vocals, accordion); Dick Taylor, Otto (guitar); Avadne Garde (fiddle); Lu Knee (bass); Little Willy (drums).Additional personnel: Sally Timms (vocals); Brendan Croker (tiple); John Gill (fiddle, bass, melodeon); Bobby Worby (organ).Engineers include: Tony Bonner, Steve Nunn, Bobby Worby.Recorded at Greenhouse, Berry St. and Cold Storage, London England; Offbeat and Erics Basement, Leeds, England. Includes liner notes by Sophie Bourbon.The Mekons: Jon Langford, Lu Edmonds, Rico Bell, Sally Timms, Tom Greenhalgh, Sarah Corina, Susie Honeyman.Personnel: Boston Tar Baby (vocals, guitar, keyboards); Sally Timms (vocals); Dick Taylor , Otto (guitar); Brendan Croker (tiple); John Gill (fiddle, melodion); Avadne Garde (fiddle); Bobby Worby (organ).Additional personnel: Michael Worby (organ).Audio Mixers: Steve Forward; Ian Caple; Joe.Recording information: Bary St., London, England; Berry St, London, England; Cold Storage Studios, Brixton, London, England; Cold Storage, London, England; Erics Basement, Leeds 8, England; Greenhouse Studios, London, England; Greenhouse, London, England; Offbeat, Leeds 4, England.Named after--but not including--a Hank Williams classic, the Mekons` 1987 HONKY TONKIN` is the prolific group`s folkiest and, arguably, best album. The apex of the long-lived band`s mid-`80s fascination with folk and country music, the record at times sounds like Woody Guthrie at his most politicized (especially on the old broadside ballad "The Trimdon Grange Explosion" and the impassioned "If They Hang You," a caustic commentary on the `50s Red Scare) fronting the Pogues at their most unabashed (particularly the hilarious, woozy "Sympathy for the Mekons" and "I Can`t Find My Money"). The liner notes namecheck related books, movies and artwork for each song, a gambit that in the hands of, say, Sting would be unbearably smug and pretentious. From the Mekons, however, it just seems like some friendly suggestions from a particularly eclectic and smart group of friends. A remarkably thoughtful and entertaining record. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Mekons - The Mekons Honky Tonkin`
$11.26 The Mekons: Boston Tar Baby (vocals, guitar, keyboards); Skelly (vocals, guitar); Der Cougar (vocals, accordion); Dick Taylor, Otto (guitar); Avadne Garde (fiddle); Lu Knee (bass); Little Willy (drums).Additional personnel: Sally Timms (vocals); Brendan Croker (tiple); John Gill (fiddle, bass, melodeon); Bobby Worby (organ).Engineers include: Tony Bonner, Steve Nunn, Bobby Worby.Recorded at Greenhouse, Berry St. and Cold Storage, London England; Offbeat and Erics Basement, Leeds, England. Includes liner notes by Sophie Bourbon.The Mekons: Jon Langford, Lu Edmonds, Rico Bell, Sally Timms, Tom Greenhalgh, Sarah Corina, Susie Honeyman.Personnel: Boston Tar Baby (vocals, guitar, keyboards); Sally Timms (vocals); Dick Taylor , Otto (guitar); Brendan Croker (tiple); John Gill (fiddle, melodion); Avadne Garde (fiddle); Bobby Worby (organ).Additional personnel: Michael Worby (organ).Audio Mixers: Steve Forward; Ian Caple; Joe.Recording information: Bary St., London, England; Berry St, London, England; Cold Storage Studios, Brixton, London, England; Cold Storage, London, England; Erics Basement, Leeds 8, England; Greenhouse Studios, London, England; Greenhouse, London, England; Offbeat, Leeds 4, England.Named after--but not including--a Hank Williams classic, the Mekons` 1987 HONKY TONKIN` is the prolific group`s folkiest and, arguably, best album. The apex of the long-lived band`s mid-`80s fascination with folk and country music, the record at times sounds like Woody Guthrie at his most politicized (especially on the old broadside ballad "The Trimdon Grange Explosion" and the impassioned "If They Hang You," a caustic commentary on the `50s Red Scare) fronting the Pogues at their most unabashed (particularly the hilarious, woozy "Sympathy for the Mekons" and "I Can`t Find My Money"). The liner notes namecheck related books, movies and artwork for each song, a gambit that in the hands of, say, Sting would be unbearably smug and pretentious. From the Mekons, however, it just seems like some friendly suggestions from a particularly eclectic and smart group of friends. A remarkably thoughtful and entertaining record. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Mekons - The Mekons Honky Tonkin`
$15.18 The Mekons: Boston Tar Baby (vocals, guitar, keyboards); Skelly (vocals, guitar); Der Cougar (vocals, accordion); Dick Taylor, Otto (guitar); Avadne Garde (fiddle); Lu Knee (bass); Little Willy (drums).Additional personnel: Sally Timms (vocals); Brendan Croker (tiple); John Gill (fiddle, bass, melodeon); Bobby Worby (organ).Engineers include: Tony Bonner, Steve Nunn, Bobby Worby.Recorded at Greenhouse, Berry St. and Cold Storage, London England; Offbeat and Erics Basement, Leeds, England. Includes liner notes by Sophie Bourbon.The Mekons: Jon Langford, Lu Edmonds, Rico Bell, Sally Timms, Tom Greenhalgh, Sarah Corina, Susie Honeyman.Personnel: Boston Tar Baby (vocals, guitar, keyboards); Sally Timms (vocals); Dick Taylor , Otto (guitar); Brendan Croker (tiple); John Gill (fiddle, melodion); Avadne Garde (fiddle); Bobby Worby (organ).Additional personnel: Michael Worby (organ).Audio Mixers: Steve Forward; Ian Caple; Joe.Recording information: Bary St., London, England; Berry St, London, England; Cold Storage Studios, Brixton, London, England; Cold Storage, London, England; Erics Basement, Leeds 8, England; Greenhouse Studios, London, England; Greenhouse, London, England; Offbeat, Leeds 4, England.Named after--but not including--a Hank Williams classic, the Mekons` 1987 HONKY TONKIN` is the prolific group`s folkiest and, arguably, best album. The apex of the long-lived band`s mid-`80s fascination with folk and country music, the record at times sounds like Woody Guthrie at his most politicized (especially on the old broadside ballad "The Trimdon Grange Explosion" and the impassioned "If They Hang You," a caustic commentary on the `50s Red Scare) fronting the Pogues at their most unabashed (particularly the hilarious, woozy "Sympathy for the Mekons" and "I Can`t Find My Money"). The liner notes namecheck related books, movies and artwork for each song, a gambit that in the hands of, say, Sting would be unbearably smug and pretentious. From the Mekons, however, it just seems like some friendly suggestions from a particularly eclectic and smart group of friends. A remarkably thoughtful and entertaining record. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Mekons - The Mekons Honky Tonkin`
$11.86 The Mekons: Boston Tar Baby (vocals, guitar, keyboards); Skelly (vocals, guitar); Der Cougar (vocals, accordion); Dick Taylor, Otto (guitar); Avadne Garde (fiddle); Lu Knee (bass); Little Willy (drums).Additional personnel: Sally Timms (vocals); Brendan Croker (tiple); John Gill (fiddle, bass, melodeon); Bobby Worby (organ).Engineers include: Tony Bonner, Steve Nunn, Bobby Worby.Recorded at Greenhouse, Berry St. and Cold Storage, London England; Offbeat and Erics Basement, Leeds, England. Includes liner notes by Sophie Bourbon.The Mekons: Jon Langford, Lu Edmonds, Rico Bell, Sally Timms, Tom Greenhalgh, Sarah Corina, Susie Honeyman.Personnel: Boston Tar Baby (vocals, guitar, keyboards); Sally Timms (vocals); Dick Taylor , Otto (guitar); Brendan Croker (tiple); John Gill (fiddle, melodion); Avadne Garde (fiddle); Bobby Worby (organ).Additional personnel: Michael Worby (organ).Audio Mixers: Steve Forward; Ian Caple; Joe.Recording information: Bary St., London, England; Berry St, London, England; Cold Storage Studios, Brixton, London, England; Cold Storage, London, England; Erics Basement, Leeds 8, England; Greenhouse Studios, London, England; Greenhouse, London, England; Offbeat, Leeds 4, England.Named after--but not including--a Hank Williams classic, the Mekons` 1987 HONKY TONKIN` is the prolific group`s folkiest and, arguably, best album. The apex of the long-lived band`s mid-`80s fascination with folk and country music, the record at times sounds like Woody Guthrie at his most politicized (especially on the old broadside ballad "The Trimdon Grange Explosion" and the impassioned "If They Hang You," a caustic commentary on the `50s Red Scare) fronting the Pogues at their most unabashed (particularly the hilarious, woozy "Sympathy for the Mekons" and "I Can`t Find My Money"). The liner notes namecheck related books, movies and artwork for each song, a gambit that in the hands of, say, Sting would be unbearably smug and pretentious. From the Mekons, however, it just seems like some friendly suggestions from a particularly eclectic and smart group of friends. A remarkably thoughtful and entertaining record. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Curse of the Mekons/F.U.N. '90
$12.78 In 2001, {@Collectors' Choice Music} released {^Curse of the Mekons/F.U.N. '90}, which combined two albums by {$the Mekons} on one compact disc: {^Curse of the Mekons} (1991, originally issued on {@Blast First}) and {^F.U.N. '90} (1990, originally on {@A& |
|
|
Curse Of The Mekons/Fun 90
$16.83 Buy and sell [Curse Of The Mekons/Fun 90] at great prices. |
|
|
Mekons Story - Usa Or Canadian Import
$35.04 Buy and sell [Mekons Story - Usa Or Canadian Import] at great prices. |
|
|
I Love Mekons - Dutch Import
$20.07 Buy and sell [I Love Mekons - Dutch Import] at great prices. |
|
MEKONS - Honky Tonkin Tour - Music Poster
$5.99 MEKONS Honky Tonkin Tour 84x59cm Music Poster |
|
The Curse of the Mekons/F.U.N. '90
$5.98 In 2001, Collectors' Choice Music released Curse of the Mekons/F.U.N. '90, which combined two albums by the Mekons on one compact disc: Curse of the Mekons (1991, originally issued on Blast First) and F.U.N. '90 (1990, originally on A&M). ~ Tim Sendra, All Music GuidePerformers: Gavin Sharp - Saxophone; Sally Timms - Vocals; Neil Yates - Trumpet |
|
The Mekons Honky Tonkin'
$9.97 The third album from what could be called {$the Mekons}' "soused socialist hillbilly-punks from Leeds" period, 1987's {^Honky Tonkin'} built on the {\country}-influenced musical and lyrical themes of {^Fear and Whiskey} and {^The Edge of the World}, where |
|
The Mekons - Fear And Whiskey
$14.83 The Mekons: Jonny Boy Langford (vocals, guitar, harp); Tommy Greene (vocals, guitar, piano); Ken Lite (guitar, background vocals); Dick Taylor (guitar); Susie Honeyman (fiddle); Lu (bass); Steve Goulding (drums).Personnel: Jon Langford (vocals, guitar, harp); Tom Greene (vocals, guitar, piano); Jacqui Callis, Ken Lite, Tom Greenhalgh (vocals); Dick Taylor (guitar); Suzie Honeyman (fiddle); Robert Sigmund Worby, Steve Goulding (drums).Audio Mixers: John Gill; Tom Greenhalgh.Recording information: Lion Studios, Leeds (1984/1985).Photographer: John Ingledew.FEAR AND WHISKEY was the album that signaled the second coming of the Mekons. Six years after their 1979 debut, the band overhauled their well-honed post-punk sound with an unexpected departure. Like the Byrds before them, the Mekons decided to forge a merger between rock and country; unlike the Byrds, of course, the Mekons infused their ragged honky-tonk with hints of reggae, art noise, and ample doses of reckless punk.The opening "Chivalry" is a barroom tune that sounds part Celtic, part Texan, with a floating fiddle melody courtesy of Susie Honeyman. "Trouble Down South," a politically pointed song that uses spoken narrative against a backdrop of fiddle, haunting vocals, and reggae rhythms, gives way to the amped-up "Hard to Be Human Again" and the heavy, sleepy "Darkness and Doubt." The surreal story-song "Psycho Cupid," the insistent pulse of "Country," and the sad, drunken "Last Dance" make good on the Mekons` promise to mix it up, before they wrap the package with a cover of Hank Williams`s "Lost Highway." FEAR AND WHISKEY is a punk classic, one that surprises, charms, and overflows with rootsy, rebellious energy. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Mekons - Fear And Whiskey
$13.93 The Mekons: Jonny Boy Langford (vocals, guitar, harp); Tommy Greene (vocals, guitar, piano); Ken Lite (guitar, background vocals); Dick Taylor (guitar); Susie Honeyman (fiddle); Lu (bass); Steve Goulding (drums).Personnel: Jon Langford (vocals, guitar, harp); Tom Greene (vocals, guitar, piano); Jacqui Callis, Ken Lite, Tom Greenhalgh (vocals); Dick Taylor (guitar); Suzie Honeyman (fiddle); Robert Sigmund Worby, Steve Goulding (drums).Audio Mixers: John Gill; Tom Greenhalgh.Recording information: Lion Studios, Leeds (1984/1985).Photographer: John Ingledew.FEAR AND WHISKEY was the album that signaled the second coming of the Mekons. Six years after their 1979 debut, the band overhauled their well-honed post-punk sound with an unexpected departure. Like the Byrds before them, the Mekons decided to forge a merger between rock and country; unlike the Byrds, of course, the Mekons infused their ragged honky-tonk with hints of reggae, art noise, and ample doses of reckless punk.The opening "Chivalry" is a barroom tune that sounds part Celtic, part Texan, with a floating fiddle melody courtesy of Susie Honeyman. "Trouble Down South," a politically pointed song that uses spoken narrative against a backdrop of fiddle, haunting vocals, and reggae rhythms, gives way to the amped-up "Hard to Be Human Again" and the heavy, sleepy "Darkness and Doubt." The surreal story-song "Psycho Cupid," the insistent pulse of "Country," and the sad, drunken "Last Dance" make good on the Mekons` promise to mix it up, before they wrap the package with a cover of Hank Williams`s "Lost Highway." FEAR AND WHISKEY is a punk classic, one that surprises, charms, and overflows with rootsy, rebellious energy. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Mekons - Fear And Whiskey
$18.79 The Mekons: Jonny Boy Langford (vocals, guitar, harp); Tommy Greene (vocals, guitar, piano); Ken Lite (guitar, background vocals); Dick Taylor (guitar); Susie Honeyman (fiddle); Lu (bass); Steve Goulding (drums).Personnel: Jon Langford (vocals, guitar, harp); Tom Greene (vocals, guitar, piano); Jacqui Callis, Ken Lite, Tom Greenhalgh (vocals); Dick Taylor (guitar); Suzie Honeyman (fiddle); Robert Sigmund Worby, Steve Goulding (drums).Audio Mixers: John Gill; Tom Greenhalgh.Recording information: Lion Studios, Leeds (1984/1985).Photographer: John Ingledew.FEAR AND WHISKEY was the album that signaled the second coming of the Mekons. Six years after their 1979 debut, the band overhauled their well-honed post-punk sound with an unexpected departure. Like the Byrds before them, the Mekons decided to forge a merger between rock and country; unlike the Byrds, of course, the Mekons infused their ragged honky-tonk with hints of reggae, art noise, and ample doses of reckless punk.The opening "Chivalry" is a barroom tune that sounds part Celtic, part Texan, with a floating fiddle melody courtesy of Susie Honeyman. "Trouble Down South," a politically pointed song that uses spoken narrative against a backdrop of fiddle, haunting vocals, and reggae rhythms, gives way to the amped-up "Hard to Be Human Again" and the heavy, sleepy "Darkness and Doubt." The surreal story-song "Psycho Cupid," the insistent pulse of "Country," and the sad, drunken "Last Dance" make good on the Mekons` promise to mix it up, before they wrap the package with a cover of Hank Williams`s "Lost Highway." FEAR AND WHISKEY is a punk classic, one that surprises, charms, and overflows with rootsy, rebellious energy. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Mekons - Fear And Whiskey
$14.68 The Mekons: Jonny Boy Langford (vocals, guitar, harp); Tommy Greene (vocals, guitar, piano); Ken Lite (guitar, background vocals); Dick Taylor (guitar); Susie Honeyman (fiddle); Lu (bass); Steve Goulding (drums).Personnel: Jon Langford (vocals, guitar, harp); Tom Greene (vocals, guitar, piano); Jacqui Callis, Ken Lite, Tom Greenhalgh (vocals); Dick Taylor (guitar); Suzie Honeyman (fiddle); Robert Sigmund Worby, Steve Goulding (drums).Audio Mixers: John Gill; Tom Greenhalgh.Recording information: Lion Studios, Leeds (1984/1985).Photographer: John Ingledew.FEAR AND WHISKEY was the album that signaled the second coming of the Mekons. Six years after their 1979 debut, the band overhauled their well-honed post-punk sound with an unexpected departure. Like the Byrds before them, the Mekons decided to forge a merger between rock and country; unlike the Byrds, of course, the Mekons infused their ragged honky-tonk with hints of reggae, art noise, and ample doses of reckless punk.The opening "Chivalry" is a barroom tune that sounds part Celtic, part Texan, with a floating fiddle melody courtesy of Susie Honeyman. "Trouble Down South," a politically pointed song that uses spoken narrative against a backdrop of fiddle, haunting vocals, and reggae rhythms, gives way to the amped-up "Hard to Be Human Again" and the heavy, sleepy "Darkness and Doubt." The surreal story-song "Psycho Cupid," the insistent pulse of "Country," and the sad, drunken "Last Dance" make good on the Mekons` promise to mix it up, before they wrap the package with a cover of Hank Williams`s "Lost Highway." FEAR AND WHISKEY is a punk classic, one that surprises, charms, and overflows with rootsy, rebellious energy. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Mekons Honky Tonkin'
$10.99 Track Listing: 1. I Can't Find My Money, 2. Hole in the Ground, 3. Sleepless Nights, 4. Keep on Hoppin', 5. Charlie Cake Park, 6. If They Hang You, 7. Prince of Darkness, The, 8. Kidnapped, 9. Sympathy for the Mekons, 10. Spit, 11. Trimdon Grange Explosion, 12. Please Don't Let Me Love You, 13. Gin Palace, 14. Sin City - (bonus track), 15. Danton - (bonus track), 16. Prince of Darkness - (bonus track) |
|
Heaven & Hell: Very Best Of The Mekons
$14.99 Full title: Heaven and Hell: The Very Best of the Mekons.This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.The Mekons: Jon Langford.While the world's loyal legions of Mekons fans will undoubtedly complain that this or that great song has not been included on the set list, the fact remains that HEAVEN & HELL is the Mekons anthology that the universe has long been waiting for. A two-disc retrospective, HEAVEN & HELL spans from the UK band's early output (1980's "Snow") to 2004's "Work All Week." The superb, non-chronological sequencing gives a whiplash, merry-go-round tour of the group's multi-directional musical charms, which pack punk, folk, country, reggae, and art noise, among other influences, into a body-flattening wallop.Nearly 25 years of consistently high-quality work is featured here, with equal attention to the Mekons' post-punk origins, their classic mid-period records (FEAR AND WHISKEY and THE MEKONS ROCK N' ROLL), and their very fine late-'90s/early 2000s Quarterstick albums. Politically committed, fiercely independent, and tireless makers of unique, rootsy, and energetic music, the Mekons are one of rock's great heroic bands. HEAVEN & HELL reminds us of this, and, in many ways, it's a perfect rock & roll document. |
|
The Mekons Honky Tonkin'
$11.98 The third album from what could be called the Mekons' "soused socialist hillbilly-punks from Leeds" period, 1987's Honky Tonkin' built on the country-influenced musical and lyrical themes of Fear and Whiskey and The Edge of the World, where the boozy ambience of classic Nashville sounds found a sympathetic ear among this pack of political and emotional underdogs. As a set of songs, Honky Tonkin' isn't quite up to the standards of the previous two albums, which creatively kick started the band after a period of inactivity, but as an album Honky Tonkin' is one of the band's best efforts. Touring and frequent visits to the recording studio had tightened up the Mekons' sound a bit ("tight" being a highly relative concept), and while it's many miles away from slick, the more full-bodied engineering and production on Honky Tonkin' was a decided improvement on the often hollow and slapdash recording of Fear and Whiskey. And given a sympathetic recording environment for a change, the Mekons truly delivered the goods; the rollicking sway of "Kidnapped" and "Keep Hoppin'" finds room for a boozy joy in an unfriendly world, while the bitterness and defeat of "Spit" and "I Can't Find My Money" put a sympathetic human face on this band's class-conscious rage. And while this album didn't contain the Mekons' first stab at the 19th century protest song "The Trimdon Grange Explosion," this version was a remarkable meeting of folk-rock's earnestness and punk's spitting wrath which ranks with the group's most powerful recorded moments. Just short of a masterpiece, and one of the high points of the Mekons' twangy period. ~ Mark Deming, All Music GuidePerformers: Brendan Croker - Tiple; Avadne Garde - Fiddle; Boston Tar Baby - Guitar, Keyboards, Vocals; John Gill - Bass, Fiddle, Melodion; Lew Knee - Bass; Otto - Guitar; Dick Taylor - Guitar; Sally Timms - Vocals; Bobby Worby - Organ; Michael Worby - Organ |
|
The Mekons - Punk Rock
$14.83 The Mekons: Langford (vocals, guitar, banjo, mbira, drums); Greenhalgh (vocals, guitar, percussion); Bell (vocals, accordion, marimba); Timms (vocals, Shruti box); Lu (vocals, saz); Ken Life (guitar); Honeyman (fiddle);Corina (bass); Goulding (drums); Mitch.Additional personnel: Jessica Billey Eagelbauer (fiddle).Engineers: Ken Sluiter, Adam Jacobs, Avery Lerner.Recorded in Chicago, Illinois, New York, New York, and Amsterdam, The Netherlands between 2002 & 2003. Includes liner notes by Colin Stewart.Personnel: Jonboy Langford & the Pine Valley Cosmonauts (vocals, guitar, banjo, drums); Tom Greenhalgh (vocals, guitar, percussion); Jessica Billey (fiddle); Goulding (drums).Audio Mixer: The Mekons.Liner Note Author: Colin Stewart.Recording information: Amsterdam, The Netherlands (2002-2003); New York, NY (2002-2003); Western Sound Labs, Chicago, IL (2002-2003).Is it just ironic that the Mekons, some 27 years into their journey from Leeds snot-nose guttersnipe art students to the elder statesfolk of barroom/club stage domination, have entitled their 2003 recording Punk Rock? Only partially. The truth of the matter: those Brit mischief-makers wrote these songs nearly 30 years ago; and some of them they`ve just come `round to recording now in the no man`s lands between Chicago and Amsterdam. These are authentic punk anthems, played by a band who actually knows how to play their instruments now. Inspired by their catalog, yet being unable to undo the effects of musical growth, the 15 songs on Punk Rock feel oddly out of time and place. There is a certain ramshackle grace in them that offers the ghostly hint of 1977`s chaotic joy, but being played by people who no longer have the comfort of naivete as a cushion against the outside world. Certain songs, such as "I`m So Happy" capture the rage and bluster of the time, but take on new weight coming from the mouth of a man who has seen the clock come full circle: history seems to be repeating itself with an ironic vengeance in a post-Thatcher Britain that`s been replaced by a Bush/Blair alliance and is ramming the "truth" down the punters throats. While the angry urgency written into these songs cannot be dredged up from time immemorial, the bitter laughter and tempered rage of seeing the enemy and his forked tongue coming whistling over the horizon once more is abundant. This is first and foremost a rock and roll record; check out the anthemic craziness in "32 Weeks," "Trevira Trousers," "This Sporting Life," an amazingly shambolic "Never Been In a Riot," and "Fight the Cuts," (with guests Eaglebauer, a Mekons tribute band). And then there`s the tempered, post-punk, country strangeness and charm in "Corporal Chalkie," "Rosanne," and "Chopper Squad," to offer a fractured view of a band that has seen it all and played it all while never losing their sense of impropriety and disorder. Punk Rock is a fin |
|
|
The Mekons - Punk Rock
$13.93 The Mekons: Langford (vocals, guitar, banjo, mbira, drums); Greenhalgh (vocals, guitar, percussion); Bell (vocals, accordion, marimba); Timms (vocals, Shruti box); Lu (vocals, saz); Ken Life (guitar); Honeyman (fiddle);Corina (bass); Goulding (drums); Mitch.Additional personnel: Jessica Billey Eagelbauer (fiddle).Engineers: Ken Sluiter, Adam Jacobs, Avery Lerner.Recorded in Chicago, Illinois, New York, New York, and Amsterdam, The Netherlands between 2002 & 2003. Includes liner notes by Colin Stewart.Personnel: Jonboy Langford & the Pine Valley Cosmonauts (vocals, guitar, banjo, drums); Tom Greenhalgh (vocals, guitar, percussion); Jessica Billey (fiddle); Goulding (drums).Audio Mixer: The Mekons.Liner Note Author: Colin Stewart.Recording information: Amsterdam, The Netherlands (2002-2003); New York, NY (2002-2003); Western Sound Labs, Chicago, IL (2002-2003).Is it just ironic that the Mekons, some 27 years into their journey from Leeds snot-nose guttersnipe art students to the elder statesfolk of barroom/club stage domination, have entitled their 2003 recording Punk Rock? Only partially. The truth of the matter: those Brit mischief-makers wrote these songs nearly 30 years ago; and some of them they`ve just come `round to recording now in the no man`s lands between Chicago and Amsterdam. These are authentic punk anthems, played by a band who actually knows how to play their instruments now. Inspired by their catalog, yet being unable to undo the effects of musical growth, the 15 songs on Punk Rock feel oddly out of time and place. There is a certain ramshackle grace in them that offers the ghostly hint of 1977`s chaotic joy, but being played by people who no longer have the comfort of naivete as a cushion against the outside world. Certain songs, such as "I`m So Happy" capture the rage and bluster of the time, but take on new weight coming from the mouth of a man who has seen the clock come full circle: history seems to be repeating itself with an ironic vengeance in a post-Thatcher Britain that`s been replaced by a Bush/Blair alliance and is ramming the "truth" down the punters throats. While the angry urgency written into these songs cannot be dredged up from time immemorial, the bitter laughter and tempered rage of seeing the enemy and his forked tongue coming whistling over the horizon once more is abundant. This is first and foremost a rock and roll record; check out the anthemic craziness in "32 Weeks," "Trevira Trousers," "This Sporting Life," an amazingly shambolic "Never Been In a Riot," and "Fight the Cuts," (with guests Eaglebauer, a Mekons tribute band). And then there`s the tempered, post-punk, country strangeness and charm in "Corporal Chalkie," "Rosanne," and "Chopper Squad," to offer a fractured view of a band that has seen it all and played it all while never losing their sense of impropriety and disorder. Punk Rock is a fin |
|
|
The Mekons - Punk Rock
$18.79 The Mekons: Langford (vocals, guitar, banjo, mbira, drums); Greenhalgh (vocals, guitar, percussion); Bell (vocals, accordion, marimba); Timms (vocals, Shruti box); Lu (vocals, saz); Ken Life (guitar); Honeyman (fiddle);Corina (bass); Goulding (drums); Mitch.Additional personnel: Jessica Billey Eagelbauer (fiddle).Engineers: Ken Sluiter, Adam Jacobs, Avery Lerner.Recorded in Chicago, Illinois, New York, New York, and Amsterdam, The Netherlands between 2002 & 2003. Includes liner notes by Colin Stewart.Personnel: Jonboy Langford & the Pine Valley Cosmonauts (vocals, guitar, banjo, drums); Tom Greenhalgh (vocals, guitar, percussion); Jessica Billey (fiddle); Goulding (drums).Audio Mixer: The Mekons.Liner Note Author: Colin Stewart.Recording information: Amsterdam, The Netherlands (2002-2003); New York, NY (2002-2003); Western Sound Labs, Chicago, IL (2002-2003).Is it just ironic that the Mekons, some 27 years into their journey from Leeds snot-nose guttersnipe art students to the elder statesfolk of barroom/club stage domination, have entitled their 2003 recording Punk Rock? Only partially. The truth of the matter: those Brit mischief-makers wrote these songs nearly 30 years ago; and some of them they`ve just come `round to recording now in the no man`s lands between Chicago and Amsterdam. These are authentic punk anthems, played by a band who actually knows how to play their instruments now. Inspired by their catalog, yet being unable to undo the effects of musical growth, the 15 songs on Punk Rock feel oddly out of time and place. There is a certain ramshackle grace in them that offers the ghostly hint of 1977`s chaotic joy, but being played by people who no longer have the comfort of naivete as a cushion against the outside world. Certain songs, such as "I`m So Happy" capture the rage and bluster of the time, but take on new weight coming from the mouth of a man who has seen the clock come full circle: history seems to be repeating itself with an ironic vengeance in a post-Thatcher Britain that`s been replaced by a Bush/Blair alliance and is ramming the "truth" down the punters throats. While the angry urgency written into these songs cannot be dredged up from time immemorial, the bitter laughter and tempered rage of seeing the enemy and his forked tongue coming whistling over the horizon once more is abundant. This is first and foremost a rock and roll record; check out the anthemic craziness in "32 Weeks," "Trevira Trousers," "This Sporting Life," an amazingly shambolic "Never Been In a Riot," and "Fight the Cuts," (with guests Eaglebauer, a Mekons tribute band). And then there`s the tempered, post-punk, country strangeness and charm in "Corporal Chalkie," "Rosanne," and "Chopper Squad," to offer a fractured view of a band that has seen it all and played it all while never losing their sense of impropriety and disorder. Punk Rock is a fin |
|
The Mekons - Punk Rock
$14.68 The Mekons: Langford (vocals, guitar, banjo, mbira, drums); Greenhalgh (vocals, guitar, percussion); Bell (vocals, accordion, marimba); Timms (vocals, Shruti box); Lu (vocals, saz); Ken Life (guitar); Honeyman (fiddle);Corina (bass); Goulding (drums); Mitch.Additional personnel: Jessica Billey Eagelbauer (fiddle).Engineers: Ken Sluiter, Adam Jacobs, Avery Lerner.Recorded in Chicago, Illinois, New York, New York, and Amsterdam, The Netherlands between 2002 & 2003. Includes liner notes by Colin Stewart.Personnel: Jonboy Langford & the Pine Valley Cosmonauts (vocals, guitar, banjo, drums); Tom Greenhalgh (vocals, guitar, percussion); Jessica Billey (fiddle); Goulding (drums).Audio Mixer: The Mekons.Liner Note Author: Colin Stewart.Recording information: Amsterdam, The Netherlands (2002-2003); New York, NY (2002-2003); Western Sound Labs, Chicago, IL (2002-2003).Is it just ironic that the Mekons, some 27 years into their journey from Leeds snot-nose guttersnipe art students to the elder statesfolk of barroom/club stage domination, have entitled their 2003 recording Punk Rock? Only partially. The truth of the matter: those Brit mischief-makers wrote these songs nearly 30 years ago; and some of them they`ve just come `round to recording now in the no man`s lands between Chicago and Amsterdam. These are authentic punk anthems, played by a band who actually knows how to play their instruments now. Inspired by their catalog, yet being unable to undo the effects of musical growth, the 15 songs on Punk Rock feel oddly out of time and place. There is a certain ramshackle grace in them that offers the ghostly hint of 1977`s chaotic joy, but being played by people who no longer have the comfort of naivete as a cushion against the outside world. Certain songs, such as "I`m So Happy" capture the rage and bluster of the time, but take on new weight coming from the mouth of a man who has seen the clock come full circle: history seems to be repeating itself with an ironic vengeance in a post-Thatcher Britain that`s been replaced by a Bush/Blair alliance and is ramming the "truth" down the punters throats. While the angry urgency written into these songs cannot be dredged up from time immemorial, the bitter laughter and tempered rage of seeing the enemy and his forked tongue coming whistling over the horizon once more is abundant. This is first and foremost a rock and roll record; check out the anthemic craziness in "32 Weeks," "Trevira Trousers," "This Sporting Life," an amazingly shambolic "Never Been In a Riot," and "Fight the Cuts," (with guests Eaglebauer, a Mekons tribute band). And then there`s the tempered, post-punk, country strangeness and charm in "Corporal Chalkie," "Rosanne," and "Chopper Squad," to offer a fractured view of a band that has seen it all and played it all while never losing their sense of impropriety and disorder. Punk Rock is a fin |
|
The Curse of the Mekons/F.U.N. '90
$15.99 Track Listing: 1. Curse, The, 2. Blue Arse, 3. Wild and Blue, 4. Authority, 5. Secrets, 6. Nocturne, 7. Sorcerer, 8. Brutal, 9. Funeral, 10. Lyric, 11. Waltz, 12. 100% Song, 13. Makes No Difference, 14. Sheffield Park, 15. Having a Party, 16. One Horse Town |
|
Heaven and Hell: The Very Best of the Mekons
$16.98 Description not provided. |
|
The Executioner's Last Songs
$9.97 It's a great idea, an album to benefit the Illinois Death Penalty Moratorium Project, and who better to execute it (pun intended) than the linchpin of the Chicago {\alt-country} movement, {$Mekons} and {$Waco Brother} member {$Jon Langford}? He's reassemb |
|
Barbara Manning Sings With the Original Artists
$14.97 {^Barbara Manning Sings With the Original Artists} is a somewhat slight but wholly enjoyable release from a short-lived "supergroup" consisting of vocalist {$Barbara Manning} and members of {$Young Marble Giants} ({$Stuart Moxham}), {$the Mekons} ({$Jon L |
|
Super Roots, Vol. 7
$9.97 The seventh volume of the {$Boredoms}' between-album Super Roots project is one of the Japanese band's finest releases, and possibly its most accessible. The lengthy original track {&"7"} is a radically expanded instrumental cover of {$the Mekons}' {&"Whe |
|
Fear and Whiskey
$12.47 Released in 1985, {^Fear and Whiskey} is credited as the album that began the {\alt-country} marketing category. True or not, it shouldn't be held against one of the greatest records ever. {$The Mekons} were one of the most loved and hated bands on the la |
|
Natural
$12.97 {$The Mekons} are celebrating their 30th anniversary in 2007 as they release their 26th album, {^Natural}, which to the uninitiated might sound as if the band were bowing to the ravages of time with its relaxed tempos, emphasis on acoustic instruments, an |
|
The Edge of the World
$12.47 {^The Edge of the World} is a pivotal album in {$the Mekons}' enormous oeuvre, for it's the record that introduces {$Sally Timms}' remarkable voice into the group's mix of {\country}, {\folk}, {\punk}, and {\noise} textures. Either on its own or in tandem |
|
Me
$12.47 After a four-year hiatus -- not counting the many solo projects, collaborations, and other odd detours that filled the gap -- the {$Mekons} return to action with {^Me}, another sterling addition to their catalog. {$Jon Langford's} boozy adventures with th |
|
Journey to the End of the Night
$12.47 {$The Mekons} have always thrived on musical contradiction, reveling in their clashes instead of diluting their collective influences, realizing that it's less interesting to play it safe. However, there is little evidence of this inclination on {^Journey |
|
The Fisherman's Wife
$12.47 Part of the post-millennium reimagining of early-'80s {\post-punk}, {$the Fuse!} are a southern California power trio with one foot in the {$Gang of Four}/{$Mekons} school of rabble-rousing art {\punk} and the other in the more abrasive, confrontational s |
|
No More Pain
$12.47 {$Rudimentary Peni}'s continued existence may seem surprising to some, but like near contemporaries such as {$the Mekons} or {$the Fall} (or at least their legendary bandleader), it just goes to show that persistence is no bad thing in the right hands. Wi |
|
The Return of Rico Bell
$11.97 {^The Return of Rico Bell}, the debut solo album from {$the Mekons}' vocalist and accordion player, is a splendidly rollicking set of roots music. On this album, {\Memphis soul} collides with {\Celtic} strains and then hurtles headlong into Appalachian hi |
|
The Mayors of the Moon
$10.97 This album, mixing {$the Mekons} and {$Waco Brothers} singer with {$the Sadies}, is an interesting and engaging {\roots rock} and {\country} effort that gets off to a great start with {&"Drugstore."} Rounded out by a definitive {\roots rock} sound in the |
|
Natural
$15.98 The Mekons are celebrating their 30th anniversary in 2007 as they release their 26th album, Natural, which to the uninitiated might sound as if the band were bowing to the ravages of time with its relaxed tempos, emphasis on acoustic instruments, and general reluctance to rock out in the traditional manner. However, this overlooks the fact that the Mekons have never had much truck with how things are "traditionally" done; the Mekons have rarely sounded as if they were following the same musical path on two consecutive albums, and while the aggressive stance of 2002's OOOH! (Out of Our Heads) and 2004's Punk Rock has taken a back seat to a more measured and subtle approach, Natural certainly fits in with the group's great tradition of intelligent ranting. Most of Natural suggests the Mekons sitting around the campfire, perhaps after some failed revolutionary action has knocked out the power, singing songs that at once reflect their cynicism and offer some faint hope for a world where either justice or cheap beer is in ready supply. "You don't have to believe in the end," from "Cockermouth," is the benchmark of the album's semi-optimism; "Dark Dark Dark," "Dickie Chalkie and Nobby," and "Give Me Wine or Money" all offer sketches of resistance in a world that isn't much interested in their campaign; and the closer, "Perfect Mirror," calmly contemplates the final defeat. In the midst of all this, the Mekons do find space for one noisy rocker, the digital-age rant "Zeroes and Ones," while an undertow of electric noise adds to the menace of "Dark Dark Dark," suggesting once again that the Mekons don't put much stock in even their own self-imposed rules. Natural is a quiet but disconcerting snapshot of a world of chaos, which is to say it depicts a world not so different than the one that saw the birth of the Mekons in 1977, and confirms their message has remained constant even when their musical approach has not. ~ Mark Deming, All Music Guide |
|
Hello Cruel World: Selected Lyrics
$32.95 DIVProvincial punk iconoclasts turned pan-global maverick legends of music and art, the Mekons walk tall into their second quarter century – still impossible to pigeonhole, still kicking against the pricks, still burrowing feverishly beneath the soft white belly of the rock beast. Hello Cruel World contains the lyrics to 125 Mekons songs, many of them illustrated by the band in stunning fashion. Also included are numerous handwritten drafts of songs (often very different from the final versions) and a portfolio of candid pictures of the band on the road by photographer Anne L. Lehman. Gleeful and despairing, withering and poetic, sexy and poignant, rollicking and grim, the Mekons’ expressive lyrics and art offer rich insights into the band’s collective creative alchemy, fierce humor, and caustic world view./div |
|
Animal Crackers
$12.97 No one has ever accused {$the Mekons} of being an especially "family friendly" ensemble, but two longtime members of the Leftist Punk Band That Refuses To Die -- guitarist and singer {$Jon Langford} and vocalist {$Sally Timms} -- have decided to take a st |
|
Gold Brick
$10.97 Despite hailing from Great Britain (Wales, to be exact), the 2006 solo release by longtime {$Mekons} leader {$Jon Langford}, {^Gold Brick}, is a prime slice of {\Americana}. The twangy strains of {\alt-country} sound as if they were straight out of the So |
|
Punk Rock
$12.47 Is it just ironic that {$the Mekons}, some 27 years into their journey from Leeds snot-nose guttersnipe art students to the elder statesfolk of barroom/club stage domination, have entitled their 2003 recording {^Punk Rock}? Only partially. The truth of th |
|
OOOH! (Out of Our Heads)
$12.97 What a long, strange trip it's been indeed. {^OOOH! (Out Of Our Heads}) is the 25th anniversary recording by the ubiquitous {$Mekons}, a band from Leeds that, in one incarnation or another, has been confounding and delighting both audiences and critics si |
![Boredoms - Super Roots 7 [EP] [2/20]](http://cdn2.overstock.com/images/products/muze/music/971446.jpg)
|
Boredoms - Super Roots 7 [EP] [2/20]
$11.98 Volume 7 in the Boredoms` Super Roots series consists of three extended tracks based on the basic and highly infectious riff to the Mekons` early classic, "Where Were You." Remnants of the original melody creep in and out over the course of the Boredoms` remarkable deconstruction, but ultimately the song is lovingly buried under layers of krauty electronics, ethereal drones, and blazing rock action. As a twisted reconfiguration of a punk-rock classic, Volume 7 is as much a tribute to the visionary nature of Yamatsuka Eye and his merry pranksters as it is to the Mekons. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Boredoms - Super Roots 7 [EP] [2/20]
$11.26 Volume 7 in the Boredoms` Super Roots series consists of three extended tracks based on the basic and highly infectious riff to the Mekons` early classic, "Where Were You." Remnants of the original melody creep in and out over the course of the Boredoms` remarkable deconstruction, but ultimately the song is lovingly buried under layers of krauty electronics, ethereal drones, and blazing rock action. As a twisted reconfiguration of a punk-rock classic, Volume 7 is as much a tribute to the visionary nature of Yamatsuka Eye and his merry pranksters as it is to the Mekons. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Boredoms - Super Roots 7 [EP] [2/20]
$15.18 Volume 7 in the Boredoms` Super Roots series consists of three extended tracks based on the basic and highly infectious riff to the Mekons` early classic, "Where Were You." Remnants of the original melody creep in and out over the course of the Boredoms` remarkable deconstruction, but ultimately the song is lovingly buried under layers of krauty electronics, ethereal drones, and blazing rock action. As a twisted reconfiguration of a punk-rock classic, Volume 7 is as much a tribute to the visionary nature of Yamatsuka Eye and his merry pranksters as it is to the Mekons. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Boredoms - Super Roots 7 [EP] [2/20]
$11.86 Volume 7 in the Boredoms` Super Roots series consists of three extended tracks based on the basic and highly infectious riff to the Mekons` early classic, "Where Were You." Remnants of the original melody creep in and out over the course of the Boredoms` remarkable deconstruction, but ultimately the song is lovingly buried under layers of krauty electronics, ethereal drones, and blazing rock action. As a twisted reconfiguration of a punk-rock classic, Volume 7 is as much a tribute to the visionary nature of Yamatsuka Eye and his merry pranksters as it is to the Mekons. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Me
$14.98 After a four-year hiatus -- not counting the many solo projects, collaborations, and other odd detours that filled the gap -- the Mekons return to action with Me, another sterling addition to their catalog. Jon Langford's boozy adventures with the Waco Brothers and the Pine Valley Cosmonauts have clearly influenced tracks like "Gin & It" and "Whisky Sex Shack," while "Tourettes" and "Belly to Belly" are just as snotty as anything the band unleashed two decades earlier; indeed, while Me doesn't really add anything new to the Mekons canon, it also doesn't take anything away -- even going on the two-decade mark, they remain the truest representation of the punk spirit around. ~ Jason Ankeny, All Music GuidePerformers: Rebecca Gates - Vocals |
|
The Edge of the World
$14.98 The Edge of the World is a pivotal album in the Mekons' enormous oeuvre, for it's the record that introduces Sally Timms' remarkable voice into the group's mix of country, folk, punk, and noise textures. Either on its own or in tandem with longtime singers Jon Langford and Tom Greenhalgh, Timms' voice adds an attractive new texture to The Edge of the World. However, in retrospect, this is not the countrified album its initial reviews claimed, or at least not entirely. The opening "Hello Cruel World" is a grinding post-punk downer that slowly accelerates into a desperate, hoarse cry with no noticeable country or folk elements. "Bastard" ups the anger and desperation considerably, this time adding a stomping fiddle tune and one of Langford's most spiteful, spittle-flecked vocals. Timms makes her lead vocal debut on the majestically dismissive "Oblivion," which has the most striking chorus on the album. After that strong trio of tunes, the rest of the album refines those musical styles and lyrical themes to varying degrees, with the rollicking "Slightly South of the Border" and the remarkable "Alone and Forsaken" the highlights. The Edge of the World is one of the Mekons' finest efforts. ~ Stewart Mason, All Music Guide |
|
Hey Drag City
$13.99 Track Listing: 1. For the Mekons et. Al. - The Palace Brothers, 2. Make You Gone - Red Red Meat, 3. Nail Clinic - Pavement, 4. New Trition - Desert Storm, 5. Your Face - Smog, 6. At Night and at Night - Gastr del Sol, 7. Famous Eyes - Silver Jews, 8. Ike - Fruitcake, 9. 70 of Hearts - Royal Trux, 10. Yuhahi Coast Road - Alastair Galbraith, 11. Scott Free - Burnout, 12. Columbia - The Red Krayola, 13. 199(7)1 - Mantis, 14. Funky Future Train - King Kong, 15. Shimmer - Vocokesh |
|
OOOH! (Out of Our Heads)
$15.98 What a long, strange trip it's been indeed. OOOH! (Out Of Our Heads) is the 25th anniversary recording by the ubiquitous Mekons, a band from Leeds that, in one incarnation or another, has been confounding and delighting both audiences and critics since their beginning. Jon Langford, the band's unofficial frontman, has cajoled, bribed, pleaded with, and threatened, by most of the band's original members -- Tom Greenhalgh, Sally Timms, Rico Bell, Sarah Casanova Corina, Steve Goulding, Lu Edmonds, Susie Honeyman, Ken Lite -- and a few guests from Chicago (where he resides) in Edith Frost, Kelly Hogan, and producer Ken Sluiter -- to churn out the finest Mekons album since The Mekons Rock & Roll, if not Fear and Whiskey. While the mix of country and rock tunes will be familiar to fans, the intensity will not. This is a Mekons recording that pulls out all the stops and brings their deeply rooted psychobilly country base to the fore while engaging their punk roots with abandon (they could show the Vines and the Hives more than a few new tricks) -- check out the first two tracks, "Thee Olde Trip to Jerusalem" and "Dancing in the Head." When slipping over into deeper country waters, as they do on "Hate in the New Love" and "The Way Through the Fire," as well as "Take His Name in Vain" (with a stunning chanted group chorus) and "Lone Pilgrim" (with an amazing vocal by Greenhalgh), the band indulge a certain British electric folk sensibility as well that wouldn't be out of place on an old Steeleye Span or Fairport Convention recording. In other words, these old dogs have plenty of life left in them as a band. If Langford could keep this lineup together for a reasonable amount of time, they might actually reach a few thousand more souls on their way into rock & roll history -- though given this fine disc, who can say how far into the future that might be? A great place to start, a fine place to continue, if you've been on the Mekons road for a bit, and if you are already a fan, this is essential. ~ Thom Jurek, All Music GuidePerformers: Tom Greenhalgh - Autoharp, Guitar, Vocals; Rico Bell - Accordion, Harmonica, Vocals; Suzie Honeyman - Fiddle, Vocals; Ken Sluiter - Sound Effects, Vocals; Andy Stoller - Bass (Acoustic), Bass (Electric); Sarah Casanova Corina - Bass, Vocals; |
|
Journey to the End of the Night
$14.98 The Mekons have always thrived on musical contradiction, reveling in their clashes instead of diluting their collective influences, realizing that it's less interesting to play it safe. However, there is little evidence of this inclination on Journey to the End of the Night, perhaps their most straightforward album. Long-time fans looking for the fire of their most impassioned music may be suspicious: for once the Mekons sound like a band getting older, but this isn't a bad thing. On Journey, they avoid the sort of jarring juxtapositions that made previous collections more difficult to digest, but they don't stick to a uniform sound; instead, "Tina"'s light reggae rhythms, chugging guitar line, and melodica coexist peacefully with the low-budget electro of "The Flood." The more reserved songcraft results in one of the group's most sensitive sets of songs. "Ordinary Night" effectively communicates a touching story of love fumbled by a familiar, tragic character in two verses. The duet "Last Weeks of the War" uses truly ominous language in its tale of a broken relationship: "Little black book/Full of little white lies/The straightjacket has arrived/I'll try it on for size," Jon Langford sings, while Timms is both strong and sympathetic ("I'm not ruined but I need repair"). On Journey to the End of the Night, the Mekons have crafted a collection of rich, musically agreeable settings for sympathetic character sketches like these. ~ Nathan Bush, All Music GuidePerformers: LU - Cumbus; John Rice - Sitar (Electric); Tom - Autoharp, Guitar, Piano, Vocals; Neko Case - Vocals (Background); Edith Frost - Vocals (Background); Kelly Hogan - Vocals (Background); Mitchell Marlow - Guitar (Rhythm); Jon - Guitar, Machines, Melodica, Vocals |
|
Hey Drag City
$13.98 Hey Drag City collects songs from Drag City's early-'90s roster, which included bands like Desert Storm, King Kong, Burnout, Fruitcake, and Mantis. Many of the label's better-known bands contribute the album's highlights; Pavement's "Nail Clinic" shows off the group's early, unraveled art-punk sound, and Smog's "Your Face" is one of Bill Callahan's creepiest, yet most affecting, songs. Palace's shambling "For the Mekons Et Al," the Silver Jews' "Famous Eyes," and Royal Trux's untitled piece also rank among the best songs from this snapshot of Drag City's early years. ~ Heather Phares, All Music GuidePerformers: Jim O'Rourke - Multi Instruments |
|
|
Out Loud
$15.99 Track Listing: 1. Taking a Liking - Melissa Ferrick, 2. This Train Revised - Indigo Girls (live), 3. Michelangelo - disappear fear, 4. Sexuality - Billy Bragg, 5. Finished - Throwing Muses (Live- Remix, live), 6. Weddings Are Icky - Girls in the Nose, 7. Lucky Star - The Mekons, 8. Stumbling Home - Daniel Cartier, 9. I Don't Understand Anything - Everything But the Girl, 10. Swim to Me - Curtis Fowlkes/Jazz Passengers/Roy Nathanson, 11. Tri-Monk - Billy Tipton Memorial Saxophone Quartet, 12. My Dead Friend - The Judybats, 13. Night and Day - U2 (Remix, Youth's remix), 14. Shave Your Head - Voice Farm, 15. Pease Park - Gretchen Phillips Experience, 16. Kiss My Sticky (Udderly Romantic) - Betty, 17. My Man, Our Horses, and Me - Y'all |
|
Insurgent Country, Vol. 1: For a Life of Sin
$12.99 Track Listing: 1. Way Out West - Moonshine Willy, 2. Over the Cliff - Jon Langford, 3. Tragic Woman - The Swollen Spleens, 4. Drunk Friend - Freakwater, 5. Cry Baby - Wink O'Bannon, 6. Cigarette State - Robbie Fulks, 7. Rockin' Spot - Sundowners, 8. That Truck - Texas Rubies, 9. Doghouse - Church Key, 10. Every Kinda Everything - The Bottle Rockets, 11. Moving Furniture Around - The Handsome Family, 12. If She Wasn't on Blocks - New Duncan Imperials, 13. Flannel Boogie - The Flannel Tubs, 14. Suburbia - Riptones, 15. Sucker for a Trucker - Milly & The Sequins, 16. Hole in the Ground - The Mekons/Iggy Yoakam & The Pogo Ponies, 17. You Don't Know What Lonesome Is - Sundowners |
|
Plastercaster
$8.99 Plaster Caster is an intimate portrait of legendary artist and groupie, Cynthia Plaster Caster--famous for plaster casting the penises of rock stars, including, most notoriously, Jimi Hendrix.The film explores how Cynthia developed her unique pursuit, follows the ups and downs of casting sessions with a shy guitarist and an extroverted glam rocker, and goes along for the ride as Cynthia prepares for her first gallery show in New York City.Featuring candid interviews with castees, candidates, and commentators--Noel Redding (The Jimi Hendrix Experience), Jello Biafra (The Dead Kennedys), Eric Burdon (The Animals), Pete Shelley (The Buzzcocks), Jon Langford (Mekons), Wayne Kramer (MC-5), Paul Barker (Ministry), as well as author Camille Paglia and artist Ed Paschke--Plaster Caster goes beyond the mythology and asks the question, is it really art? |
|
Sally Timms - In The World Of Him *
$13.64 Composer: The Mekons.Personnel: Sally Timms (vocals); Justin "Trevor" Asher (vocals, acoustic guitar, electric guitar, Clavinet, organ, synthesizer, programming, sampler); Kim Sherwood Caso (vocals); The Mekons (various instruments); Eric Johnson , Eric Johnson (acoustic guitar); Willie B (Moog synthesizer, xylorimba, drums); Evelyn Weston, Evelyn Weston (musical saw); Jon Langford (spoken vocals); Johnny Dowd, Tom Greenhalgh (electric guitar); Jon Rauhouse (tiple, banjo, mandolin); Joan Wasser (violin); Ted Reichman (accordion).Audio Mixers: Ken Sluiter; Mike Hagler.Recording information: Kingsize Soundlabs; The Shop, Willseyville, NY; Western Soundlabs.Photographer: Larry Sultan.Sally Timms` In the World of Him is easily her most provocative record. It is a collection of songs almost exclusively by men, sung from their perspective on various themes ranging from war, abandonment, death, marriage, and the inability to communicate emotions inherent in those experiences. Timms co-produced the album with Justin Asher, and Johnny Dowd (who play on the set as well). Various Timms` mates from the Mekons are present here too, in Tom Greenhalgh, Jon Rauhouse, and Jon Langford. The record is skeletal, slightly out of kilter, timeless, eerie, and utterly beautiful. Though written by seven different songwriters, the feel of the disc is something akin, albeit it in a very modern way, to Bertolt Brecht and Kurt Weill`s cabaret music. Decadence, malaise, tragedy and brokenness hover about these proceedings like ghosts. The album opens with Langford`s "Sentimental Marching Song," with shifty keyboards, a xylorimba, breakbeats, and a synthed-out bassline that feels unsettling at first, but Timms sweet balladic vocal juxtaposes wonderfully with the synthetic instrumentation. The lyrics are nightmarish, wonderfully perverse and strangely vulnerable. The Mekons "Corporal Chalkie," a wartime dirge, follows with Asher`s organ, a skittering, military-styled snare by Willie B and Dowd`s guitars stretching the elegiac nature of the tune to the breaking point. Mark Eitzel`s "God`s Eternal Love," is haunted bewilderment and a hunted sense of acceptance. Electronic sounds -- a whispering guitar and sporadic percussive effects -- adorn Timms` empathetic vocal. Dowd`s "139 Hernalser G\u0001rtel," a perverse sexual circus of a waltz is fueled by an organ that sounds more like a calliope, and ends with a chorus that could be sung amongst weary, drunken friends. Timms delivers it with a particularly wasted savoir fare. The Mekons kick it on the mutant rock & roll of "Bomb." "I`m Just a Man" is the most surprising and beautiful song here, written by eccentric British songman Kevin Coyne. With a straight-up country-rock arrangement, taken just outside enough to be perverse, Timms and the band wrench every ounce of the writer`s nakedly honest poetry form the tune. In the plaintive grain of the words: "I |
|
Sally Timms - In The World Of Him *
$13.79 Composer: The Mekons.Personnel: Sally Timms (vocals); Justin "Trevor" Asher (vocals, acoustic guitar, electric guitar, Clavinet, organ, synthesizer, programming, sampler); Kim Sherwood Caso (vocals); The Mekons (various instruments); Eric Johnson , Eric Johnson (acoustic guitar); Willie B (Moog synthesizer, xylorimba, drums); Evelyn Weston, Evelyn Weston (musical saw); Jon Langford (spoken vocals); Johnny Dowd, Tom Greenhalgh (electric guitar); Jon Rauhouse (tiple, banjo, mandolin); Joan Wasser (violin); Ted Reichman (accordion).Audio Mixers: Ken Sluiter; Mike Hagler.Recording information: Kingsize Soundlabs; The Shop, Willseyville, NY; Western Soundlabs.Photographer: Larry Sultan.Sally Timms` In the World of Him is easily her most provocative record. It is a collection of songs almost exclusively by men, sung from their perspective on various themes ranging from war, abandonment, death, marriage, and the inability to communicate emotions inherent in those experiences. Timms co-produced the album with Justin Asher, and Johnny Dowd (who play on the set as well). Various Timms` mates from the Mekons are present here too, in Tom Greenhalgh, Jon Rauhouse, and Jon Langford. The record is skeletal, slightly out of kilter, timeless, eerie, and utterly beautiful. Though written by seven different songwriters, the feel of the disc is something akin, albeit it in a very modern way, to Bertolt Brecht and Kurt Weill`s cabaret music. Decadence, malaise, tragedy and brokenness hover about these proceedings like ghosts. The album opens with Langford`s "Sentimental Marching Song," with shifty keyboards, a xylorimba, breakbeats, and a synthed-out bassline that feels unsettling at first, but Timms sweet balladic vocal juxtaposes wonderfully with the synthetic instrumentation. The lyrics are nightmarish, wonderfully perverse and strangely vulnerable. The Mekons "Corporal Chalkie," a wartime dirge, follows with Asher`s organ, a skittering, military-styled snare by Willie B and Dowd`s guitars stretching the elegiac nature of the tune to the breaking point. Mark Eitzel`s "God`s Eternal Love," is haunted bewilderment and a hunted sense of acceptance. Electronic sounds -- a whispering guitar and sporadic percussive effects -- adorn Timms` empathetic vocal. Dowd`s "139 Hernalser G\u0001rtel," a perverse sexual circus of a waltz is fueled by an organ that sounds more like a calliope, and ends with a chorus that could be sung amongst weary, drunken friends. Timms delivers it with a particularly wasted savoir fare. The Mekons kick it on the mutant rock & roll of "Bomb." "I`m Just a Man" is the most surprising and beautiful song here, written by eccentric British songman Kevin Coyne. With a straight-up country-rock arrangement, taken just outside enough to be perverse, Timms and the band wrench every ounce of the writer`s nakedly honest poetry form the tune. In the plaintive grain of the words: "I |
|
|
Sally Timms - In The World Of Him *
$12.95 Composer: The Mekons.Personnel: Sally Timms (vocals); Justin "Trevor" Asher (vocals, acoustic guitar, electric guitar, Clavinet, organ, synthesizer, programming, sampler); Kim Sherwood Caso (vocals); The Mekons (various instruments); Eric Johnson , Eric Johnson (acoustic guitar); Willie B (Moog synthesizer, xylorimba, drums); Evelyn Weston, Evelyn Weston (musical saw); Jon Langford (spoken vocals); Johnny Dowd, Tom Greenhalgh (electric guitar); Jon Rauhouse (tiple, banjo, mandolin); Joan Wasser (violin); Ted Reichman (accordion).Audio Mixers: Ken Sluiter; Mike Hagler.Recording information: Kingsize Soundlabs; The Shop, Willseyville, NY; Western Soundlabs.Photographer: Larry Sultan.Sally Timms` In the World of Him is easily her most provocative record. It is a collection of songs almost exclusively by men, sung from their perspective on various themes ranging from war, abandonment, death, marriage, and the inability to communicate emotions inherent in those experiences. Timms co-produced the album with Justin Asher, and Johnny Dowd (who play on the set as well). Various Timms` mates from the Mekons are present here too, in Tom Greenhalgh, Jon Rauhouse, and Jon Langford. The record is skeletal, slightly out of kilter, timeless, eerie, and utterly beautiful. Though written by seven different songwriters, the feel of the disc is something akin, albeit it in a very modern way, to Bertolt Brecht and Kurt Weill`s cabaret music. Decadence, malaise, tragedy and brokenness hover about these proceedings like ghosts. The album opens with Langford`s "Sentimental Marching Song," with shifty keyboards, a xylorimba, breakbeats, and a synthed-out bassline that feels unsettling at first, but Timms sweet balladic vocal juxtaposes wonderfully with the synthetic instrumentation. The lyrics are nightmarish, wonderfully perverse and strangely vulnerable. The Mekons "Corporal Chalkie," a wartime dirge, follows with Asher`s organ, a skittering, military-styled snare by Willie B and Dowd`s guitars stretching the elegiac nature of the tune to the breaking point. Mark Eitzel`s "God`s Eternal Love," is haunted bewilderment and a hunted sense of acceptance. Electronic sounds -- a whispering guitar and sporadic percussive effects -- adorn Timms` empathetic vocal. Dowd`s "139 Hernalser G\u0001rtel," a perverse sexual circus of a waltz is fueled by an organ that sounds more like a calliope, and ends with a chorus that could be sung amongst weary, drunken friends. Timms delivers it with a particularly wasted savoir fare. The Mekons kick it on the mutant rock & roll of "Bomb." "I`m Just a Man" is the most surprising and beautiful song here, written by eccentric British songman Kevin Coyne. With a straight-up country-rock arrangement, taken just outside enough to be perverse, Timms and the band wrench every ounce of the writer`s nakedly honest poetry form the tune. In the plaintive grain of the words: "I |
|
|
Sally Timms - In The World Of Him *
$17.46 Composer: The Mekons.Personnel: Sally Timms (vocals); Justin "Trevor" Asher (vocals, acoustic guitar, electric guitar, Clavinet, organ, synthesizer, programming, sampler); Kim Sherwood Caso (vocals); The Mekons (various instruments); Eric Johnson , Eric Johnson (acoustic guitar); Willie B (Moog synthesizer, xylorimba, drums); Evelyn Weston, Evelyn Weston (musical saw); Jon Langford (spoken vocals); Johnny Dowd, Tom Greenhalgh (electric guitar); Jon Rauhouse (tiple, banjo, mandolin); Joan Wasser (violin); Ted Reichman (accordion).Audio Mixers: Ken Sluiter; Mike Hagler.Recording information: Kingsize Soundlabs; The Shop, Willseyville, NY; Western Soundlabs.Photographer: Larry Sultan.Sally Timms` In the World of Him is easily her most provocative record. It is a collection of songs almost exclusively by men, sung from their perspective on various themes ranging from war, abandonment, death, marriage, and the inability to communicate emotions inherent in those experiences. Timms co-produced the album with Justin Asher, and Johnny Dowd (who play on the set as well). Various Timms` mates from the Mekons are present here too, in Tom Greenhalgh, Jon Rauhouse, and Jon Langford. The record is skeletal, slightly out of kilter, timeless, eerie, and utterly beautiful. Though written by seven different songwriters, the feel of the disc is something akin, albeit it in a very modern way, to Bertolt Brecht and Kurt Weill`s cabaret music. Decadence, malaise, tragedy and brokenness hover about these proceedings like ghosts. The album opens with Langford`s "Sentimental Marching Song," with shifty keyboards, a xylorimba, breakbeats, and a synthed-out bassline that feels unsettling at first, but Timms sweet balladic vocal juxtaposes wonderfully with the synthetic instrumentation. The lyrics are nightmarish, wonderfully perverse and strangely vulnerable. The Mekons "Corporal Chalkie," a wartime dirge, follows with Asher`s organ, a skittering, military-styled snare by Willie B and Dowd`s guitars stretching the elegiac nature of the tune to the breaking point. Mark Eitzel`s "God`s Eternal Love," is haunted bewilderment and a hunted sense of acceptance. Electronic sounds -- a whispering guitar and sporadic percussive effects -- adorn Timms` empathetic vocal. Dowd`s "139 Hernalser G\u0001rtel," a perverse sexual circus of a waltz is fueled by an organ that sounds more like a calliope, and ends with a chorus that could be sung amongst weary, drunken friends. Timms delivers it with a particularly wasted savoir fare. The Mekons kick it on the mutant rock & roll of "Bomb." "I`m Just a Man" is the most surprising and beautiful song here, written by eccentric British songman Kevin Coyne. With a straight-up country-rock arrangement, taken just outside enough to be perverse, Timms and the band wrench every ounce of the writer`s nakedly honest poetry form the tune. In the plaintive grain of the words: "I |
|
Punk Rock
$14.98 Is it just ironic that the Mekons, some 27 years into their journey from Leeds snot-nose guttersnipe art students to the elder statesfolk of barroom/club stage domination, have entitled their 2003 recording Punk Rock? Only partially. The truth of the matter: those Brit mischief-makers wrote these songs nearly 30 years ago; and some of them they've just come 'round to recording now in the no man's lands between Chicago and Amsterdam. These are authentic punk anthems, played by a band who actually knows how to play their instruments now. Inspired by their catalog, yet being unable to undo the effects of musical growth, the 15 songs on Punk Rock feel oddly out of time and place. There is a certain ramshackle grace in them that offers the ghostly hint of 1977's chaotic joy, but being played by people who no longer have the comfort of naivete as a cushion against the outside world. Certain songs, such as "I'm So Happy" capture the rage and bluster of the time, but take on new weight coming from the mouth of a man who has seen the clock come full circle: history seems to be repeating itself with an ironic vengeance in a post-Thatcher Britain that's been replaced by a Bush/Blair alliance and is ramming the "truth" down the punters throats. While the angry urgency written into these songs cannot be dredged up from time immemorial, the bitter laughter and tempered rage of seeing the enemy and his forked tongue coming whistling over the horizon once more is abundant. This is first and foremost a rock and roll record; check out the anthemic craziness in "32 Weeks," "Trevira Trousers," "This Sporting Life," an amazingly shambolic "Never Been In a Riot," and "Fight the Cuts," (with guests Eaglebauer, a Mekons tribute band). And then there's the tempered, post-punk, country strangeness and charm in "Corporal Chalkie," "Rosanne," and "Chopper Squad," to offer a fractured view of a band that has seen it all and played it all while never losing their sense of impropriety and disorder. Punk Rock is a fine album; if some of the material sounds dated, that's good because it showcases a music that was rather than something played for corporate dollars by kids who weren't born when the band were first kicking up a ruckus down Leeds way. Punk rock is now the very simulacra it railed against, and this album by the Mekons investigates and confirms that in spades. ~ Thom Jurek, All Music GuidePerformers: Jessica Billey - Fiddle; Jonboy Langford & the Pine Valley Cosmonauts - Banjo, Drums, Guitar, Maracas Mbira, Vocals; Corina - Bass; |
|
In the World of Him
$15.98 Sally Timms' In the World of Him is easily her most provocative record. It is a collection of songs almost exclusively by men, sung from their perspective on various themes ranging from war, abandonment, death, marriage, and the inability to communicate emotions inherent in those experiences. Timms co-produced the album with Justin Asher, and Johnny Dowd (who play on the set as well). Various Timms' mates from the Mekons are present here too, in Tom Greenhalgh, Jon Rauhouse, and Jon Langford. The record is skeletal, slightly out of kilter, timeless, eerie, and utterly beautiful. Though written by seven different songwriters, the feel of the disc is something akin, albeit it in a very modern way, to Bertolt Brecht and Kurt Weill's cabaret music. Decadence, malaise, tragedy and brokenness hover about these proceedings like ghosts. The album opens with Langford's "Sentimental Marching Song," with shifty keyboards, a xylorimba, breakbeats, and a synthed-out bassline that feels unsettling at first, but Timms sweet balladic vocal juxtaposes wonderfully with the synthetic instrumentation. The lyrics are nightmarish, wonderfully perverse and strangely vulnerable. The Mekons "Corporal Chalkie," a wartime dirge, follows with Asher's organ, a skittering, military-styled snare by Willie B and Dowd's guitars stretching the elegiac nature of the tune to the breaking point. Mark Eitzel's "God's Eternal Love," is haunted bewilderment and a hunted sense of acceptance. Electronic sounds -- a whispering guitar and sporadic percussive effects -- adorn Timms' empathetic vocal. Dowd's "139 Hernalser Gürtel," a perverse sexual circus of a waltz is fueled by an organ that sounds more like a calliope, and ends with a chorus that could be sung amongst weary, drunken friends. Timms delivers it with a particularly wasted savoir fare. The Mekons kick it on the mutant rock & roll of "Bomb." "I'm Just a Man" is the most surprising and beautiful song here, written by eccentric British songman Kevin Coyne. With a straight-up country-rock arrangement, taken just outside enough to be perverse, Timms and the band wrench every ounce of the writer's nakedly honest poetry form the tune. In the plaintive grain of the words: "It's not that I want to hold you ransom with foolish lies or lies, lies that tie you down/It's not that I don't want to marry you/because marrying would mean that I'd have to chain you not choose you/chain you not choose you/I love you and that alone I want to say and I've never wanted to say anything any other way/Than the way/I am saying it now/This is the way I really feel/And if I sound a little confused/It's because I'm so, oh, feeling for you/Can you understand?" ring with an empathy and revelation of the manner in which men wish they could speak to women. Timms' own version of the nursery rhyme "Tommy Tucker," which commences with her sing-songing the rhyme and moving into a beautiful song about its subject, now grown, alienated, and lonely. Ha |
|
Lost Blues & Other Songs
$13.58 Despite the overall excellence of albums like There Is No-One What Will Take Care of You and Viva Last Blues, Will Oldham tended to save his best Palace offerings for the group's singles; Lost Blues & Other Songs is a career-capping collection of those 7" releases which serves as a superb overview of the Palace project's mercurial history. Although a few stray tracks (like the German-only "Gezundheit," a cover of Lynyrd Skynyrd's "Every Mother's Son," and the live Lounge Ax single) are MIA, the set includes all of the truly crucial Palace singles from the first (1993's "Ohio River Boat Song") to the last (1997's "Little Blue Eyes"), along with unreleased material like "Valentine's Day," "Lost Blues," and a more ragged rendition of the debut album's classic, "Riding." The highlights are many, but the true standouts are the anthemic cover of the Mekons' "Horses" and both sides of the "West Palm Beach"/"Gulf Shores" single, a luminously pastoral effort reminiscent of Red House Painters. A stunning recapitulation of a truly unique musical vision, Lost Blues & Other Songs is an essential record from an essential band. ~ Jason Ankeny, All Music Guide |
|
Guarapero: Lost Blues 2
$13.58 Guarapero/Lost Blues 2 gathers seven years' worth of rarities from Will Oldham, including an unusual reading of D.H. Lawrence's poem The Risen Lord, with a clunky, cheesy drum machine in the background, as well as a radical reworking of Lynyrd Skynyrd's "Every Mother's Son." Several of these songs come from BBC sessions, but the sound quality on tracks like "Gezundheit" and "Let the Wires Ring" suggests they were recorded on wax cylinder and transmitted by a crystal set, which, of course, only amplifies the songs' sparse, timeless feel. "The Spider's Dude Is Often There" and "For the Mekons Et Al" are among the most exuberant Palace songs on Guarapero, while Oldham tracks like "No More Rides" and "Sugarcane Juice Drinker" trace his development as a performer and songwriter. Due to the time span it covers, it's natural that Guarapero/Lost Blues 2 is a bit disjointed; nevertheless, it fills in the gaps for Oldham completists and is an entertaining, if scattered, look at some of his musical sketches over the years. ~ Heather Phares, All Music Guide |
|
Roots
$44.99 Roots, issued by the ever-cool Nascente label (everything they do is hip), is a killer double-disc collection of music by American, English, and Irish musicians who stick close to tradition by manipulating it in interesting ways. Compiled by the editors at the venerable Folk Roots magazine in the U.K., it covers 20 years -- 1980-2000 -- with tracks like Ry Cooder's amazing hybrid version of "Get Rhythm," (using Flaco Jimenez's squeeze box as a melody instrument along with beefy electric slide as a rhythmic counterpart) to kick things off. And while this is one of the most killer leadoff tracks ever, it is nonetheless only one of the 38 treasures included. There are cuts by Kate & Anna McGarrigle, Billy Bragg, Afro Celt Sound System, the Mekons, June Tabor, Chris Smither, Bruce Cockburn, the Oysterband, Corey Harris, Taj Mahal, the Pogues, and so many others that keeping tracks of what's coming at you becomes its own delightful blur. Highly recommended; this is one of the great compilations out there. ~ Thom Jurek |
|
Building a Broken Mousetrap -
$14.99 The Ex are an anarchist musical ensemble from the Netherlands who started out as a ragged punk rock band in 1979. However, over the course of more than a quarter-century, the Ex evolved into a group that still embraced the rabble-rousing political principles of punk, but took in a broad musical palate that includes improvisational music, avant garde noise, ethnic music from around the world and politically-slanted folk music while combining both acoustic and electric instruments (and sometimes expanding into a band comprising twenty players). Collaborating with musicians as celebrated and diverse as Sonic Youth, Tortoise and the Mekons, the Ex are a gifted and thoroughly uncompromising group, and when they came to New York City for a series of shows, filmmaker Jem Cohen brought along a film crew to capture the band's performances on film. Building A Broken Mousetrap is a documentary which combines the Ex's energetic live concert with footage that explores the parallels and contrasts of life in New York City with the band's home base of Amsterdam. Building A Broken Mousetrap was screened in competition at the 2007 Silverdocs Film Festival, where it was shown with Blessed Are The Dreams Of Men, a short subject by Cohen scored by Andy Moor of the Ex. ~ Mark Deming, All Movie Guide |
|
The Rose & the Briar
$5.48 A devastatingly original work that plunges into the emotional heart of the American psyche.Praised by Robbie Robertson of The Band as "a classic—a ticket to ride," The Rose & the Briar assembles an astonishing group of writers and artists—Paul Muldoon, Stanley Crouch, R. Crumb, Jon Langford of the Mekons, Sharyn McCrumb, Luc Sante, Joyce Carol Oates, Dave Marsh, and more than a dozen other novelists, essayists, performers, and critics—to explore the ineffable power of the American ballad. From "Barbara Allen" through "The Wreck of the Old 97" to contemporary ballads by Bob Dylan and Bruce Springsteen, The Rose & the Briar is, as Geoffrey O'Brien hailed in the Los Angeles Times Book Review, "a book full of internal echoes and provocative coincidences," featuring "historical investigation, shamanistic trance-journey, memoir, novella and cartoon," where "names and costumes change, soldiers become cowboys, demon lovers become backwoods murderers…the voices are unmistakably distinct but they share a common ground." 25 illustrations. |
|
Nashville Radio
$22.48 Beyond his work as a musician (Mekons, Waco Brothers, and solo), Jon Langford has attracted ever-growing attention as a visual artist in recent years. NASHVILLE RADIO is the first collection of his art. It reproduces 215 paintings and etchings, as well as many song lyrics and autobiographical writings. The book also comes with an exclusive CD of Langford performing 18 of the printed songs. Langfords song-paintings fuse publicity-shot portraiture with imagery derived from folk art, Dutch still life, classic Western wear, and the cold, cold warall instilled with his trademark sardonic wit. He applies this completely distinctive style to the depiction of such American musical icons as Bob Wills, Hank Williams, and Johnny Cash, but also to more ghostly, marginal figuresblindfolded cowboys, astronauts, and dancerswho are jerked around by the forces of success and exploitation, fame and neglect. Underlying all his work is a deep love of musical lore, twinned with fierce opposition to the death-dealing tendencies in the culture of his adopted homeland, from the killing off of authentic popular music by homogenized, mass-marketed drivel to the embrace of capital punishment as a response to social ills. Langfords work offers an alternative perspective, recalling a time when great visionaries and pioneers thrived at the heart of the mainstreamand the lid wasnt! on so tight. |
|
The Rose & the Briar
$6.98 A devastatingly original work that plunges into the heart of the American psyche from America's beginnings to Bruce Springsteen's "Nebraska." The ballad has been part of American history since before the country had a name. In this book, Sean Wilentz and Greil Marcus have assembled an astonishing group of writers and artists—Paul Muldoon, Stanley Crouch, R. Crumb, Jon Langford of the Mekons, John Rockwell, Luc Sante, Joyce Carol Oates, Dave Marsh, and more than a dozen other novelists, essayists, performers, and critics—to explore the ineffable power of the American ballad. In words and in drawings, the collaborators have tapped the veins of America's most imaginative and expressive form. From "Barbara Allen," one of the earliest, through "The Wreck of the Old 97," to contemporary ballads by Bob Dylan and Bruce Springsteen, The Rose & the Briar presents a rich new patch of art and commentary—like the ballads, no two the same, but all of a piece, about stories, storytellers, and American death, love, and liberty. 25 illustrations. |
|
Dirty Three - Cinder
$14.9 Dirty Three: Warren Ellis (bouzouki); Mick Turner (bass instrument); Jim White.Personnel: Sally Timms, Chan Marshall (vocals); Mick Turner (guitar, organ); Warren Ellis (mandolin, violin, viola, piano); Mark Saul (bagpipe); Jim White (drums).Additional personnel: Mark Saul (bagpipe); Sally Timms, Chan Marshall.Audio Mixer: Casey Rice.Recording information: Sing Sing Studios, Melbourne Australia (2005).Australian trio Dirty Three turn in more of their lush instrumental melancholia on CINDER, the band`s seventh full-length album, but there are key differences here. The first is that the songs are all very short, yet their succinctness dilutes none of the group`s craft or sonic expansiveness. Additionally, CINDER is full of rich, intriguing overdubs (a rarity for Dirty Three), with violinist Warren Ellis also playing mandolin, viola, and bouzouki, and guitarist Mick Turner adding organ and bass. The result is a more focused and fuller-sounding record than any in the band`s discography; and with guest appearances from Cat Power`s Chan Marshall and the Mekons` Sally Tims, CINDER is a must-hear. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Sadies - In Concert Vol. One *
$18.98 The Sadies: Travis Good (vocals, guitar, fiddle); Mike Belitsky (vocals, guitar, drums); Dallas Good (vocals, guitar); Sean Dean (bass instrument).Additional personnel: Bruce Good (vocals, autoharp); Margaret Good (vocals); Paul Brainard (pedal steel guitar, trumpet); Joel Burns (cello); Paul Aucoin (vibraphone); Greg Keelor (background vocals); Garth Hudson, Jon Langford, Jon Spencer , Kelly Hogan, Neko Case, Bob Egan.There has always been plenty of evidence that the Sadies are tremendous songwriters and a talented backup band, but many fans have had to take on faith their reputation as a great live band. Well, no longer. The two-disc IN CONCERT, VOL. I includes 41 tracks recorded over two nights in the band`s hometown of Toronto, and it`s about as much fun as a concert album can be. The first disc features Sadies originals, with their own particular mix of country, roots-rock, and surf guitar. On the second disc, many of the performers the band has worked with in the past join them onstage, including Neko Case, Jon Spencer, the Band`s Garth Hudson, and members of the Jayhawks and the Mekons. It`s a party. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Fall - Grotesque (After The Gramme) (+4 Bonus Tracks)
$19.98 Contains 5 bonus tracks.The Fall: Mark E. Smith (vocals); Marc Riley (guitar, keyboards); Craig Scanlon (guitar); Steve Hanley (bass); Paul Hanley (drums).Includes liner notes by Nick Church.All tracks have been digitally remastered.This 1980 reissue by The Fall includes four new bonus tracks, including "City Hobgoblins."1980`s GROTESQUE, The Fall`s third studio album, is considered one of the band`s most difficult and threatening works-even by Fall fans. Consisting mostly of one-chord live-in-the-studio jams that veer between Hasil Adkins-style crazed rockabilly and Mekons-esque deliberate sloppiness-verging-on-incompetence, the album is one of the ultra-prolific band`s most extreme and aggressive statements.As would be the case with such future noisemongers as My Bloody Valentine or Sonic Youth, the cacophony becomes so persistent that it creates its own sort of off-kilter beauty. Above this racket, theorist/provocateur Mark E. Smith bellows and sneers his sociopolitical broadsides, most effectively on "Pay Your Rates" and the almost-melodic "Impression of J. Temperance." GROTESQUE is not for the timid, but its pleasures are many for those who can withstand the surface discord. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Jon Langford - Gold Brick *
$12.85 Personnel: Jon Langford (vocals, guitar); Jon Langford; Alan Doughty (bass guitar, background vocals); Daniel Massey, Dan Massey (drums); Alan Doughty (background vocals); John Rice (guitar, dobro, mandolin); Jean Cook (violin); Pat Brennan (piano, organ).Recording information: Engine; Flubbard St; Kenny`s Alhambra Lock-Up; Northbranch, Chicago, IL; Philosswerx; Stinkpole; Wall To Wall.Photographer: Danielle Henderson.As the founder of the Mekons and a member of what seems like fifty million side projects, it`s a wonder Jon Langford has time to brush his teeth, yet GOLD BRICK, his third official solo release, bears all the taste, craft, and shambolic charm the artist is known for. Rootsy, catchy, and beautifully assembled, GOLD BRICK proves Langford`s songwriting and playing have lost none of their luster despite his prolificity. With its easy, laid-back feel, solid material, and confident performances, GOLD BRICK is a quiet, alt-country gem by a man who knows what he`s doing. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Scotland Yard Gospel Choir - The Scotland Yard Gospel Choir
$11.98 Audio Mixer: Mark Yoshizumi.Recording information: Clava-Four Deuces; Long Division Studios; Martin`s Basement Studio; Studio Chicago; Three Pear Studios.Photographer: Nathan Keay.It`s not, as the band name suggests, an answer to Robyn Hitchcock`s musical question "Do Policemen Sing?" The Scotland Yard Gospel Choir is a Chicago-based chamber pop collective led by Welsh ¿migr¿ Elia Einhorn. Armed with a distinctive voice at the intersection between hardcore country and glammy cabaret ¿ la David Bowie`s HUNKY DORY, Einhorn`s wry lyrics and heart-twanging tunes are matched to strings, horns, grand piano, and backup vocalists including Kelly Hogan and the Mekons` Sally Timms. Highlights include the florid "Aspidistra" and the dramatic "This World Has No Place For Me." Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Scotland Yard Gospel Choir - The Scotland Yard Gospel Choir
$11.26 Audio Mixer: Mark Yoshizumi.Recording information: Clava-Four Deuces; Long Division Studios; Martin`s Basement Studio; Studio Chicago; Three Pear Studios.Photographer: Nathan Keay.It`s not, as the band name suggests, an answer to Robyn Hitchcock`s musical question "Do Policemen Sing?" The Scotland Yard Gospel Choir is a Chicago-based chamber pop collective led by Welsh ¿migr¿ Elia Einhorn. Armed with a distinctive voice at the intersection between hardcore country and glammy cabaret ¿ la David Bowie`s HUNKY DORY, Einhorn`s wry lyrics and heart-twanging tunes are matched to strings, horns, grand piano, and backup vocalists including Kelly Hogan and the Mekons` Sally Timms. Highlights include the florid "Aspidistra" and the dramatic "This World Has No Place For Me." Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Jon Langford - Gold Brick *
$12.07 Personnel: Jon Langford (vocals, guitar); Jon Langford; Alan Doughty (bass guitar, background vocals); Daniel Massey, Dan Massey (drums); Alan Doughty (background vocals); John Rice (guitar, dobro, mandolin); Jean Cook (violin); Pat Brennan (piano, organ).Recording information: Engine; Flubbard St; Kenny`s Alhambra Lock-Up; Northbranch, Chicago, IL; Philosswerx; Stinkpole; Wall To Wall.Photographer: Danielle Henderson.As the founder of the Mekons and a member of what seems like fifty million side projects, it`s a wonder Jon Langford has time to brush his teeth, yet GOLD BRICK, his third official solo release, bears all the taste, craft, and shambolic charm the artist is known for. Rootsy, catchy, and beautifully assembled, GOLD BRICK proves Langford`s songwriting and playing have lost none of their luster despite his prolificity. With its easy, laid-back feel, solid material, and confident performances, GOLD BRICK is a quiet, alt-country gem by a man who knows what he`s doing. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Dirty Three - Cinder
$18.87 Dirty Three: Warren Ellis (bouzouki); Mick Turner (bass instrument); Jim White.Personnel: Sally Timms, Chan Marshall (vocals); Mick Turner (guitar, organ); Warren Ellis (mandolin, violin, viola, piano); Mark Saul (bagpipe); Jim White (drums).Additional personnel: Mark Saul (bagpipe); Sally Timms, Chan Marshall.Audio Mixer: Casey Rice.Recording information: Sing Sing Studios, Melbourne Australia (2005).Australian trio Dirty Three turn in more of their lush instrumental melancholia on CINDER, the band`s seventh full-length album, but there are key differences here. The first is that the songs are all very short, yet their succinctness dilutes none of the group`s craft or sonic expansiveness. Additionally, CINDER is full of rich, intriguing overdubs (a rarity for Dirty Three), with violinist Warren Ellis also playing mandolin, viola, and bouzouki, and guitarist Mick Turner adding organ and bass. The result is a more focused and fuller-sounding record than any in the band`s discography; and with guest appearances from Cat Power`s Chan Marshall and the Mekons` Sally Tims, CINDER is a must-hear. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Sadies - In Concert Vol. One *
$24.04 The Sadies: Travis Good (vocals, guitar, fiddle); Mike Belitsky (vocals, guitar, drums); Dallas Good (vocals, guitar); Sean Dean (bass instrument).Additional personnel: Bruce Good (vocals, autoharp); Margaret Good (vocals); Paul Brainard (pedal steel guitar, trumpet); Joel Burns (cello); Paul Aucoin (vibraphone); Greg Keelor (background vocals); Garth Hudson, Jon Langford, Jon Spencer , Kelly Hogan, Neko Case, Bob Egan.There has always been plenty of evidence that the Sadies are tremendous songwriters and a talented backup band, but many fans have had to take on faith their reputation as a great live band. Well, no longer. The two-disc IN CONCERT, VOL. I includes 41 tracks recorded over two nights in the band`s hometown of Toronto, and it`s about as much fun as a concert album can be. The first disc features Sadies originals, with their own particular mix of country, roots-rock, and surf guitar. On the second disc, many of the performers the band has worked with in the past join them onstage, including Neko Case, Jon Spencer, the Band`s Garth Hudson, and members of the Jayhawks and the Mekons. It`s a party. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Fall - Grotesque (After The Gramme) (+4 Bonus Tracks)
$25.31 Contains 5 bonus tracks.The Fall: Mark E. Smith (vocals); Marc Riley (guitar, keyboards); Craig Scanlon (guitar); Steve Hanley (bass); Paul Hanley (drums).Includes liner notes by Nick Church.All tracks have been digitally remastered.This 1980 reissue by The Fall includes four new bonus tracks, including "City Hobgoblins."1980`s GROTESQUE, The Fall`s third studio album, is considered one of the band`s most difficult and threatening works-even by Fall fans. Consisting mostly of one-chord live-in-the-studio jams that veer between Hasil Adkins-style crazed rockabilly and Mekons-esque deliberate sloppiness-verging-on-incompetence, the album is one of the ultra-prolific band`s most extreme and aggressive statements.As would be the case with such future noisemongers as My Bloody Valentine or Sonic Youth, the cacophony becomes so persistent that it creates its own sort of off-kilter beauty. Above this racket, theorist/provocateur Mark E. Smith bellows and sneers his sociopolitical broadsides, most effectively on "Pay Your Rates" and the almost-melodic "Impression of J. Temperance." GROTESQUE is not for the timid, but its pleasures are many for those who can withstand the surface discord. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Jon Langford - Gold Brick *
$16.28 Personnel: Jon Langford (vocals, guitar); Jon Langford; Alan Doughty (bass guitar, background vocals); Daniel Massey, Dan Massey (drums); Alan Doughty (background vocals); John Rice (guitar, dobro, mandolin); Jean Cook (violin); Pat Brennan (piano, organ).Recording information: Engine; Flubbard St; Kenny`s Alhambra Lock-Up; Northbranch, Chicago, IL; Philosswerx; Stinkpole; Wall To Wall.Photographer: Danielle Henderson.As the founder of the Mekons and a member of what seems like fifty million side projects, it`s a wonder Jon Langford has time to brush his teeth, yet GOLD BRICK, his third official solo release, bears all the taste, craft, and shambolic charm the artist is known for. Rootsy, catchy, and beautifully assembled, GOLD BRICK proves Langford`s songwriting and playing have lost none of their luster despite his prolificity. With its easy, laid-back feel, solid material, and confident performances, GOLD BRICK is a quiet, alt-country gem by a man who knows what he`s doing. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Scotland Yard Gospel Choir - The Scotland Yard Gospel Choir
$15.18 Audio Mixer: Mark Yoshizumi.Recording information: Clava-Four Deuces; Long Division Studios; Martin`s Basement Studio; Studio Chicago; Three Pear Studios.Photographer: Nathan Keay.It`s not, as the band name suggests, an answer to Robyn Hitchcock`s musical question "Do Policemen Sing?" The Scotland Yard Gospel Choir is a Chicago-based chamber pop collective led by Welsh ¿migr¿ Elia Einhorn. Armed with a distinctive voice at the intersection between hardcore country and glammy cabaret ¿ la David Bowie`s HUNKY DORY, Einhorn`s wry lyrics and heart-twanging tunes are matched to strings, horns, grand piano, and backup vocalists including Kelly Hogan and the Mekons` Sally Timms. Highlights include the florid "Aspidistra" and the dramatic "This World Has No Place For Me." Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Dirty Three - Cinder
$14 Dirty Three: Warren Ellis (bouzouki); Mick Turner (bass instrument); Jim White.Personnel: Sally Timms, Chan Marshall (vocals); Mick Turner (guitar, organ); Warren Ellis (mandolin, violin, viola, piano); Mark Saul (bagpipe); Jim White (drums).Additional personnel: Mark Saul (bagpipe); Sally Timms, Chan Marshall.Audio Mixer: Casey Rice.Recording information: Sing Sing Studios, Melbourne Australia (2005).Australian trio Dirty Three turn in more of their lush instrumental melancholia on CINDER, the band`s seventh full-length album, but there are key differences here. The first is that the songs are all very short, yet their succinctness dilutes none of the group`s craft or sonic expansiveness. Additionally, CINDER is full of rich, intriguing overdubs (a rarity for Dirty Three), with violinist Warren Ellis also playing mandolin, viola, and bouzouki, and guitarist Mick Turner adding organ and bass. The result is a more focused and fuller-sounding record than any in the band`s discography; and with guest appearances from Cat Power`s Chan Marshall and the Mekons` Sally Tims, CINDER is a must-hear. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Sadies - In Concert Vol. One *
$17.83 The Sadies: Travis Good (vocals, guitar, fiddle); Mike Belitsky (vocals, guitar, drums); Dallas Good (vocals, guitar); Sean Dean (bass instrument).Additional personnel: Bruce Good (vocals, autoharp); Margaret Good (vocals); Paul Brainard (pedal steel guitar, trumpet); Joel Burns (cello); Paul Aucoin (vibraphone); Greg Keelor (background vocals); Garth Hudson, Jon Langford, Jon Spencer , Kelly Hogan, Neko Case, Bob Egan.There has always been plenty of evidence that the Sadies are tremendous songwriters and a talented backup band, but many fans have had to take on faith their reputation as a great live band. Well, no longer. The two-disc IN CONCERT, VOL. I includes 41 tracks recorded over two nights in the band`s hometown of Toronto, and it`s about as much fun as a concert album can be. The first disc features Sadies originals, with their own particular mix of country, roots-rock, and surf guitar. On the second disc, many of the performers the band has worked with in the past join them onstage, including Neko Case, Jon Spencer, the Band`s Garth Hudson, and members of the Jayhawks and the Mekons. It`s a party. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Fall - Grotesque (After The Gramme) (+4 Bonus Tracks)
$18.77 Contains 5 bonus tracks.The Fall: Mark E. Smith (vocals); Marc Riley (guitar, keyboards); Craig Scanlon (guitar); Steve Hanley (bass); Paul Hanley (drums).Includes liner notes by Nick Church.All tracks have been digitally remastered.This 1980 reissue by The Fall includes four new bonus tracks, including "City Hobgoblins."1980`s GROTESQUE, The Fall`s third studio album, is considered one of the band`s most difficult and threatening works-even by Fall fans. Consisting mostly of one-chord live-in-the-studio jams that veer between Hasil Adkins-style crazed rockabilly and Mekons-esque deliberate sloppiness-verging-on-incompetence, the album is one of the ultra-prolific band`s most extreme and aggressive statements.As would be the case with such future noisemongers as My Bloody Valentine or Sonic Youth, the cacophony becomes so persistent that it creates its own sort of off-kilter beauty. Above this racket, theorist/provocateur Mark E. Smith bellows and sneers his sociopolitical broadsides, most effectively on "Pay Your Rates" and the almost-melodic "Impression of J. Temperance." GROTESQUE is not for the timid, but its pleasures are many for those who can withstand the surface discord. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Scotland Yard Gospel Choir - The Scotland Yard Gospel Choir
$11.86 Audio Mixer: Mark Yoshizumi.Recording information: Clava-Four Deuces; Long Division Studios; Martin`s Basement Studio; Studio Chicago; Three Pear Studios.Photographer: Nathan Keay.It`s not, as the band name suggests, an answer to Robyn Hitchcock`s musical question "Do Policemen Sing?" The Scotland Yard Gospel Choir is a Chicago-based chamber pop collective led by Welsh ¿migr¿ Elia Einhorn. Armed with a distinctive voice at the intersection between hardcore country and glammy cabaret ¿ la David Bowie`s HUNKY DORY, Einhorn`s wry lyrics and heart-twanging tunes are matched to strings, horns, grand piano, and backup vocalists including Kelly Hogan and the Mekons` Sally Timms. Highlights include the florid "Aspidistra" and the dramatic "This World Has No Place For Me." Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Dirty Three - Cinder
$14.74 Dirty Three: Warren Ellis (bouzouki); Mick Turner (bass instrument); Jim White.Personnel: Sally Timms, Chan Marshall (vocals); Mick Turner (guitar, organ); Warren Ellis (mandolin, violin, viola, piano); Mark Saul (bagpipe); Jim White (drums).Additional personnel: Mark Saul (bagpipe); Sally Timms, Chan Marshall.Audio Mixer: Casey Rice.Recording information: Sing Sing Studios, Melbourne Australia (2005).Australian trio Dirty Three turn in more of their lush instrumental melancholia on CINDER, the band`s seventh full-length album, but there are key differences here. The first is that the songs are all very short, yet their succinctness dilutes none of the group`s craft or sonic expansiveness. Additionally, CINDER is full of rich, intriguing overdubs (a rarity for Dirty Three), with violinist Warren Ellis also playing mandolin, viola, and bouzouki, and guitarist Mick Turner adding organ and bass. The result is a more focused and fuller-sounding record than any in the band`s discography; and with guest appearances from Cat Power`s Chan Marshall and the Mekons` Sally Tims, CINDER is a must-hear. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Sadies - In Concert Vol. One *
$18.78 The Sadies: Travis Good (vocals, guitar, fiddle); Mike Belitsky (vocals, guitar, drums); Dallas Good (vocals, guitar); Sean Dean (bass instrument).Additional personnel: Bruce Good (vocals, autoharp); Margaret Good (vocals); Paul Brainard (pedal steel guitar, trumpet); Joel Burns (cello); Paul Aucoin (vibraphone); Greg Keelor (background vocals); Garth Hudson, Jon Langford, Jon Spencer , Kelly Hogan, Neko Case, Bob Egan.There has always been plenty of evidence that the Sadies are tremendous songwriters and a talented backup band, but many fans have had to take on faith their reputation as a great live band. Well, no longer. The two-disc IN CONCERT, VOL. I includes 41 tracks recorded over two nights in the band`s hometown of Toronto, and it`s about as much fun as a concert album can be. The first disc features Sadies originals, with their own particular mix of country, roots-rock, and surf guitar. On the second disc, many of the performers the band has worked with in the past join them onstage, including Neko Case, Jon Spencer, the Band`s Garth Hudson, and members of the Jayhawks and the Mekons. It`s a party. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Jon Langford - Gold Brick *
$12.72 Personnel: Jon Langford (vocals, guitar); Jon Langford; Alan Doughty (bass guitar, background vocals); Daniel Massey, Dan Massey (drums); Alan Doughty (background vocals); John Rice (guitar, dobro, mandolin); Jean Cook (violin); Pat Brennan (piano, organ).Recording information: Engine; Flubbard St; Kenny`s Alhambra Lock-Up; Northbranch, Chicago, IL; Philosswerx; Stinkpole; Wall To Wall.Photographer: Danielle Henderson.As the founder of the Mekons and a member of what seems like fifty million side projects, it`s a wonder Jon Langford has time to brush his teeth, yet GOLD BRICK, his third official solo release, bears all the taste, craft, and shambolic charm the artist is known for. Rootsy, catchy, and beautifully assembled, GOLD BRICK proves Langford`s songwriting and playing have lost none of their luster despite his prolificity. With its easy, laid-back feel, solid material, and confident performances, GOLD BRICK is a quiet, alt-country gem by a man who knows what he`s doing. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Fall - Grotesque (After The Gramme) (+4 Bonus Tracks)
$19.77 Contains 5 bonus tracks.The Fall: Mark E. Smith (vocals); Marc Riley (guitar, keyboards); Craig Scanlon (guitar); Steve Hanley (bass); Paul Hanley (drums).Includes liner notes by Nick Church.All tracks have been digitally remastered.This 1980 reissue by The Fall includes four new bonus tracks, including "City Hobgoblins."1980`s GROTESQUE, The Fall`s third studio album, is considered one of the band`s most difficult and threatening works-even by Fall fans. Consisting mostly of one-chord live-in-the-studio jams that veer between Hasil Adkins-style crazed rockabilly and Mekons-esque deliberate sloppiness-verging-on-incompetence, the album is one of the ultra-prolific band`s most extreme and aggressive statements.As would be the case with such future noisemongers as My Bloody Valentine or Sonic Youth, the cacophony becomes so persistent that it creates its own sort of off-kilter beauty. Above this racket, theorist/provocateur Mark E. Smith bellows and sneers his sociopolitical broadsides, most effectively on "Pay Your Rates" and the almost-melodic "Impression of J. Temperance." GROTESQUE is not for the timid, but its pleasures are many for those who can withstand the surface discord. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Death, Love and Liberty in the American Ballad
$6.51 Wilentz and Marcus have assembled an astonishing group of writers and artists--more than a dozen novelists, essayists, performers, and critics--to explore the ineffable power of the American ballad in words and in drawings.Praised by Robbie Robertson of The Band as a classic & a ticket to ride, The Rose & the Briar assembles an astonishing group of writers and artists: Paul Muldoon, Stanley Crouch, R. Crumb, Jon Langford of the Mekons, Sharyn McCrumb, Luc Sante, Joyce Carol Oates, Dave Marsh, and more than a dozen other novelists, essayists, performers, and critics; to explore the ineffable power of the American ballad. From Barbara Allen through The Wreck of the Old 97 to contemporary ballads by Bob Dylan and Bruce Springsteen, The Rose & the Briar is, as Geoffrey O'Brien hailed in the Los Angeles Times Book Review, a book full of internal echoes and provocative coincidences, featuring historical investigation, shamanistic trance-journey, memoir, novella and cartoon, where names and costumes change, soldiers become cowboys, demon lovers become backwoods murderer; the voices are unmistakably distinct but they share a common ground. |
|
In Concert, Vol. 1
$18.99 Over the course of five studio albums under their own name and a hatful of sessions with other acts (ranging from alt-country songbird Neko Case to R&B wildman Andre Ethier), the Sadies have firmly established themselves as some of the finest pickers on the North American continent. Dallas Good and Travis Good's guitars conjure up a twangy netherworld hovering somewhere between California surf and Nashville twang along the broad plains of the Canadian prairies, and Mike Belitsky and Sean Dean are a superbly malleable rhythm section, always giving the songs just what they need without getting in the way. What isn't as widely appreciated is how great a live band the Sadies can be, but this two-disc set recorded during a two-day stand at Lee's Palace in Toronto proves that whatever these guys can do in the studio, they can do just as well (if not better) in front of a cheering crowd. Like many of their studio discs, In Concert, Vol. 1 features an abundant helping of guest stars, ranging from the Good Brothers (the country act led by Dallas and Travis' parents), former Band keyboardist Garth Hudson and members of Blue Rodeo to Jon Spencer, Jon Langford of the Mekons and the Waco Brothers, Gary Louris of the Jayhawks, and frequent collaborators Neko Case and Kelly Hogan. Given the talent on-stage, it says a lot that the Sadies not only don't drown in the wake of their "special guests," but sound fiery and fully in control for more than 110 minutes, and they can leap from the country gospel of "Higher Power" and the honky tonk fire of "1,000,002 Songs" to the blues-punk blast of "Back Off" (with Jon Spencer adding his trademark spiel) and the flinty roar of "Memphis, Egypt" (as Jon Langford briefly turns the Sadies into the Mekons) and land firmly on their feet every time. Also, while there's a cool assurance to the Sadies' studio work, here the band isn't afraid to turn it up and draw sweat, and there's a level of excitement in these sessions that will please fans and surprise the doubters. Steve Albini, Ken Friesen, and Don Pyle get the whole shebang on tape with high fidelity without sacrificing the energy of the musicians or the audience in the process. If the title In Concert, Vol. 1 is meant to suggest the Sadies have another album like this in the works, let's hope it hits the streets soon if it approaches this level of excellence: this truly captures a great band at the top of their form. ~ Mark Deming, All Music GuidePerformers: Bruce Good - Autoharp, Vocals; Bob Egan - Pedal Steel; Larry Good - Banjo; Travis Good - Fiddle, Guitar, Vocals; |
|
The Return of Rico Bell
$13.98 The Return of Rico Bell, the debut solo album from the Mekons' vocalist and accordion player, is a splendidly rollicking set of roots music. On this album, Memphis soul collides with Celtic strains and then hurtles headlong into Appalachian high lonesomeness -- with everything underpinned by Bell's ragged, Dylan-at-the-medicine-show pipes and wheezing accordion. Bell's Mekon colleague, Jon Langford, produces the effort and lays down some typically barbed-wire guitar work as well. Some highlights here include a bouncy, accordion-laced cover of Merle Haggard's "Lonesome Fugitive"; the searing, bruised beauty of "Devil's Dream" (bolstered by Langford's jagged guitar); and a slow-burning run through "Acadian Driftwood" (originally popularized by the Band). ~ Erik Hage, All Music GuidePerformers: Rico Bell - Accordion, Vocals; Mark Durante - Guitar; Jon Langford - Guitar, Organ, Vocals (Background); David Trumfio - Bass, Double Bass, Vocals (Background); Harry Trumfio - Drums, Percussion |
|
Electric Waco Chair
$11.88 The Waco Brothers: Jon Langford (vocals, acoustic, electric & electric guitars); Dean Schlabowske (vocals, acoustic & electric guitars); Tracey Dear (vocals, mandolin); Durante (steel & baritone guitars); Alan Doughty (bass); Lil' Willy Goulding (drums).The Waco Cousins: Kingsize Ken (vocals, organ); Kelly Hogan, Jimmy C. Langford (vocals); Jon Rauhouse (Hawaiian guitar); John Rice (fiddle); Barcley McKay (keyboards).Producers: The Waco Brothers, Ken Sluiter.Engineers: Kengineer, Mike Konopka, Dan Glomski.Recorded at Kingsize Sound Laboratories & Schuba's Tavern, Chicago, Illinois.Blood relatives to the mighty Mekons, the Waco Brothers have been described as Clash meets (Johnny) Cash. They're really closer to the lean, crackling twang of Steve Earle, Creedence Clearwater Revival, and the Band, mixed with the oblique, vinegary working-class angst of Graham Parker and the more plain-spoken angst of Merle Haggard.The Waco Brothers' country influence is more implicit than overt; it's present in the vivid sound of the steel guitar and a blue-collar sense of the inexorability of life. "When I Get My Rewards" is a haunted waltz of fervent desire that Haggard or Cash should cover. "Nothing to Say" is a vitriolic, blues-shaded Stones-meet-T. Rex rocker that articulates discontent at the current glut of style over content, while the sardonic yet plaintive "Where in the World" wouldn't be out of place on Neil Young's ZUMA or AMERICAN STARS AND BARS albums. Of the two main songwriters, Jon Langford's voice is Northern England-accented, dusty and sarcastic, while Dean Schlabowske's vocals are deep and spirited (he sounds a bit like Dave Alvin). With ELECTRIC WACO CHAIR the Waco Brothers prove they can walk the line with the best of them. |
|
The Mayors of the Moon
$11.88 This album, mixing the Mekons and Waco Brothers singer with the Sadies, is an interesting and engaging roots rock and country effort that gets off to a great start with "Drugstore." Rounded out by a definitive roots rock sound in the vein of Blue Rodeo or Gram Parsons, Jon Langford's Welsh lilt adds a lot to tracks like "Looking Out for Radio." The song is a slow, mournful dirge containing a Wilco flare to it courtesy of Bob Egan's pedal steel guitar. The title track also falls into this line of sound, with guitarists Dallas Good and Travis Good supplying a darker twang to the bridge. Perhaps the track that seems most of out place and character has to be the '60s boogie emanating through "American Pageant," closely resembling the Yardbyrds or Them. But the album returns to a slower country flavor on "Little Vampires," a song Mark Knopfler would be jealous of. When Langford opts for a honky tonk arrangement on "What Makes Johnny Run?" he sounds like he's missing the mark. The highlight of the album is "Strange Birds," a number that brings to mind traditional country music with contemporary overtones. The homestretch of the album contains some run-of-the-mill material, particularly the routine flow of "Last King of the Road" that runs out of gas well before its conclusion. "Shipwreck," which features vocals by Sally Timms, has an ethereal and psychedelic tone to it but is surprisingly good. Closing with the road-weary narrative "Are You an Entertainer?" the album is a definite keeper. ~ Jason MacNeil, All Music GuidePerformers: Bob Egan - Pedal Steel; Critter - Percussion, Vibraphone; Jonny - Vocals; Sally Timms - Vocals |
|
The Fisherman's Wife
$14.98 Part of the post-millennium reimagining of early-'80s post-punk, the Fuse! are a southern California power trio with one foot in the Gang of Four/Mekons school of rabble-rousing art punk and the other in the more abrasive, confrontational style of classic Fall. (There's even a hint of Crass/Zounds/Poison Girls/etc. in the militant anti-style of the chaotic vocals and the sociopolitical undercurrents that are understandable in the lyrics.) The anonymous trio (they simply go by the designations F1, F2, and F3) kick up a furious storm of post-punk energy leavened by the presence of some actual pop hooks that show up in the most unexpected places, and the brief songs (14 in just over 32 minutes) never overstay their welcome. In a field of post-punk nostalgia suddenly overcrowded by people who think they're the next Au Pairs, the Fuse! have a better than average handle on what makes this music tick. ~ Stewart Mason, All Music GuidePerformers: Gabriel Hart - Dobro; Terri Wahl - Slide Guitar; Sergio Lopez - Vocals |
|
Crimebusters and Crossed Wires: Stories of This Am
$11.98 The follow-up to This American Life: Lies, Sissies & Fiascoes features another two discs of selections from the Public Radio International show hosted by Ira Glass. The first disc contains stories about crime fighters and detectives, including rookie cops wreaking havoc on a house while trying to catch a squirrel ("Squirrel Cop") and Glass going on a real-life stakeout with Detective Jonathan Rosenberg ("Watching the Detective"). The second disc features stories about communication and miscommunication, including David Sedaris describing the fumbling attempts of beginning French students to describe Easter and Sarah Vowell recounting the lessons she learned in high school marching band. Some pieces on the album are relatively low key and serious (e.g., "Loser," in which Matt Malloy reads an Aimee Bender story about a boy who has the power to find objects), while others are more animated and flippant (e.g., "The Greatest Phone Message of All," in which Jonathan Goldstein investigates a message that became a cult hit on a college campus), but most of the pieces tend to be humorous (although the pacing and structure of individual pieces are closer to short stories than to standup or sketch comedy). In addition to "Everyone Speaks Elton John," in which Starlee Kine and Jon Langford (Mekons, Waco Brothers, Three Johns) assemble a band from musicians they found in classified ads, the album also contains background music from los Amigos Invisibles, John Lurie, and others. ~ Todd Kristel, All Music Guide |
|
Plaster Caster -
$12.99 In the late '60s through mid-'70s, the world of pop music spawned the new phenomenon of "groupies," women who loved music and were inclined to physically express their appreciation for their favorite rock stars. While some groupies became fabled enough to attain a degree of public notoriety, few were more famous -- or infamous -- than Chicago's "the Plaster Casters," a handful of Windy City women who were bold enough to approach some of the best-known rock stars of their day and make plaster of Paris molds of their manhood in a state of excitement. Plaster Caster is a documentary that looks back at the long, strange trip of Cynthia, founder and leader of the Plaster Casters. Cynthia (who prefers not to reveal her last name, for fear her mother might still find out about her notoriety after all these years) discusses her hobby, shows off her collection of artifacts (including her fabled cast of Jimi Hendrix), discusses her legal battle to recover some of her statuettes from former associates, and reveals that she's still living up to her name, now following the punk and indie rock scenes and preserving for posterity anatomies of members of the Mekons, the Demolition Doll Rods, and 5ive Style -- the latter of whom even gets cast on camera. Veteran rockers Eric Burdon and Wayne Kramer also weigh in with their memories of the Plaster Casters and the late-'60s rock scene. Plaster Caster was screened at the 2001 San Francisco Docfest, a festival celebrating nonfiction films. ~ Mark Deming, All Movie Guide |
|
Gimme Indie Rock, Vol. 1
$22.99 Track Listing: (DISC 1:), (DISC 2:), 1. Pink Turns to Blue - H?sker D?, 1. Slipping (Into Something) - The Feelies, 2. Barnaby, Hardly Working - Yo La Tengo, 2. Little Fury Things - Dinosaur Jr., 3. Nothing Left to Lose - Wipers, 3. Too Far Gone - My Dad Is Dead, 4. My Favourite Dress - The Wedding Present, 4. Sun God - Squirrel Bait, 5. I Love My Leather Jacket - The Chills, 5. Political Song for Michael Jackson to Sing - Minutemen, 6. Andelusia - Savage Republic (TRUE instrumental), 6. Cruisers Creek - The Fall, 7. Ghosts of American Astronauts - The Mekons, 7. Sweet Little Hi-Fi - Pussy Galore, 8. Blue Thunder - Galaxie 500, 8. Touch Me I'm Sick - Mudhoney, 9. Take Me to the Other Side - Spacemen 3, 9. U.S. Teens Are Spoiled Bums - Half Japanese, 10. Everything's Explodin' - The Flaming Lips, 10. She's Fetching - Big Dipper, 11. Creepy Smell - Melvins, 11. Jangle Town - Nikki Sudden, 12. Black Coffee - Black Flag, 12. Watching the Candles Burn - Eleventh Dream Day, 13. Black Venetian Blind - Giant Sand, 13. Coca-Cola & Licorice - Death of Samantha, 14. I'm Alright With You - The Pastels, 14. Swimming Ground - Meat Puppets, 15. I'm Ready - Scrawl, 15. Molly's Lips - The Vaselines |
|
Folksongs of Illinois, Vol. 1
$12.98 A lively and enlightening slice of Illinois's rich musical heritage Although few are aware of it, the state of Illinois has some of the richest and most varied musical traditions in the country. As a major agricultural producer bordering the South and situated on the nation's major waterways, Illinois became home to styles now called folk, country, country blues, bluegrass, gospel, and string band. At the same time, as an industrial center, Illinois attracted workers from all over the United States, Europe, and Mexico. These migrants brought their music with them, and the state also became home to Irish reels, Scandinavian waltzes, Serbo-Croatian kolos, Polish polkas, country western ballads, labor anthems, Mexican corridos, and ethnic comedy skits. The recordings chosen for these volumes are all performed by Illinois musicians, and include selections drawn from new studio recordings, archival collections, 78s, LPs, and CDs, as well as field and home recordings made by folklorists, amateur scholars, and family members. Volume 1 offers a selection of Illinois's best folk music. Its artists include Carl Sandburg and the Staples Singers, the 1930s WLS National Barn Dance artists, the Girls of the Golden West, and 1920s country-bluesman Henry Spaulding from Cairo. There are also tracks from well-known alt-country stars like Jon Langford from the Mekons, Janet Bean from Eleventh Dream Day, and Kelly Hogan. Added to that are songs from folk legend Art Thieme, Decatur's Deacon James Biggs and the St. John Missionary Choir, labor songster Bucky Halker, and Tejano balladeers Silvano Ramos and Daniel Ramirez. |
|
Born in Flames
$21.98 Twenty years as an outsider scouring the underbelly of American culture has made Howard Hampton a uniquely hardnosed guide to the heart of pop darkness. Bridging the fatalistic, intensely charged space between Apocalypse Now Redux and Nirvana's "Smells Like Teen Spirit," his writing breaks down barriers of ignorance and arrogance that have segregated art forms from each other and often from the world at large. In the freewheeling spirit of Pauline Kael, Lester Bangs, and Manny Farber, Hampton calls up the extremist, underground tendencies and archaic forces simmering beneath the surface of popular forms. Ranging from the kinetic poetry of Hong Kong cinema and the neo-New Wave energy of Irma Vep, to the punk heroines of Sleater-Kinney and Ghost World, Born in Flames plays odd couples off one another: pitting Natural Born Killers against Forrest Gump, contrasting Jean-Luc Godard with Steven Spielberg, defending David Lynch against aesthetic ideologues, invoking The Curse of the Mekons against Fredric Jameson's Postmodernism, and introducing D. H. Lawrence to Buffy the Vampire Slayer. "We are born in flames," sang the incandescent Lora Logic, and here those flames are a source of illumination as well as destruction, warmth as well as consumption. From the scorched-earth works of action-movie provocateurs Seijun Suzuki and Sam Peckinpah to the cargo cult soundscapes of Pere Ubu and the Czech dissidents Plastic People of the Universe, Born in Flames is a headlong plunge into the passions and disruptive power of art. |
|
Jon Langford/The Sadies - The Mayors Of The Moon
$12.98 And His Sadies.Personnel: John Langford, Sally Timms (vocals); Travis (guitar); Bob Egan (pedal steel guitar); James Gray (keyboards); Critter (vibraphone, percussion); Bear (bass); Snake (drums); Ken Sluiter (background vocals).Recorded at Woodshed Studios, Toronto, Canada and Engine Studios, Chicago, Illinois.Personnel: Jonny, Sally Timms (vocals); Critter (vibraphone, percussion).Audio Mixer: Ken Sluiter.Recording information: The Woodshed, Toronto, Ontario, Canada.This album, mixing the Mekons and Waco Brothers singer with the Sadies, is an interesting and engaging roots rock and country effort that gets off to a great start with "Drugstore." Rounded out by a definitive roots rock sound in the vein of Blue Rodeo or Gram Parsons, Jon Langford`s Welsh lilt adds a lot to tracks like "Looking Out for Radio." The song is a slow, mournful dirge containing a Wilco flare to it courtesy of Bob Egan`s pedal steel guitar. The title track also falls into this line of sound, with guitarists Dallas Good and Travis Good supplying a darker twang to the bridge. Perhaps the track that seems most of out place and character has to be the `60s boogie emanating through "American Pageant," closely resembling the Yardbyrds or Them. But the album returns to a slower country flavor on "Little Vampires," a song Mark Knopfler would be jealous of. When Langford opts for a honky tonk arrangement on "What Makes Johnny Run?" he sounds like he`s missing the mark. The highlight of the album is "Strange Birds," a number that brings to mind traditional country music with contemporary overtones. The homestretch of the album contains some run-of-the-mill material, particularly the routine flow of "Last King of the Road" that runs out of gas well before its conclusion. "Shipwreck," which features vocals by Sally Timms, has an ethereal and psychedelic tone to it but is surprisingly good. Closing with the road-weary narrative "Are You an Entertainer?" the album is a definite keeper. ~ Jason MacNeil Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
![Various Artists - No Thanks!: The `70s Punk Rebellion [Box]](http://cdn2.overstock.com/images/products/muze/music/501302.jpg)
|
Various Artists - No Thanks!: The `70s Punk Rebellion [Box]
$55.57 Track Listing:*Blitzkrieg Bop - The Ramones *Little Johnny Jewel - Television *One Chord Wonders - The Adverts *Born To Lose - The Heartbreakers *Search And Destroy - Iggy *& *The Stooges *Let Me Dream If I Want To (Amphetamine Blues) - Mink DeVille *Oh Bondage Up Yours - X-Ray Spex *12XU - Wire *Blank Generation - Richard Hell *& *The Voidoids *(Get A) Grip (On Yourself) - The Stranglers *Cherry Bomb - The Runaways *White Riot - The Clash *Personality Crisis - New York Dolls *Teenage Depression - Eddie *& *The Hot Rods *Two Tub Man - The Dictators *Hey Joe - Patti Smith *Your Generation - Generation X *Heart Of The City - Nick Lowe *Boredom - Buzzcocks *Stranded, (I`m) - The Saints *Neat Neat Neat - The Damned *In The City - The Jam *Final Solution - Pere Ubu *Roadrunner - Modern Lovers *Lust For Life - Iggy Pop *Modern World, The - The Jam *Chinese Rocks - The Heartbreakers *New Rose - The Damned *Ambition - Subway Sect *See No Evil - Television *Suspect Device - Stiff Little Fingers *Mannequin - Wire *Baby Baby - The Vibrators *Love Comes In Spurts - Richard Hell *& *The Voidoids *First Time - The Boys *Gary Gilmore`s Eyes - The Adverts *Sonic Reducer - The Dead Boys *Shot By Both Sides - Magazine *Mystery Dance - Elvis Costello *Trash - New York Dolls *Day The World Turned Dayglo, The - X-Ray Spex *Do Anything You Wanna Do - Eddie *& *The Hot Rods *Saturday Night In The City Of The Dead - Ultravox! *What Do I Get? - Buzzcocks *X Offender - Blondie *Lookin` After No. 1 - The Boomtown Rats *Don`t Dictate - Penetration *Bingo Master - The Fall *Free Money - Patti Smith *Ready Set Go - Generation X *Where Were You? - The Mekons *Lexicon Devil - The Germs *Good Sculptures, (My Baby Does) - The Rezillos *Wait, The - The Pretenders |
|
|
Various Artists - No Thanks!: The `70s Punk Rebellion [Box]
$52.21 Track Listing:*Blitzkrieg Bop - The Ramones *Little Johnny Jewel - Television *One Chord Wonders - The Adverts *Born To Lose - The Heartbreakers *Search And Destroy - Iggy *& *The Stooges *Let Me Dream If I Want To (Amphetamine Blues) - Mink DeVille *Oh Bondage Up Yours - X-Ray Spex *12XU - Wire *Blank Generation - Richard Hell *& *The Voidoids *(Get A) Grip (On Yourself) - The Stranglers *Cherry Bomb - The Runaways *White Riot - The Clash *Personality Crisis - New York Dolls *Teenage Depression - Eddie *& *The Hot Rods *Two Tub Man - The Dictators *Hey Joe - Patti Smith *Your Generation - Generation X *Heart Of The City - Nick Lowe *Boredom - Buzzcocks *Stranded, (I`m) - The Saints *Neat Neat Neat - The Damned *In The City - The Jam *Final Solution - Pere Ubu *Roadrunner - Modern Lovers *Lust For Life - Iggy Pop *Modern World, The - The Jam *Chinese Rocks - The Heartbreakers *New Rose - The Damned *Ambition - Subway Sect *See No Evil - Television *Suspect Device - Stiff Little Fingers *Mannequin - Wire *Baby Baby - The Vibrators *Love Comes In Spurts - Richard Hell *& *The Voidoids *First Time - The Boys *Gary Gilmore`s Eyes - The Adverts *Sonic Reducer - The Dead Boys *Shot By Both Sides - Magazine *Mystery Dance - Elvis Costello *Trash - New York Dolls *Day The World Turned Dayglo, The - X-Ray Spex *Do Anything You Wanna Do - Eddie *& *The Hot Rods *Saturday Night In The City Of The Dead - Ultravox! *What Do I Get? - Buzzcocks *X Offender - Blondie *Lookin` After No. 1 - The Boomtown Rats *Don`t Dictate - Penetration *Bingo Master - The Fall *Free Money - Patti Smith *Ready Set Go - Generation X *Where Were You? - The Mekons *Lexicon Devil - The Germs *Good Sculptures, (My Baby Does) - The Rezillos *Wait, The - The Pretenders |
|
Delta 5 - Singles & Sessions 1979-1981 *
$14.08 Delta 5: Bethan Peters, Ros Allen (vocals, bass guitar); Julz Sale (vocals); Kelvin Knight (drums); Alan Riggs.Personnel: Julz Sale, Ros Allen, Bethan Peters (vocals); Alan Riggs (guitar); Andrew Marcus, Chris Kane, Jeff Evans (horns); Kelvin Knight (drums).Liner Note Authors: Greil Marcus; Jon Langford.Recording information: BBC Studios, London, England (??/??/1979-07/16/1981); Berkeley Square, Berkeley, CA (??/??/1979-07/16/1981); Foel Studios, Wales (??/??/1979-07/16/1981); The Point, London, England (??/??/1979-07/16/1981); Workhouse, London, England (??/??/1979-07/16/1981).Photographers: Santo Basone; Peter Anderson ; Mike Laye; Paul Sherman.Like the perfect fusion of the Slits and Gang of Four, Delta 5 excelled at angular, rhythmic punk with a politically and socially conscious agenda. Featuring vocalist Julz Sale and two bassists/background singers, Bethan Peters and Ros Allen (formerly of the Mekons), the female-fronted UK band had folded by 1981, but it left behind a slew of energetic tunes such as the cheeky "You," and the funky, defiant "Mind Your Own Business," providing one of the key blueprints for the dance-oriented punk explosion of the mid 2000s. Featuring a collection of songs that have been difficult to track down for some time, this 2006 Kill Rock Stars retrospective has done a great service to students of punk and post-punk history. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Ex - Singles. Period. The Vinyl Years 1980-1990
$14.26 SINGLES. PERIOD. THE VINYL YEARS 1980-1990 compiles 7" single releases previously unavailable in the US.The Ex: G.W. Sok (vocals); Dolf Planteijdt, Terrie, Ferry Heyne (guitar); Coby Laan (piano); Gert-Jan Blom (organ); Rene, Bas, Yoke, Luc (bass guitar); Jon Langford, Ome Geurt, Wim, Sabien, Kat (drums).Additional personnel: Andy (acoustic guitar); ? Of Awara (violin); Marion Coutts (trumpet, percussion, background vocals); Jeroen (sampler); The Dog Faced Hermans, Colin, Wilf, Martin.The Ex has explored many musical directions through the years, including avant-garde jazz and experimental music. But on this decade`s-worth of singles and B-sides released as part of its 25th anniversary celebrations the Dutch anarcho-socialist outfit hews close to its early-`80s punk ideals. The primitive punk polka of "Stupid Americans" is a raucous vehicle for the band`s anti-imperialist, anti-capitalist worldview, while the angular "Human Car" wears its affinity with late-`70s punk groups like Gang Of Four and the Mekons on its ripped sleeve. Unapologetically political yet never dull, lyrics are screamed or chanted, scrambling for attention through a tumultuous mix of primal drums, clanking bass, and searing guitar. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Jon Langford/The Sadies - The Mayors Of The Moon
$12.19 And His Sadies.Personnel: John Langford, Sally Timms (vocals); Travis (guitar); Bob Egan (pedal steel guitar); James Gray (keyboards); Critter (vibraphone, percussion); Bear (bass); Snake (drums); Ken Sluiter (background vocals).Recorded at Woodshed Studios, Toronto, Canada and Engine Studios, Chicago, Illinois.Personnel: Jonny, Sally Timms (vocals); Critter (vibraphone, percussion).Audio Mixer: Ken Sluiter.Recording information: The Woodshed, Toronto, Ontario, Canada.This album, mixing the Mekons and Waco Brothers singer with the Sadies, is an interesting and engaging roots rock and country effort that gets off to a great start with "Drugstore." Rounded out by a definitive roots rock sound in the vein of Blue Rodeo or Gram Parsons, Jon Langford`s Welsh lilt adds a lot to tracks like "Looking Out for Radio." The song is a slow, mournful dirge containing a Wilco flare to it courtesy of Bob Egan`s pedal steel guitar. The title track also falls into this line of sound, with guitarists Dallas Good and Travis Good supplying a darker twang to the bridge. Perhaps the track that seems most of out place and character has to be the `60s boogie emanating through "American Pageant," closely resembling the Yardbyrds or Them. But the album returns to a slower country flavor on "Little Vampires," a song Mark Knopfler would be jealous of. When Langford opts for a honky tonk arrangement on "What Makes Johnny Run?" he sounds like he`s missing the mark. The highlight of the album is "Strange Birds," a number that brings to mind traditional country music with contemporary overtones. The homestretch of the album contains some run-of-the-mill material, particularly the routine flow of "Last King of the Road" that runs out of gas well before its conclusion. "Shipwreck," which features vocals by Sally Timms, has an ethereal and psychedelic tone to it but is surprisingly good. Closing with the road-weary narrative "Are You an Entertainer?" the album is a definite keeper. ~ Jason MacNeil Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Ex - Singles. Period. The Vinyl Years 1980-1990
$15.18 SINGLES. PERIOD. THE VINYL YEARS 1980-1990 compiles 7" single releases previously unavailable in the US.The Ex: G.W. Sok (vocals); Dolf Planteijdt, Terrie, Ferry Heyne (guitar); Coby Laan (piano); Gert-Jan Blom (organ); Rene, Bas, Yoke, Luc (bass guitar); Jon Langford, Ome Geurt, Wim, Sabien, Kat (drums).Additional personnel: Andy (acoustic guitar); ? Of Awara (violin); Marion Coutts (trumpet, percussion, background vocals); Jeroen (sampler); The Dog Faced Hermans, Colin, Wilf, Martin.The Ex has explored many musical directions through the years, including avant-garde jazz and experimental music. But on this decade`s-worth of singles and B-sides released as part of its 25th anniversary celebrations the Dutch anarcho-socialist outfit hews close to its early-`80s punk ideals. The primitive punk polka of "Stupid Americans" is a raucous vehicle for the band`s anti-imperialist, anti-capitalist worldview, while the angular "Human Car" wears its affinity with late-`70s punk groups like Gang Of Four and the Mekons on its ripped sleeve. Unapologetically political yet never dull, lyrics are screamed or chanted, scrambling for attention through a tumultuous mix of primal drums, clanking bass, and searing guitar. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Dials - The Dials *
$15.99 The comparison is so obvious that it has to be discussed right up front: the Dials often sound freakishly similar to their contemporaries in shaggy, shambling neo-psychedelia. the Coral, although with a greater emphasis on country-rock twang at the expense of the Liverpool band`s regular nods to early ska. In fact, if anything the Dials may be even more voracious in their genre-hopping, skipping blithely from a Joe Meek style surfing-in-space instrumental introduction through a few trippy freakbeat-inspired pop songs to a cracking slice of Mekons-like punk honky tonk ("Pontius Pilate at Kmart") and an aggressive Mod-ish rocker, "Being Born," powered by a squealing organ riff. And then even that moves into another instrumental, "Where Did Our Love Go?," (not that one) that recalls those Georgie Fame-like soul instrumentals that Mick Talbot used to slip onto Style Council albums, complete with horn section. The spinning wheel of influences gets to be a bit wearying about two-thirds of the way through The Dials, so much so that even a nifty Syd Barrett pastiche like the goofily childlike "The Coracle" or a cool pedal steel-powered pop song like "Lay Down Your Heavy Load" sounds a bit like a parlor trick. The Dials are undeniably talented, and there`s a handful of excellent tunes on their debut album, but the lack of focus on this lengthy, overstuffed album works against its ample charms. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Aluminum Group - Pedals
$14.83 Personnel includes: Frank Navin (vocals, piano, Farfisa organ, keyboards); John Ridenour (acoustic & electric guitars, background vocals); John Navin electric guitar, background vocals); Liz Conant (piano, Fender Rhodes piano, harpsichord, keyboards, Moog synthesizer); Eddie Carlson (upright & electric basses); John Blaha (acoustic & electronic drums).Recorded at ACME Studios, Chicago, Illinois between April and May 1999.Personnel: Jim O`Rourke (electric guitar, piano, synthesizer, background vocals); Sean O`Hagan (banjo); Susan Voelz (violin); Shelly Weiss (viola); Alison Chesley (cello); Paul Mertens (flute, saxophone); Rob Mazurek (cornet); Jeb Bishop (trombone); Edith Frost, Sally Timms (background vocals).Photographer: Mark Ward.Unknown Contributor Roles: Douglas McCombs; Edith Frost; Frank Navin; John Navin; Sally Timms; Sean O`Hagan.Produced by Chicago avant-rock godfather Jim O`Rourke and featuring guest appearances from the High Llamas` Sean O`Hagan, the Mekons` Sally Timms, and violinist Susan Voelz, among others. The Aluminum Group`s third album moves far afield from the neo-Bacharachisms of 1995`s WONDER BOY and the Magnetic Fields influences of 1997`s PLANO. The Jim Webb-like multi-part nine-minute opening track, "Rrose Selavy`s Valise," is the most experimental of the album`s 10 songs, yet the lush soft-pop melodies and smooth vocals of brothers Frank and John Navin remain its focal point. While the rest of the album retains the Navins` trademark early `70s soft rock influences, the proceedings are considerably more complex, with unexpected left turns and weird sounds punctuating the arrangements and strange musical fragments popping up between the songs. PEDALS is somewhat more difficult to get a handle on than the band`s smoother earlier albums, but it`s ultimately much more satisfying. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Various Artists - No Thanks!: The `70s Punk Rebellion [Box]
$54.99 Track Listing:*Blitzkrieg Bop - The Ramones *Little Johnny Jewel - Television *One Chord Wonders - The Adverts *Born To Lose - The Heartbreakers *Search And Destroy - Iggy *& *The Stooges *Let Me Dream If I Want To (Amphetamine Blues) - Mink DeVille *Oh Bondage Up Yours - X-Ray Spex *12XU - Wire *Blank Generation - Richard Hell *& *The Voidoids *(Get A) Grip (On Yourself) - The Stranglers *Cherry Bomb - The Runaways *White Riot - The Clash *Personality Crisis - New York Dolls *Teenage Depression - Eddie *& *The Hot Rods *Two Tub Man - The Dictators *Hey Joe - Patti Smith *Your Generation - Generation X *Heart Of The City - Nick Lowe *Boredom - Buzzcocks *Stranded, (I`m) - The Saints *Neat Neat Neat - The Damned *In The City - The Jam *Final Solution - Pere Ubu *Roadrunner - Modern Lovers *Lust For Life - Iggy Pop *Modern World, The - The Jam *Chinese Rocks - The Heartbreakers *New Rose - The Damned *Ambition - Subway Sect *See No Evil - Television *Suspect Device - Stiff Little Fingers *Mannequin - Wire *Baby Baby - The Vibrators *Love Comes In Spurts - Richard Hell *& *The Voidoids *First Time - The Boys *Gary Gilmore`s Eyes - The Adverts *Sonic Reducer - The Dead Boys *Shot By Both Sides - Magazine *Mystery Dance - Elvis Costello *Trash - New York Dolls *Day The World Turned Dayglo, The - X-Ray Spex *Do Anything You Wanna Do - Eddie *& *The Hot Rods *Saturday Night In The City Of The Dead - Ultravox! *What Do I Get? - Buzzcocks *X Offender - Blondie *Lookin` After No. 1 - The Boomtown Rats *Don`t Dictate - Penetration *Bingo Master - The Fall *Free Money - Patti Smith *Ready Set Go - Generation X *Where Were You? - The Mekons *Lexicon Devil - The Germs *Good Sculptures, (My Baby Does) - The Rezillos *Wait, The - The Pretenders |
![Pylon - Gyrate Plus [10/16]](http://cdn2.overstock.com/images/products/muze/music/1004112.jpg)
|
Pylon - Gyrate Plus [10/16]
$13.28 Pylon`s first album, although it doesn`t contain masterworks on the level of the first single "Dub" or the later single "Crazy," is considerably more consistent than the comparatively spotty Pylon!! and Chomp. This is Pylon at their purest, mixing the spartan angularity of Gang of Four with a playfulness missing from similar U.K. bands like the Au Pairs or the early Mekons (or indeed from Gang of Four themselves) as well as the irresistible danceability of their Athens, GA, compatriots the B-52`s. Yet Pylon never quite sounded like anyone except Pylon; their na¿ve instrumental style -- guitarist Randy Bewley claimed that he didn`t even know the names of any notes or chords -- and singer Vanessa Briscoe`s inimitable voice (moving from a flirtatious coo to a Meredith Monk shriek in the space of a line) and inscrutable lyrics are so idiosyncratic that they probably couldn`t sound like anyone else any more than another band could tackle a Pylon song. (Remember the botch R.E.M. made of "Crazy"?) Highlights here include the spirited opener "Volume," the evocative instrumental "Weather Radio" (probably the prettiest song on the record), and Briscoe`s impassioned "Feast on My Heart." Later pressings of this album replace the first track on side two, "Driving School," with "Recent Title." Both tracks are available on the 1989 compilation Hits. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Ex - Singles. Period. The Vinyl Years 1980-1990
$15.02 SINGLES. PERIOD. THE VINYL YEARS 1980-1990 compiles 7" single releases previously unavailable in the US.The Ex: G.W. Sok (vocals); Dolf Planteijdt, Terrie, Ferry Heyne (guitar); Coby Laan (piano); Gert-Jan Blom (organ); Rene, Bas, Yoke, Luc (bass guitar); Jon Langford, Ome Geurt, Wim, Sabien, Kat (drums).Additional personnel: Andy (acoustic guitar); ? Of Awara (violin); Marion Coutts (trumpet, percussion, background vocals); Jeroen (sampler); The Dog Faced Hermans, Colin, Wilf, Martin.The Ex has explored many musical directions through the years, including avant-garde jazz and experimental music. But on this decade`s-worth of singles and B-sides released as part of its 25th anniversary celebrations the Dutch anarcho-socialist outfit hews close to its early-`80s punk ideals. The primitive punk polka of "Stupid Americans" is a raucous vehicle for the band`s anti-imperialist, anti-capitalist worldview, while the angular "Human Car" wears its affinity with late-`70s punk groups like Gang Of Four and the Mekons on its ripped sleeve. Unapologetically political yet never dull, lyrics are screamed or chanted, scrambling for attention through a tumultuous mix of primal drums, clanking bass, and searing guitar. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Jon Langford/The Sadies - The Mayors Of The Moon
$12.84 And His Sadies.Personnel: John Langford, Sally Timms (vocals); Travis (guitar); Bob Egan (pedal steel guitar); James Gray (keyboards); Critter (vibraphone, percussion); Bear (bass); Snake (drums); Ken Sluiter (background vocals).Recorded at Woodshed Studios, Toronto, Canada and Engine Studios, Chicago, Illinois.Personnel: Jonny, Sally Timms (vocals); Critter (vibraphone, percussion).Audio Mixer: Ken Sluiter.Recording information: The Woodshed, Toronto, Ontario, Canada.This album, mixing the Mekons and Waco Brothers singer with the Sadies, is an interesting and engaging roots rock and country effort that gets off to a great start with "Drugstore." Rounded out by a definitive roots rock sound in the vein of Blue Rodeo or Gram Parsons, Jon Langford`s Welsh lilt adds a lot to tracks like "Looking Out for Radio." The song is a slow, mournful dirge containing a Wilco flare to it courtesy of Bob Egan`s pedal steel guitar. The title track also falls into this line of sound, with guitarists Dallas Good and Travis Good supplying a darker twang to the bridge. Perhaps the track that seems most of out place and character has to be the `60s boogie emanating through "American Pageant," closely resembling the Yardbyrds or Them. But the album returns to a slower country flavor on "Little Vampires," a song Mark Knopfler would be jealous of. When Langford opts for a honky tonk arrangement on "What Makes Johnny Run?" he sounds like he`s missing the mark. The highlight of the album is "Strange Birds," a number that brings to mind traditional country music with contemporary overtones. The homestretch of the album contains some run-of-the-mill material, particularly the routine flow of "Last King of the Road" that runs out of gas well before its conclusion. "Shipwreck," which features vocals by Sally Timms, has an ethereal and psychedelic tone to it but is surprisingly good. Closing with the road-weary narrative "Are You an Entertainer?" the album is a definite keeper. ~ Jason MacNeil Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Pylon - Gyrate Plus [10/16]
$12.47 Pylon`s first album, although it doesn`t contain masterworks on the level of the first single "Dub" or the later single "Crazy," is considerably more consistent than the comparatively spotty Pylon!! and Chomp. This is Pylon at their purest, mixing the spartan angularity of Gang of Four with a playfulness missing from similar U.K. bands like the Au Pairs or the early Mekons (or indeed from Gang of Four themselves) as well as the irresistible danceability of their Athens, GA, compatriots the B-52`s. Yet Pylon never quite sounded like anyone except Pylon; their na¿ve instrumental style -- guitarist Randy Bewley claimed that he didn`t even know the names of any notes or chords -- and singer Vanessa Briscoe`s inimitable voice (moving from a flirtatious coo to a Meredith Monk shriek in the space of a line) and inscrutable lyrics are so idiosyncratic that they probably couldn`t sound like anyone else any more than another band could tackle a Pylon song. (Remember the botch R.E.M. made of "Crazy"?) Highlights here include the spirited opener "Volume," the evocative instrumental "Weather Radio" (probably the prettiest song on the record), and Briscoe`s impassioned "Feast on My Heart." Later pressings of this album replace the first track on side two, "Driving School," with "Recent Title." Both tracks are available on the 1989 compilation Hits. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Delta 5 - Singles & Sessions 1979-1981 *
$14.99 Delta 5: Bethan Peters, Ros Allen (vocals, bass guitar); Julz Sale (vocals); Kelvin Knight (drums); Alan Riggs.Personnel: Julz Sale, Ros Allen, Bethan Peters (vocals); Alan Riggs (guitar); Andrew Marcus, Chris Kane, Jeff Evans (horns); Kelvin Knight (drums).Liner Note Authors: Greil Marcus; Jon Langford.Recording information: BBC Studios, London, England (??/??/1979-07/16/1981); Berkeley Square, Berkeley, CA (??/??/1979-07/16/1981); Foel Studios, Wales (??/??/1979-07/16/1981); The Point, London, England (??/??/1979-07/16/1981); Workhouse, London, England (??/??/1979-07/16/1981).Photographers: Santo Basone; Peter Anderson ; Mike Laye; Paul Sherman.Like the perfect fusion of the Slits and Gang of Four, Delta 5 excelled at angular, rhythmic punk with a politically and socially conscious agenda. Featuring vocalist Julz Sale and two bassists/background singers, Bethan Peters and Ros Allen (formerly of the Mekons), the female-fronted UK band had folded by 1981, but it left behind a slew of energetic tunes such as the cheeky "You," and the funky, defiant "Mind Your Own Business," providing one of the key blueprints for the dance-oriented punk explosion of the mid 2000s. Featuring a collection of songs that have been difficult to track down for some time, this 2006 Kill Rock Stars retrospective has done a great service to students of punk and post-punk history. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
![Various Artists - No Thanks!: The `70s Punk Rebellion [Box]](http://cdn.overstock.com/images/products/muze/music/501302.jpg)
|
Various Artists - No Thanks!: The `70s Punk Rebellion [Box]
$70.39 Track Listing:*Blitzkrieg Bop - The Ramones *Little Johnny Jewel - Television *One Chord Wonders - The Adverts *Born To Lose - The Heartbreakers *Search And Destroy - Iggy *& *The Stooges *Let Me Dream If I Want To (Amphetamine Blues) - Mink DeVille *Oh Bondage Up Yours - X-Ray Spex *12XU - Wire *Blank Generation - Richard Hell *& *The Voidoids *(Get A) Grip (On Yourself) - The Stranglers *Cherry Bomb - The Runaways *White Riot - The Clash *Personality Crisis - New York Dolls *Teenage Depression - Eddie *& *The Hot Rods *Two Tub Man - The Dictators *Hey Joe - Patti Smith *Your Generation - Generation X *Heart Of The City - Nick Lowe *Boredom - Buzzcocks *Stranded, (I`m) - The Saints *Neat Neat Neat - The Damned *In The City - The Jam *Final Solution - Pere Ubu *Roadrunner - Modern Lovers *Lust For Life - Iggy Pop *Modern World, The - The Jam *Chinese Rocks - The Heartbreakers *New Rose - The Damned *Ambition - Subway Sect *See No Evil - Television *Suspect Device - Stiff Little Fingers *Mannequin - Wire *Baby Baby - The Vibrators *Love Comes In Spurts - Richard Hell *& *The Voidoids *First Time - The Boys *Gary Gilmore`s Eyes - The Adverts *Sonic Reducer - The Dead Boys *Shot By Both Sides - Magazine *Mystery Dance - Elvis Costello *Trash - New York Dolls *Day The World Turned Dayglo, The - X-Ray Spex *Do Anything You Wanna Do - Eddie *& *The Hot Rods *Saturday Night In The City Of The Dead - Ultravox! *What Do I Get? - Buzzcocks *X Offender - Blondie *Lookin` After No. 1 - The Boomtown Rats *Don`t Dictate - Penetration *Bingo Master - The Fall *Free Money - Patti Smith *Ready Set Go - Generation X *Where Were You? - The Mekons *Lexicon Devil - The Germs *Good Sculptures, (My Baby Does) - The Rezillos *Wait, The - The Pretenders |
|
|
Jon Langford/The Sadies - The Mayors Of The Moon
$16.44 And His Sadies.Personnel: John Langford, Sally Timms (vocals); Travis (guitar); Bob Egan (pedal steel guitar); James Gray (keyboards); Critter (vibraphone, percussion); Bear (bass); Snake (drums); Ken Sluiter (background vocals).Recorded at Woodshed Studios, Toronto, Canada and Engine Studios, Chicago, Illinois.Personnel: Jonny, Sally Timms (vocals); Critter (vibraphone, percussion).Audio Mixer: Ken Sluiter.Recording information: The Woodshed, Toronto, Ontario, Canada.This album, mixing the Mekons and Waco Brothers singer with the Sadies, is an interesting and engaging roots rock and country effort that gets off to a great start with "Drugstore." Rounded out by a definitive roots rock sound in the vein of Blue Rodeo or Gram Parsons, Jon Langford`s Welsh lilt adds a lot to tracks like "Looking Out for Radio." The song is a slow, mournful dirge containing a Wilco flare to it courtesy of Bob Egan`s pedal steel guitar. The title track also falls into this line of sound, with guitarists Dallas Good and Travis Good supplying a darker twang to the bridge. Perhaps the track that seems most of out place and character has to be the `60s boogie emanating through "American Pageant," closely resembling the Yardbyrds or Them. But the album returns to a slower country flavor on "Little Vampires," a song Mark Knopfler would be jealous of. When Langford opts for a honky tonk arrangement on "What Makes Johnny Run?" he sounds like he`s missing the mark. The highlight of the album is "Strange Birds," a number that brings to mind traditional country music with contemporary overtones. The homestretch of the album contains some run-of-the-mill material, particularly the routine flow of "Last King of the Road" that runs out of gas well before its conclusion. "Shipwreck," which features vocals by Sally Timms, has an ethereal and psychedelic tone to it but is surprisingly good. Closing with the road-weary narrative "Are You an Entertainer?" the album is a definite keeper. ~ Jason MacNeil Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Ex - Singles. Period. The Vinyl Years 1980-1990
$19.22 SINGLES. PERIOD. THE VINYL YEARS 1980-1990 compiles 7" single releases previously unavailable in the US.The Ex: G.W. Sok (vocals); Dolf Planteijdt, Terrie, Ferry Heyne (guitar); Coby Laan (piano); Gert-Jan Blom (organ); Rene, Bas, Yoke, Luc (bass guitar); Jon Langford, Ome Geurt, Wim, Sabien, Kat (drums).Additional personnel: Andy (acoustic guitar); ? Of Awara (violin); Marion Coutts (trumpet, percussion, background vocals); Jeroen (sampler); The Dog Faced Hermans, Colin, Wilf, Martin.The Ex has explored many musical directions through the years, including avant-garde jazz and experimental music. But on this decade`s-worth of singles and B-sides released as part of its 25th anniversary celebrations the Dutch anarcho-socialist outfit hews close to its early-`80s punk ideals. The primitive punk polka of "Stupid Americans" is a raucous vehicle for the band`s anti-imperialist, anti-capitalist worldview, while the angular "Human Car" wears its affinity with late-`70s punk groups like Gang Of Four and the Mekons on its ripped sleeve. Unapologetically political yet never dull, lyrics are screamed or chanted, scrambling for attention through a tumultuous mix of primal drums, clanking bass, and searing guitar. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Aluminum Group - Pedals
$13.93 Personnel includes: Frank Navin (vocals, piano, Farfisa organ, keyboards); John Ridenour (acoustic & electric guitars, background vocals); John Navin electric guitar, background vocals); Liz Conant (piano, Fender Rhodes piano, harpsichord, keyboards, Moog synthesizer); Eddie Carlson (upright & electric basses); John Blaha (acoustic & electronic drums).Recorded at ACME Studios, Chicago, Illinois between April and May 1999.Personnel: Jim O`Rourke (electric guitar, piano, synthesizer, background vocals); Sean O`Hagan (banjo); Susan Voelz (violin); Shelly Weiss (viola); Alison Chesley (cello); Paul Mertens (flute, saxophone); Rob Mazurek (cornet); Jeb Bishop (trombone); Edith Frost, Sally Timms (background vocals).Photographer: Mark Ward.Unknown Contributor Roles: Douglas McCombs; Edith Frost; Frank Navin; John Navin; Sally Timms; Sean O`Hagan.Produced by Chicago avant-rock godfather Jim O`Rourke and featuring guest appearances from the High Llamas` Sean O`Hagan, the Mekons` Sally Timms, and violinist Susan Voelz, among others. The Aluminum Group`s third album moves far afield from the neo-Bacharachisms of 1995`s WONDER BOY and the Magnetic Fields influences of 1997`s PLANO. The Jim Webb-like multi-part nine-minute opening track, "Rrose Selavy`s Valise," is the most experimental of the album`s 10 songs, yet the lush soft-pop melodies and smooth vocals of brothers Frank and John Navin remain its focal point. While the rest of the album retains the Navins` trademark early `70s soft rock influences, the proceedings are considerably more complex, with unexpected left turns and weird sounds punctuating the arrangements and strange musical fragments popping up between the songs. PEDALS is somewhat more difficult to get a handle on than the band`s smoother earlier albums, but it`s ultimately much more satisfying. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Delta 5 - Singles & Sessions 1979-1981 *
$18.99 Delta 5: Bethan Peters, Ros Allen (vocals, bass guitar); Julz Sale (vocals); Kelvin Knight (drums); Alan Riggs.Personnel: Julz Sale, Ros Allen, Bethan Peters (vocals); Alan Riggs (guitar); Andrew Marcus, Chris Kane, Jeff Evans (horns); Kelvin Knight (drums).Liner Note Authors: Greil Marcus; Jon Langford.Recording information: BBC Studios, London, England (??/??/1979-07/16/1981); Berkeley Square, Berkeley, CA (??/??/1979-07/16/1981); Foel Studios, Wales (??/??/1979-07/16/1981); The Point, London, England (??/??/1979-07/16/1981); Workhouse, London, England (??/??/1979-07/16/1981).Photographers: Santo Basone; Peter Anderson ; Mike Laye; Paul Sherman.Like the perfect fusion of the Slits and Gang of Four, Delta 5 excelled at angular, rhythmic punk with a politically and socially conscious agenda. Featuring vocalist Julz Sale and two bassists/background singers, Bethan Peters and Ros Allen (formerly of the Mekons), the female-fronted UK band had folded by 1981, but it left behind a slew of energetic tunes such as the cheeky "You," and the funky, defiant "Mind Your Own Business," providing one of the key blueprints for the dance-oriented punk explosion of the mid 2000s. Featuring a collection of songs that have been difficult to track down for some time, this 2006 Kill Rock Stars retrospective has done a great service to students of punk and post-punk history. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Dials - The Dials *
$20.25 The comparison is so obvious that it has to be discussed right up front: the Dials often sound freakishly similar to their contemporaries in shaggy, shambling neo-psychedelia. the Coral, although with a greater emphasis on country-rock twang at the expense of the Liverpool band`s regular nods to early ska. In fact, if anything the Dials may be even more voracious in their genre-hopping, skipping blithely from a Joe Meek style surfing-in-space instrumental introduction through a few trippy freakbeat-inspired pop songs to a cracking slice of Mekons-like punk honky tonk ("Pontius Pilate at Kmart") and an aggressive Mod-ish rocker, "Being Born," powered by a squealing organ riff. And then even that moves into another instrumental, "Where Did Our Love Go?," (not that one) that recalls those Georgie Fame-like soul instrumentals that Mick Talbot used to slip onto Style Council albums, complete with horn section. The spinning wheel of influences gets to be a bit wearying about two-thirds of the way through The Dials, so much so that even a nifty Syd Barrett pastiche like the goofily childlike "The Coracle" or a cool pedal steel-powered pop song like "Lay Down Your Heavy Load" sounds a bit like a parlor trick. The Dials are undeniably talented, and there`s a handful of excellent tunes on their debut album, but the lack of focus on this lengthy, overstuffed album works against its ample charms. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Pylon - Gyrate Plus [10/16]
$16.82 Pylon`s first album, although it doesn`t contain masterworks on the level of the first single "Dub" or the later single "Crazy," is considerably more consistent than the comparatively spotty Pylon!! and Chomp. This is Pylon at their purest, mixing the spartan angularity of Gang of Four with a playfulness missing from similar U.K. bands like the Au Pairs or the early Mekons (or indeed from Gang of Four themselves) as well as the irresistible danceability of their Athens, GA, compatriots the B-52`s. Yet Pylon never quite sounded like anyone except Pylon; their na¿ve instrumental style -- guitarist Randy Bewley claimed that he didn`t even know the names of any notes or chords -- and singer Vanessa Briscoe`s inimitable voice (moving from a flirtatious coo to a Meredith Monk shriek in the space of a line) and inscrutable lyrics are so idiosyncratic that they probably couldn`t sound like anyone else any more than another band could tackle a Pylon song. (Remember the botch R.E.M. made of "Crazy"?) Highlights here include the spirited opener "Volume," the evocative instrumental "Weather Radio" (probably the prettiest song on the record), and Briscoe`s impassioned "Feast on My Heart." Later pressings of this album replace the first track on side two, "Driving School," with "Recent Title." Both tracks are available on the 1989 compilation Hits. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
The Aluminum Group - Pedals
$18.79 Personnel includes: Frank Navin (vocals, piano, Farfisa organ, keyboards); John Ridenour (acoustic & electric guitars, background vocals); John Navin electric guitar, background vocals); Liz Conant (piano, Fender Rhodes piano, harpsichord, keyboards, Moog synthesizer); Eddie Carlson (upright & electric basses); John Blaha (acoustic & electronic drums).Recorded at ACME Studios, Chicago, Illinois between April and May 1999.Personnel: Jim O`Rourke (electric guitar, piano, synthesizer, background vocals); Sean O`Hagan (banjo); Susan Voelz (violin); Shelly Weiss (viola); Alison Chesley (cello); Paul Mertens (flute, saxophone); Rob Mazurek (cornet); Jeb Bishop (trombone); Edith Frost, Sally Timms (background vocals).Photographer: Mark Ward.Unknown Contributor Roles: Douglas McCombs; Edith Frost; Frank Navin; John Navin; Sally Timms; Sean O`Hagan.Produced by Chicago avant-rock godfather Jim O`Rourke and featuring guest appearances from the High Llamas` Sean O`Hagan, the Mekons` Sally Timms, and violinist Susan Voelz, among others. The Aluminum Group`s third album moves far afield from the neo-Bacharachisms of 1995`s WONDER BOY and the Magnetic Fields influences of 1997`s PLANO. The Jim Webb-like multi-part nine-minute opening track, "Rrose Selavy`s Valise," is the most experimental of the album`s 10 songs, yet the lush soft-pop melodies and smooth vocals of brothers Frank and John Navin remain its focal point. While the rest of the album retains the Navins` trademark early `70s soft rock influences, the proceedings are considerably more complex, with unexpected left turns and weird sounds punctuating the arrangements and strange musical fragments popping up between the songs. PEDALS is somewhat more difficult to get a handle on than the band`s smoother earlier albums, but it`s ultimately much more satisfying. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Pylon - Gyrate Plus [10/16]
$13.14 Pylon`s first album, although it doesn`t contain masterworks on the level of the first single "Dub" or the later single "Crazy," is considerably more consistent than the comparatively spotty Pylon!! and Chomp. This is Pylon at their purest, mixing the spartan angularity of Gang of Four with a playfulness missing from similar U.K. bands like the Au Pairs or the early Mekons (or indeed from Gang of Four themselves) as well as the irresistible danceability of their Athens, GA, compatriots the B-52`s. Yet Pylon never quite sounded like anyone except Pylon; their na¿ve instrumental style -- guitarist Randy Bewley claimed that he didn`t even know the names of any notes or chords -- and singer Vanessa Briscoe`s inimitable voice (moving from a flirtatious coo to a Meredith Monk shriek in the space of a line) and inscrutable lyrics are so idiosyncratic that they probably couldn`t sound like anyone else any more than another band could tackle a Pylon song. (Remember the botch R.E.M. made of "Crazy"?) Highlights here include the spirited opener "Volume," the evocative instrumental "Weather Radio" (probably the prettiest song on the record), and Briscoe`s impassioned "Feast on My Heart." Later pressings of this album replace the first track on side two, "Driving School," with "Recent Title." Both tracks are available on the 1989 compilation Hits. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Dials - The Dials *
$15.02 The comparison is so obvious that it has to be discussed right up front: the Dials often sound freakishly similar to their contemporaries in shaggy, shambling neo-psychedelia. the Coral, although with a greater emphasis on country-rock twang at the expense of the Liverpool band`s regular nods to early ska. In fact, if anything the Dials may be even more voracious in their genre-hopping, skipping blithely from a Joe Meek style surfing-in-space instrumental introduction through a few trippy freakbeat-inspired pop songs to a cracking slice of Mekons-like punk honky tonk ("Pontius Pilate at Kmart") and an aggressive Mod-ish rocker, "Being Born," powered by a squealing organ riff. And then even that moves into another instrumental, "Where Did Our Love Go?," (not that one) that recalls those Georgie Fame-like soul instrumentals that Mick Talbot used to slip onto Style Council albums, complete with horn section. The spinning wheel of influences gets to be a bit wearying about two-thirds of the way through The Dials, so much so that even a nifty Syd Barrett pastiche like the goofily childlike "The Coracle" or a cool pedal steel-powered pop song like "Lay Down Your Heavy Load" sounds a bit like a parlor trick. The Dials are undeniably talented, and there`s a handful of excellent tunes on their debut album, but the lack of focus on this lengthy, overstuffed album works against its ample charms. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Delta 5 - Singles & Sessions 1979-1981 *
$14.83 Delta 5: Bethan Peters, Ros Allen (vocals, bass guitar); Julz Sale (vocals); Kelvin Knight (drums); Alan Riggs.Personnel: Julz Sale, Ros Allen, Bethan Peters (vocals); Alan Riggs (guitar); Andrew Marcus, Chris Kane, Jeff Evans (horns); Kelvin Knight (drums).Liner Note Authors: Greil Marcus; Jon Langford.Recording information: BBC Studios, London, England (??/??/1979-07/16/1981); Berkeley Square, Berkeley, CA (??/??/1979-07/16/1981); Foel Studios, Wales (??/??/1979-07/16/1981); The Point, London, England (??/??/1979-07/16/1981); Workhouse, London, England (??/??/1979-07/16/1981).Photographers: Santo Basone; Peter Anderson ; Mike Laye; Paul Sherman.Like the perfect fusion of the Slits and Gang of Four, Delta 5 excelled at angular, rhythmic punk with a politically and socially conscious agenda. Featuring vocalist Julz Sale and two bassists/background singers, Bethan Peters and Ros Allen (formerly of the Mekons), the female-fronted UK band had folded by 1981, but it left behind a slew of energetic tunes such as the cheeky "You," and the funky, defiant "Mind Your Own Business," providing one of the key blueprints for the dance-oriented punk explosion of the mid 2000s. Featuring a collection of songs that have been difficult to track down for some time, this 2006 Kill Rock Stars retrospective has done a great service to students of punk and post-punk history. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Aluminum Group - Pedals
$14.68 Personnel includes: Frank Navin (vocals, piano, Farfisa organ, keyboards); John Ridenour (acoustic & electric guitars, background vocals); John Navin electric guitar, background vocals); Liz Conant (piano, Fender Rhodes piano, harpsichord, keyboards, Moog synthesizer); Eddie Carlson (upright & electric basses); John Blaha (acoustic & electronic drums).Recorded at ACME Studios, Chicago, Illinois between April and May 1999.Personnel: Jim O`Rourke (electric guitar, piano, synthesizer, background vocals); Sean O`Hagan (banjo); Susan Voelz (violin); Shelly Weiss (viola); Alison Chesley (cello); Paul Mertens (flute, saxophone); Rob Mazurek (cornet); Jeb Bishop (trombone); Edith Frost, Sally Timms (background vocals).Photographer: Mark Ward.Unknown Contributor Roles: Douglas McCombs; Edith Frost; Frank Navin; John Navin; Sally Timms; Sean O`Hagan.Produced by Chicago avant-rock godfather Jim O`Rourke and featuring guest appearances from the High Llamas` Sean O`Hagan, the Mekons` Sally Timms, and violinist Susan Voelz, among others. The Aluminum Group`s third album moves far afield from the neo-Bacharachisms of 1995`s WONDER BOY and the Magnetic Fields influences of 1997`s PLANO. The Jim Webb-like multi-part nine-minute opening track, "Rrose Selavy`s Valise," is the most experimental of the album`s 10 songs, yet the lush soft-pop melodies and smooth vocals of brothers Frank and John Navin remain its focal point. While the rest of the album retains the Navins` trademark early `70s soft rock influences, the proceedings are considerably more complex, with unexpected left turns and weird sounds punctuating the arrangements and strange musical fragments popping up between the songs. PEDALS is somewhat more difficult to get a handle on than the band`s smoother earlier albums, but it`s ultimately much more satisfying. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
The Dials - The Dials *
$15.82 The comparison is so obvious that it has to be discussed right up front: the Dials often sound freakishly similar to their contemporaries in shaggy, shambling neo-psychedelia. the Coral, although with a greater emphasis on country-rock twang at the expense of the Liverpool band`s regular nods to early ska. In fact, if anything the Dials may be even more voracious in their genre-hopping, skipping blithely from a Joe Meek style surfing-in-space instrumental introduction through a few trippy freakbeat-inspired pop songs to a cracking slice of Mekons-like punk honky tonk ("Pontius Pilate at Kmart") and an aggressive Mod-ish rocker, "Being Born," powered by a squealing organ riff. And then even that moves into another instrumental, "Where Did Our Love Go?," (not that one) that recalls those Georgie Fame-like soul instrumentals that Mick Talbot used to slip onto Style Council albums, complete with horn section. The spinning wheel of influences gets to be a bit wearying about two-thirds of the way through The Dials, so much so that even a nifty Syd Barrett pastiche like the goofily childlike "The Coracle" or a cool pedal steel-powered pop song like "Lay Down Your Heavy Load" sounds a bit like a parlor trick. The Dials are undeniably talented, and there`s a handful of excellent tunes on their debut album, but the lack of focus on this lengthy, overstuffed album works against its ample charms. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Folksongs of Illinois, Vol. 1: Volume 1
$9.66 DIVBA lively and enlightening slice of Illinois's rich musical heritage/BpAlthough few are aware of it, the state of Illinois has some of the richest and most varied musical traditions in the country. As a major agricultural producer bordering the South and situated on the nation's major waterways, Illinois became home to styles now called folk, country, country blues, bluegrass, gospel, and string band. At the same time, as an industrial center, Illinois attracted workers from all over the United States, Europe, and Mexico. These migrants brought their music with them, and the state also became home to Irish reels, Scandinavian waltzes, Serbo-Croatian kolos, Polish polkas, country western ballads, labor anthems, Mexican corridos, and ethnic comedy skits. The recordings chosen for these volumes are all performed by Illinois musicians, and include selections drawn from new studio recordings, archival collections, 78s, LPs, and CDs, as well as field and home recordings made by folklorists, amateur scholars, and family members./ppVolume 1 offers a selection of Illinois's best folk music. Its artists include Carl Sandburg and the Staples Singers, the 1930s WLS National Barn Dance artists, the Girls of the Golden West, and 1920s country-bluesman Henry Spaulding from Cairo. There are also tracks from well-known alt-country stars like Jon Langford from the Mekons, Janet Bean from Eleventh Dream Day, and Kelly Hogan. Added to that are songs from folk legend Art Thieme, Decatur's Deacon James Biggs and the St. John Missionary Choir, labor songster Bucky Halker, and Tejano balladeers Silvano Ramos and Daniel Ramirez./p/DIVDIVp class=MsoNormal"The CDs and accompanying booklets ofiFolksongs of Illinois/iprovide a valuable and well-executed resource that would augment any folklorist's, ethnomusicologist's, or music lover's collection. . . . These CDs provide a spark to ignite further musical and intellectual investigation."--iJournal of Folk@#Që…¸Rÿ¾Úx |
|
Nashville Radio
$30.4 DIVBeyond his work as a musician (Mekons, Waco Brothers, and solo), Jon Langford has attracted ever-growing attention as a visual artist in recent years. NASHVILLE RADIO is the first collection of his art. It reproduces 215 paintings and etchings, as well as many song lyrics and autobiographical writings. The book also comes with an exclusive CD of Langford performing 18 of the printed songs. Langford’s “song-paintings” fuse publicity-shot portraiture with imagery derived from folk art, Dutch still life, classic Western wear, and the cold, cold war—all instilled with his trademark sardonic wit. He applies this completely distinctive style to the depiction of such American musical icons as Bob Wills, Hank Williams, and Johnny Cash, but also to more ghostly, marginal figures—blindfolded cowboys, astronauts, and dancers—who are jerked around by the forces of success and exploitation, fame and neglect. Underlying all his work is a deep love of musical lore, twinned with fierce opposition to the death-dealing tendencies in the culture of his adopted homeland, from the killing off of authentic popular music by homogenized, mass-marketed drivel to the embrace of capital punishment as a response to social ills. Langford’s work offers an alternative perspective, recalling “a time when great visionaries and pioneers thrived at the heart of the mainstream—and the lid wasn’t! on so tight.”/div |
|
Left of the Dial: Dispatches from the '80s Underground
$51.98 Alternative rock of the 1980s was such a large and diverse scene that any box set documenting the genre is bound to be the cause of debate as to what is and isn't included, even a four-CD, 82-track production such as this one. Despite the inevitable exclusions, Left of the Dial: Dispatches from the '80s Underground does a decent job of collecting representative cuts from all spectrums of the style, even if it does tilt toward the more mainstream of such acts. Of course, artists like R.E.M., the Cure, Aztec Camera, the Pretenders, Ultravox, Lone Justice, the Smithereens, Concrete Blonde, Echo & the Bunnymen, and the Church (all sampled on this box) were "mainstream" only by the standards of the more left-leaning college radio programmers; by the measurements of the actual mainstream, they were still pretty "alternative," even "underground" in some cases. And the set doesn't neglect the edgier side of '80s underground rock, with tracks by the Dead Kennedys, Minor Threat, Throbbing Gristle, the Minutemen, Black Flag, Nick Cave & the Bad Seeds, Gun Club, the Butthole Surfers, the Raincoats, and Beat Happening as well. Between the poles are numerous slices of music of different shades of anti-mainstreamdom, from the paisley underground (the Three O'Clock, the Rain Parade, the Dream Syndicate) and an iconoclastic singer/songwriter (Billy Bragg) to British guitar-grounded sounds (the Jesus and Mary Chain, the Stone Roses, XTC), goth (Sisters of Mercy, Bauhaus), folk-punk (the Violent Femmes), retro-garage (the Lyres), ska (the English Beat), and even punk novelty (the Dead Milkmen).Naturally, there's room for argument about some of the choices: Prefab Sprout's alt-rock credentials are certainly specious, for instance, and the roll call of missing notables includes the Fall, Shonen Knife, the Chills, Romeo Void, the Television Personalities, the Wipers, the Mekons, and many others. There are few real surprises or underexposed gems: the Passions' 1981 single "I'm in Love With a German Film Star" is about the only item by a group that hasn't been canonized in the '80s alternative rock pantheon, though actually that song was a British hit. On the other hand, the astute and eclectic programming makes for a better listen than other attempts that have been made to compile '80s alternative rock. It's sort of like listening to an actual '80s college radio station, but one that's more listenable than any college radio stations actually were, both because of the catholic stylistic assortment and the selection of some of these artists' very best songs. If you did listen to this sort of music devotedly back in the '80s, in fact, much of this will be like revisiting familiar hits and standards, even if few of them actually made the charts as actual hits (and then usually in the U.K.): R.E.M.'s "Radio Free Europe," the Dead Kennedys' "Holiday in Cambodia," the Jesus and Mary Chain's "Just Like Honey," Joy Division's "Love Will Tear Us Apart," the Violent Femmes' "Blis |
|
Plastic Soul With the White Apes
$14.98 The second album by the tongue-in-cheek garage rockers Beehive and the Barracudas -- nothing to do with the '80s U.K. psych-poppers the Barracudas, of course -- is a playful but not jokey blend of new wave, '60s garage rock, and DIY punk. Recorded, as before, with an ever-changing lineup culled from the San Diego punk revival scene based around bassist/guitarist Kerry Davis (Red Aunts) and organist Dustin Milsap (Rocket From the Crypt), Plastic Soul With the White Apes has a loose, party-in-the-studio feel that owes much more to old Kingsmen and Sonics records than to the likes of the White Stripes, but it's admirably non-retro in its feel. The 14 tracks are short, sharp, feedback-laden shocks, with titles like "Are You Queer?" (which actually does sound a little bit like the White Stripes, if they ever covered an early Wire song), and "Preteen Sexfiend" (which has the thrumming post-punk drive of an early Mekons or Fall song), and the bare-bones production largely works in their favor. It ain't pretty, and it's only occasionally "catchy," as that term is usually understood, but it works. ~ Stewart Mason, All Music GuidePerformers: Koko - Tambo Drums, Vocals, Vox Organ; Blance Black - Vocals; Brian Barry Davey - Vocals; Dirty - Bass, Guitar, Organ, Synthesizer, Vocals, Vocals (Background), Vox Organ; Fen Fen - Guitar; The Flame - Bass, Drums, Guitar, Vocals, Vox Organ; Kerry - Bass, Guitar, Guitar (Electric), Guitar (Rhythm), Tambo Drums, Vocals, Vox Organ; Franke Stains - Organ |
|
Gold Brick
$12.98 Despite hailing from Great Britain (Wales, to be exact), the 2006 solo release by longtime Mekons leader Jon Langford, Gold Brick, is a prime slice of Americana. The twangy strains of alt-country sound as if they were straight out of the South of the U.S., but Langford's accent is a dead giveaway that this is not your average, or ordinary, release from the aforementioned genre. Although he's issued solo releases on a semi-regular basis since 1995, Langford's label, ROIR, calls Gold Brick "the proper follow up to 1998's 'Skull Orchard'." And in a way, they're right -- it's an incredibly cohesive and strong set of tunes, in a Wilco-meets-Neil Young (circa the latter's Comes a Time and Prairie Wind releases) kind of way. Consisting of country-flavored tracks ("Buy It Now"), rockers (the album opening "Little Bit of Help," "All Roads Lead Back to Me"), and symphonic ballads ("Salty Dog"), Langford is at the top of his game throughout, as pals from both the Pine Valley Cosmonauts and the Waco Brothers lend a hand. The honest-to-goodness traditional sounds of Gold Brick is a much welcomed arrival -- especially in the midst of the early 21st century quagmire of American Idol-esque studio enhanced Muzak. ~ Greg Prato, All Music GuidePerformers: John Rice - Dobro, Guitar, Mandolin; Pat Brennan - Organ, Piano; Jean Cook - Violin; Alan Doughty - Bass, Guitar (Bass), Vocals (Background); Jon Langford - Guitar, Vocals; Dan Massey - Drums; Daniel Massey - Drums |
|
Gravity's a Bitch
$12.98 Though the band name and album title make it sound like the Starvations' Gravity's a Bitch is yet another entry in the endless procession of garage punk releases, there's something different and more interesting going on here. The L.A.-based band's third album is more like 1981 in Manchester than 1976 in the Bowery or 1965 in Orange County: singer Gabriel Hart has a dramatic voice and favors lyrics of romantic desperation and personal dissolution, and the songs have a haphazard, disheveled quality, with Ryan Hertz's bass usually the most prominent element in the peculiarly mixed arrangements. Where the earlier albums by the Starvations took the blues-influenced punk of the Gun Club as one of their primary inspirations, the cavernous sound and shambling arrangements of Gravity's a Bitch sound more like some of the poppier offshoots of the Fall, like the Blue Orchids or Marc Riley & the Creepers. (The post-punk, pre-country early-'80s incarnation of the Mekons is another excellent touchstone, especially on the antic full-speed gallop of "Where Was I?") The 11 songs rush by in just under half an hour, but rather than sounding unsatisfyingly hurried, Gravity's a Bitch is a varied and surprisingly complex album that refuses to overstay its welcome. ~ Stewart Mason, All Music GuidePerformers: Vanessa Gonzalez - Accordion, Piano; Jean-Paul Garnier - Guitar (Bass); Ian Harrower - Drums, Percussion, Vocals (Background); Gabriel Hart - Guitar, Vocals; Ryan Hertz - Bass, Guitar, Vocals (Background) |
|
Sally Timms - Cowboy Sally`s Twilight Laments For Lost Buckaroos
$13 Personnel: Sally Timms (vocals, guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, pedal steel & Hawaian guitar, banjo, mandolin); Barry Mills, Brett Sparks, Jane Baxter-Miller (vocals); Celine (various instruments, acoustic guitar); Robbie Fulks (acoustic guitar); Andon Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); John Herndon (drums, sleigh bells); Harry Trumfio (steel drums); Fred Armisen (percussion).Producers: Sally Timms, John Langford, Dave Trumfio.Engineers: Brenden Burke, Mark Schwartz, Dave Trumfio.Recorded at: Uberstudio, Chicago, Illinois in May 1999.Personnel: Sally Timms (vocals, 10-string guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, banjo, mandolin); Barry Mills, Jane Baxter-Miller, Brett Sparks (vocals); Celine, Robbie Fulks (acoustic guitar); Andon T. Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); Tom Ray (upright bass); John Herndon (drums, sleigh bell); Harry Trumfio (steel drum).Audio Mixers: David Trumfio; Ken Sluiter.Recording information: UberStudio, Chicago, IL (05/1999).Photographers: Susan Anderson; Brad Miller.Sally Timms has one of the finest voices around. She sings with the great rock & roll band the Mekons (from Leeds, England), and also has a solo career, singing quieter, more introspective songs (that pack a wallop). Timms is very much under the sway of pre-countrypolitan country music, drawing influence and strength from early Dolly Parton, Marty Robbins, and Merle Haggard. Her backup consists of guitars (acoustic, electric, steel), dobro, fiddle, bass, and light percussion, and the songs highlight her remarkable voice; unlike some younger female singers, Timms does not try to sound like Patsy Cline reincarnated. Her voice is similar to Parton`s, though a bit deeper, capable of conveying both impishness and deep sorrow. The songs are haunting, many of them originals that sound as if they could`ve been written 100 years ago. Highlights include her gentle, soulful take on Johnny Cash`s classic "Cry, Cry, Cry" and a chilling tale of death during a snowstorm, the maddeningly catchy "Snowbird." If you think nobody`s doing traditional country anymore, or just want to hear a clear, powerful voice, try Timms. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Johnny Dowd - Cruel Words
$15.98 Personnel: Johnny Dowd (vocals, guitar); Jon Langford, Sally Timms (vocals); Mike Parker (guitar); Michael Stark (organ, synthesizer); Brian Wilson (drums).Audio Mixer: Johnny Dowd.Photographer: Kat Dalton.Johnny Dowd presents a curious mixture of the raw and the sophisticated on his sixth album, Cruel Words. His band, which features keyboard player Michael Starks and drummer Brian Wilson in addition to his own guitar work, plays rudimentary blues-rock arrangements with harsh, angular rhythms in a sort of John Lee Hooker-meets-Devo sound, occasionally veering toward heavy metal, and he sings in a gruff voice with a strong rural accent. But his lyrics and the subject matter of his songs, while sometimes bluntly expressed, sound more like the product of a college graduate than an unlettered bluesman. Antiwar statements and descriptions of the class struggle come up frequently, and Dowd sometimes writes like he`s starting a novel instead of a song. "He died in a motel surrounded by women`s shoes," begins "Final Encore," a song that turns out to be about a deceased singer. That person cannot be Dowd himself, of course, but elsewhere he does turn directly autobiographical. To avoid any confusion, "Drunk" quickly name-checks its main character, "Johnny Dowd, Johnny Dowd, Johnny Dowd," before turning to a heartfelt declaration of recidivist alcoholism. "Oh, what I would give for a drink," Dowd sings, lustily accompanied by Mekons Jon Langford and Sally Timms. It all ends up with a cover of Chuck Berry`s "Johnny B. Goode" that recalls what Devo did with "(I Can`t Get No) Satisfaction" before breaking into the main riff of Black Sabbath`s "Iron Man." Having started his recording career at the half-century mark, when most artists are slowing down or have stopped altogether, Dowd continues to record regularly, and, idiosyncratic as they may be, he is clearly making the albums he wants to make.~ William Ruhlmann Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Goldblade - Strictly Hardcore
$12.22 Goldblade includes: John Robb, Keith Curtis.Personnel: Gavin Monaghan (guitar, keyboards, background vocals); Matt Taylor (saxophone); Chris Aldridge (tenor saxophone); Paul Bennett (trumpet); Basil Harvey, Helen Miller (trombone); Rickesh McWahwah (clavichord); Jagz Kooner (sampler, scratches).Liner Note Author: Norman Davidson.Recording information: Metway, Brighton, England; The Magic Garden, London, England.After the initial blitz of U.K. punk bands circa 1977, and the smaller and much more insular wave of early `80s bands that eventually coalesced under the catchall term Oi!, punk rock largely went underground in Great Britain. With the U.S. being a larger and more populous country with a stronger D.I.Y. network, it was more possible for various cities to maintain strong local punk scenes in the states through the `80s and `90s, when the British punk scene seemed to be limited to a small handful of old-school purists. That makes Goldblade just that much more interesting. Formed in the U.K. around 1996 by singer/songwriter John Robb, former frontman of the Membranes (the missing link between the scrappy indie pop of the Television Personalities and some of the early Creation Records bands, and the art/punk rock attitude of the Three Johns, the Fall, 1000 Mexicans and other more challenging, noisy bands of the period), Goldblade are strictly old-school punk rock, just not of the type that most Americans think of when they hear that description. From the Sex Pistols on down, British punk bands had a more overt love for good old-fashioned rock and roll than the more abrasive American hardcore bands that followed. Bands like Stiff Little Fingers and Alternative TV mixed rabble-rousing lyrics and upfront performances with genuine pop song hooks,and catchy shout-along choruses. Goldblade`s American debut, Strictly Hardcore, continues this tradition in style. A compilation of the best tracks from three previous UK releases, Strictly Hardcore is an all-meat, no-filler collection of 15 solid pieces of melodic punk,like the soaring "Dream the Vicious Dream" (a sarcastic riposte to those who buy into the myths of `70s punk without considering their consequences), and the Mekons-like clatter of "Black Elvis." Crisply produced, melodically rich, and sonically powerful, Strictly Hardcore shows up pop-punk pretenders like Blink 182 as the lightweight poseurs they are. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Goldblade - Strictly Hardcore
$12.35 Goldblade includes: John Robb, Keith Curtis.Personnel: Gavin Monaghan (guitar, keyboards, background vocals); Matt Taylor (saxophone); Chris Aldridge (tenor saxophone); Paul Bennett (trumpet); Basil Harvey, Helen Miller (trombone); Rickesh McWahwah (clavichord); Jagz Kooner (sampler, scratches).Liner Note Author: Norman Davidson.Recording information: Metway, Brighton, England; The Magic Garden, London, England.After the initial blitz of U.K. punk bands circa 1977, and the smaller and much more insular wave of early `80s bands that eventually coalesced under the catchall term Oi!, punk rock largely went underground in Great Britain. With the U.S. being a larger and more populous country with a stronger D.I.Y. network, it was more possible for various cities to maintain strong local punk scenes in the states through the `80s and `90s, when the British punk scene seemed to be limited to a small handful of old-school purists. That makes Goldblade just that much more interesting. Formed in the U.K. around 1996 by singer/songwriter John Robb, former frontman of the Membranes (the missing link between the scrappy indie pop of the Television Personalities and some of the early Creation Records bands, and the art/punk rock attitude of the Three Johns, the Fall, 1000 Mexicans and other more challenging, noisy bands of the period), Goldblade are strictly old-school punk rock, just not of the type that most Americans think of when they hear that description. From the Sex Pistols on down, British punk bands had a more overt love for good old-fashioned rock and roll than the more abrasive American hardcore bands that followed. Bands like Stiff Little Fingers and Alternative TV mixed rabble-rousing lyrics and upfront performances with genuine pop song hooks,and catchy shout-along choruses. Goldblade`s American debut, Strictly Hardcore, continues this tradition in style. A compilation of the best tracks from three previous UK releases, Strictly Hardcore is an all-meat, no-filler collection of 15 solid pieces of melodic punk,like the soaring "Dream the Vicious Dream" (a sarcastic riposte to those who buy into the myths of `70s punk without considering their consequences), and the Mekons-like clatter of "Black Elvis." Crisply produced, melodically rich, and sonically powerful, Strictly Hardcore shows up pop-punk pretenders like Blink 182 as the lightweight poseurs they are. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Sally Timms - Cowboy Sally`s Twilight Laments For Lost Buckaroos
$16.47 Personnel: Sally Timms (vocals, guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, pedal steel & Hawaian guitar, banjo, mandolin); Barry Mills, Brett Sparks, Jane Baxter-Miller (vocals); Celine (various instruments, acoustic guitar); Robbie Fulks (acoustic guitar); Andon Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); John Herndon (drums, sleigh bells); Harry Trumfio (steel drums); Fred Armisen (percussion).Producers: Sally Timms, John Langford, Dave Trumfio.Engineers: Brenden Burke, Mark Schwartz, Dave Trumfio.Recorded at: Uberstudio, Chicago, Illinois in May 1999.Personnel: Sally Timms (vocals, 10-string guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, banjo, mandolin); Barry Mills, Jane Baxter-Miller, Brett Sparks (vocals); Celine, Robbie Fulks (acoustic guitar); Andon T. Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); Tom Ray (upright bass); John Herndon (drums, sleigh bell); Harry Trumfio (steel drum).Audio Mixers: David Trumfio; Ken Sluiter.Recording information: UberStudio, Chicago, IL (05/1999).Photographers: Susan Anderson; Brad Miller.Sally Timms has one of the finest voices around. She sings with the great rock & roll band the Mekons (from Leeds, England), and also has a solo career, singing quieter, more introspective songs (that pack a wallop). Timms is very much under the sway of pre-countrypolitan country music, drawing influence and strength from early Dolly Parton, Marty Robbins, and Merle Haggard. Her backup consists of guitars (acoustic, electric, steel), dobro, fiddle, bass, and light percussion, and the songs highlight her remarkable voice; unlike some younger female singers, Timms does not try to sound like Patsy Cline reincarnated. Her voice is similar to Parton`s, though a bit deeper, capable of conveying both impishness and deep sorrow. The songs are haunting, many of them originals that sound as if they could`ve been written 100 years ago. Highlights include her gentle, soulful take on Johnny Cash`s classic "Cry, Cry, Cry" and a chilling tale of death during a snowstorm, the maddeningly catchy "Snowbird." If you think nobody`s doing traditional country anymore, or just want to hear a clear, powerful voice, try Timms. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Goldblade - Strictly Hardcore
$11.6 Goldblade includes: John Robb, Keith Curtis.Personnel: Gavin Monaghan (guitar, keyboards, background vocals); Matt Taylor (saxophone); Chris Aldridge (tenor saxophone); Paul Bennett (trumpet); Basil Harvey, Helen Miller (trombone); Rickesh McWahwah (clavichord); Jagz Kooner (sampler, scratches).Liner Note Author: Norman Davidson.Recording information: Metway, Brighton, England; The Magic Garden, London, England.After the initial blitz of U.K. punk bands circa 1977, and the smaller and much more insular wave of early `80s bands that eventually coalesced under the catchall term Oi!, punk rock largely went underground in Great Britain. With the U.S. being a larger and more populous country with a stronger D.I.Y. network, it was more possible for various cities to maintain strong local punk scenes in the states through the `80s and `90s, when the British punk scene seemed to be limited to a small handful of old-school purists. That makes Goldblade just that much more interesting. Formed in the U.K. around 1996 by singer/songwriter John Robb, former frontman of the Membranes (the missing link between the scrappy indie pop of the Television Personalities and some of the early Creation Records bands, and the art/punk rock attitude of the Three Johns, the Fall, 1000 Mexicans and other more challenging, noisy bands of the period), Goldblade are strictly old-school punk rock, just not of the type that most Americans think of when they hear that description. From the Sex Pistols on down, British punk bands had a more overt love for good old-fashioned rock and roll than the more abrasive American hardcore bands that followed. Bands like Stiff Little Fingers and Alternative TV mixed rabble-rousing lyrics and upfront performances with genuine pop song hooks,and catchy shout-along choruses. Goldblade`s American debut, Strictly Hardcore, continues this tradition in style. A compilation of the best tracks from three previous UK releases, Strictly Hardcore is an all-meat, no-filler collection of 15 solid pieces of melodic punk,like the soaring "Dream the Vicious Dream" (a sarcastic riposte to those who buy into the myths of `70s punk without considering their consequences), and the Mekons-like clatter of "Black Elvis." Crisply produced, melodically rich, and sonically powerful, Strictly Hardcore shows up pop-punk pretenders like Blink 182 as the lightweight poseurs they are. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Johnny Dowd - Cruel Words
$20.24 Personnel: Johnny Dowd (vocals, guitar); Jon Langford, Sally Timms (vocals); Mike Parker (guitar); Michael Stark (organ, synthesizer); Brian Wilson (drums).Audio Mixer: Johnny Dowd.Photographer: Kat Dalton.Johnny Dowd presents a curious mixture of the raw and the sophisticated on his sixth album, Cruel Words. His band, which features keyboard player Michael Starks and drummer Brian Wilson in addition to his own guitar work, plays rudimentary blues-rock arrangements with harsh, angular rhythms in a sort of John Lee Hooker-meets-Devo sound, occasionally veering toward heavy metal, and he sings in a gruff voice with a strong rural accent. But his lyrics and the subject matter of his songs, while sometimes bluntly expressed, sound more like the product of a college graduate than an unlettered bluesman. Antiwar statements and descriptions of the class struggle come up frequently, and Dowd sometimes writes like he`s starting a novel instead of a song. "He died in a motel surrounded by women`s shoes," begins "Final Encore," a song that turns out to be about a deceased singer. That person cannot be Dowd himself, of course, but elsewhere he does turn directly autobiographical. To avoid any confusion, "Drunk" quickly name-checks its main character, "Johnny Dowd, Johnny Dowd, Johnny Dowd," before turning to a heartfelt declaration of recidivist alcoholism. "Oh, what I would give for a drink," Dowd sings, lustily accompanied by Mekons Jon Langford and Sally Timms. It all ends up with a cover of Chuck Berry`s "Johnny B. Goode" that recalls what Devo did with "(I Can`t Get No) Satisfaction" before breaking into the main riff of Black Sabbath`s "Iron Man." Having started his recording career at the half-century mark, when most artists are slowing down or have stopped altogether, Dowd continues to record regularly, and, idiosyncratic as they may be, he is clearly making the albums he wants to make.~ William Ruhlmann Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Sally Timms - Cowboy Sally`s Twilight Laments For Lost Buckaroos
$12.21 Personnel: Sally Timms (vocals, guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, pedal steel & Hawaian guitar, banjo, mandolin); Barry Mills, Brett Sparks, Jane Baxter-Miller (vocals); Celine (various instruments, acoustic guitar); Robbie Fulks (acoustic guitar); Andon Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); John Herndon (drums, sleigh bells); Harry Trumfio (steel drums); Fred Armisen (percussion).Producers: Sally Timms, John Langford, Dave Trumfio.Engineers: Brenden Burke, Mark Schwartz, Dave Trumfio.Recorded at: Uberstudio, Chicago, Illinois in May 1999.Personnel: Sally Timms (vocals, 10-string guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, banjo, mandolin); Barry Mills, Jane Baxter-Miller, Brett Sparks (vocals); Celine, Robbie Fulks (acoustic guitar); Andon T. Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); Tom Ray (upright bass); John Herndon (drums, sleigh bell); Harry Trumfio (steel drum).Audio Mixers: David Trumfio; Ken Sluiter.Recording information: UberStudio, Chicago, IL (05/1999).Photographers: Susan Anderson; Brad Miller.Sally Timms has one of the finest voices around. She sings with the great rock & roll band the Mekons (from Leeds, England), and also has a solo career, singing quieter, more introspective songs (that pack a wallop). Timms is very much under the sway of pre-countrypolitan country music, drawing influence and strength from early Dolly Parton, Marty Robbins, and Merle Haggard. Her backup consists of guitars (acoustic, electric, steel), dobro, fiddle, bass, and light percussion, and the songs highlight her remarkable voice; unlike some younger female singers, Timms does not try to sound like Patsy Cline reincarnated. Her voice is similar to Parton`s, though a bit deeper, capable of conveying both impishness and deep sorrow. The songs are haunting, many of them originals that sound as if they could`ve been written 100 years ago. Highlights include her gentle, soulful take on Johnny Cash`s classic "Cry, Cry, Cry" and a chilling tale of death during a snowstorm, the maddeningly catchy "Snowbird." If you think nobody`s doing traditional country anymore, or just want to hear a clear, powerful voice, try Timms. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Goldblade - Strictly Hardcore
$15.64 Goldblade includes: John Robb, Keith Curtis.Personnel: Gavin Monaghan (guitar, keyboards, background vocals); Matt Taylor (saxophone); Chris Aldridge (tenor saxophone); Paul Bennett (trumpet); Basil Harvey, Helen Miller (trombone); Rickesh McWahwah (clavichord); Jagz Kooner (sampler, scratches).Liner Note Author: Norman Davidson.Recording information: Metway, Brighton, England; The Magic Garden, London, England.After the initial blitz of U.K. punk bands circa 1977, and the smaller and much more insular wave of early `80s bands that eventually coalesced under the catchall term Oi!, punk rock largely went underground in Great Britain. With the U.S. being a larger and more populous country with a stronger D.I.Y. network, it was more possible for various cities to maintain strong local punk scenes in the states through the `80s and `90s, when the British punk scene seemed to be limited to a small handful of old-school purists. That makes Goldblade just that much more interesting. Formed in the U.K. around 1996 by singer/songwriter John Robb, former frontman of the Membranes (the missing link between the scrappy indie pop of the Television Personalities and some of the early Creation Records bands, and the art/punk rock attitude of the Three Johns, the Fall, 1000 Mexicans and other more challenging, noisy bands of the period), Goldblade are strictly old-school punk rock, just not of the type that most Americans think of when they hear that description. From the Sex Pistols on down, British punk bands had a more overt love for good old-fashioned rock and roll than the more abrasive American hardcore bands that followed. Bands like Stiff Little Fingers and Alternative TV mixed rabble-rousing lyrics and upfront performances with genuine pop song hooks,and catchy shout-along choruses. Goldblade`s American debut, Strictly Hardcore, continues this tradition in style. A compilation of the best tracks from three previous UK releases, Strictly Hardcore is an all-meat, no-filler collection of 15 solid pieces of melodic punk,like the soaring "Dream the Vicious Dream" (a sarcastic riposte to those who buy into the myths of `70s punk without considering their consequences), and the Mekons-like clatter of "Black Elvis." Crisply produced, melodically rich, and sonically powerful, Strictly Hardcore shows up pop-punk pretenders like Blink 182 as the lightweight poseurs they are. ~ Stewart Mason Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Johnny Dowd - Cruel Words
$15.01 Personnel: Johnny Dowd (vocals, guitar); Jon Langford, Sally Timms (vocals); Mike Parker (guitar); Michael Stark (organ, synthesizer); Brian Wilson (drums).Audio Mixer: Johnny Dowd.Photographer: Kat Dalton.Johnny Dowd presents a curious mixture of the raw and the sophisticated on his sixth album, Cruel Words. His band, which features keyboard player Michael Starks and drummer Brian Wilson in addition to his own guitar work, plays rudimentary blues-rock arrangements with harsh, angular rhythms in a sort of John Lee Hooker-meets-Devo sound, occasionally veering toward heavy metal, and he sings in a gruff voice with a strong rural accent. But his lyrics and the subject matter of his songs, while sometimes bluntly expressed, sound more like the product of a college graduate than an unlettered bluesman. Antiwar statements and descriptions of the class struggle come up frequently, and Dowd sometimes writes like he`s starting a novel instead of a song. "He died in a motel surrounded by women`s shoes," begins "Final Encore," a song that turns out to be about a deceased singer. That person cannot be Dowd himself, of course, but elsewhere he does turn directly autobiographical. To avoid any confusion, "Drunk" quickly name-checks its main character, "Johnny Dowd, Johnny Dowd, Johnny Dowd," before turning to a heartfelt declaration of recidivist alcoholism. "Oh, what I would give for a drink," Dowd sings, lustily accompanied by Mekons Jon Langford and Sally Timms. It all ends up with a cover of Chuck Berry`s "Johnny B. Goode" that recalls what Devo did with "(I Can`t Get No) Satisfaction" before breaking into the main riff of Black Sabbath`s "Iron Man." Having started his recording career at the half-century mark, when most artists are slowing down or have stopped altogether, Dowd continues to record regularly, and, idiosyncratic as they may be, he is clearly making the albums he wants to make.~ William Ruhlmann Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Sally Timms - Cowboy Sally`s Twilight Laments For Lost Buckaroos
$12.86 Personnel: Sally Timms (vocals, guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, pedal steel & Hawaian guitar, banjo, mandolin); Barry Mills, Brett Sparks, Jane Baxter-Miller (vocals); Celine (various instruments, acoustic guitar); Robbie Fulks (acoustic guitar); Andon Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); John Herndon (drums, sleigh bells); Harry Trumfio (steel drums); Fred Armisen (percussion).Producers: Sally Timms, John Langford, Dave Trumfio.Engineers: Brenden Burke, Mark Schwartz, Dave Trumfio.Recorded at: Uberstudio, Chicago, Illinois in May 1999.Personnel: Sally Timms (vocals, 10-string guitar); Jon Langford (vocals, acoustic guitar); Jon Rauhouse (vocals, banjo, mandolin); Barry Mills, Jane Baxter-Miller, Brett Sparks (vocals); Celine, Robbie Fulks (acoustic guitar); Andon T. Davis (electric guitar); Jessica Billey, Andrew Bird (violin); Steve Rosen (fiddle); Tom Ray (upright bass); John Herndon (drums, sleigh bell); Harry Trumfio (steel drum).Audio Mixers: David Trumfio; Ken Sluiter.Recording information: UberStudio, Chicago, IL (05/1999).Photographers: Susan Anderson; Brad Miller.Sally Timms has one of the finest voices around. She sings with the great rock & roll band the Mekons (from Leeds, England), and also has a solo career, singing quieter, more introspective songs (that pack a wallop). Timms is very much under the sway of pre-countrypolitan country music, drawing influence and strength from early Dolly Parton, Marty Robbins, and Merle Haggard. Her backup consists of guitars (acoustic, electric, steel), dobro, fiddle, bass, and light percussion, and the songs highlight her remarkable voice; unlike some younger female singers, Timms does not try to sound like Patsy Cline reincarnated. Her voice is similar to Parton`s, though a bit deeper, capable of conveying both impishness and deep sorrow. The songs are haunting, many of them originals that sound as if they could`ve been written 100 years ago. Highlights include her gentle, soulful take on Johnny Cash`s classic "Cry, Cry, Cry" and a chilling tale of death during a snowstorm, the maddeningly catchy "Snowbird." If you think nobody`s doing traditional country anymore, or just want to hear a clear, powerful voice, try Timms. Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
|
Johnny Dowd - Cruel Words
$15.81 Personnel: Johnny Dowd (vocals, guitar); Jon Langford, Sally Timms (vocals); Mike Parker (guitar); Michael Stark (organ, synthesizer); Brian Wilson (drums).Audio Mixer: Johnny Dowd.Photographer: Kat Dalton.Johnny Dowd presents a curious mixture of the raw and the sophisticated on his sixth album, Cruel Words. His band, which features keyboard player Michael Starks and drummer Brian Wilson in addition to his own guitar work, plays rudimentary blues-rock arrangements with harsh, angular rhythms in a sort of John Lee Hooker-meets-Devo sound, occasionally veering toward heavy metal, and he sings in a gruff voice with a strong rural accent. But his lyrics and the subject matter of his songs, while sometimes bluntly expressed, sound more like the product of a college graduate than an unlettered bluesman. Antiwar statements and descriptions of the class struggle come up frequently, and Dowd sometimes writes like he`s starting a novel instead of a song. "He died in a motel surrounded by women`s shoes," begins "Final Encore," a song that turns out to be about a deceased singer. That person cannot be Dowd himself, of course, but elsewhere he does turn directly autobiographical. To avoid any confusion, "Drunk" quickly name-checks its main character, "Johnny Dowd, Johnny Dowd, Johnny Dowd," before turning to a heartfelt declaration of recidivist alcoholism. "Oh, what I would give for a drink," Dowd sings, lustily accompanied by Mekons Jon Langford and Sally Timms. It all ends up with a cover of Chuck Berry`s "Johnny B. Goode" that recalls what Devo did with "(I Can`t Get No) Satisfaction" before breaking into the main riff of Black Sabbath`s "Iron Man." Having started his recording career at the half-century mark, when most artists are slowing down or have stopped altogether, Dowd continues to record regularly, and, idiosyncratic as they may be, he is clearly making the albums he wants to make.~ William Ruhlmann Copyright (C) Muze Inc. 2005. For personal use only. All rights reserved. |
|
Meadow
$14.98 "Pretty destroyed/comin' through/sees your spin/around the room...are you sitting down?" These are some of the lyrics from "Town," the opening track on Richard Buckner's Meadow, sung to an urgent progression of distorted electric and acoustic guitars and drums. As unsettling as this is, the song is chock-full of Buckner's inherent melodic sense, and it's easier to bear, somehow, this darkness and melancholy. Produced by J.D. Foster at his home studio, and at Buckner's, with some additional work done at Brooklyn Recording, this is an album of absences, of ghosts so far down the highway only their traces remain. Buckner's sense of rock & roll is infused with images from country, folk, the desert, the blues, early American popular music; virtually everywhere he's been. In some ways one can say that these ten songs are his own companion to his recording of some of the Spoon River Anthology on Hill. Each track here has a one word title except for the final one, "The Tether and the Tie." But Buckner's revisiting the cautious grief and optimism on Bloomed, too. Everything here is written in a state of absence, of the previous, the past, and how it can be reconciled. The gorgeous shimmering piano, drums and guitars intro on "Lucky" ease into the startling words: "Forgetting where the roads align, bowing out and back again/Something made it over/A chance to cross the shards you see...." These lyrics are held together by bridges and refrains that further underscore their poetry. Its strength is in the missing middle, the hole in the middle, the thing that needs to be revisited but can't quite be because it's already gone and only gray shadows remain. This small group of players -- Foster (Green on Red, Dwight Yoakam, Alejandro Escovedo), Buckner, Doug Gillard (ex-Guided by Voices), Rob Burger (Tin Hat Trio), Steve Goulding (Waco Brothers, Mekons, Freakwater, et. al), and Kevin March (Jeff Buckley, Guided by Voices) -- focus on Buckner's melodies from the outside in. This is not music that tries to break out, it simply tries to hold itself together, and it does so beautifully. Where Buckner opens with what would, to others, be the beginning of the end: "Man, I was high/stepping out on goodbyes/And Once in a while/I'd stumble out into the open...All I thought was, 'How can I find it?'," the band covers him, they're in close, giving him just enough room to sing. He's on top of them confessing, letting it all fall out, but only because he has this intensely focused support and empathy. Musically, Meadow is perhaps Buckner's least formal album, though Since is a close second. Often what's happened on his albums, such as on Dents and Shells, or even the criminally underrated Devotion + Doubt, is that the darkness is rendered impenetrable by the instrumentation. Not so here. The symbiotic relationship these players have to the material and the singer takes it all further. You want to flinch when hearing these observations of a life broken further by its insistenc |
|
Singles & Sessions 1979-81
$14.98 Considering the interest in all things post-punk in the 2000s, not to mention the reissues of work by contemporaries like the Au Pairs, Slits, Raincoats, and Liliput, attention to the Delta 5 seems long overdue. Indeed, it wouldn't be surprising if many people who had heard of the band in recent years knew of the Delta 5 only because of Chicks on Speed's cover of their definitive single, "Mind Your Own Business," and although some of their tracks have popped up on compilations here and there, it hasn't been easy to hear their music. Kill Rock Stars' collection Singles & Sessions remedies this by serving up the A and B sides of their classic singles, BBC Radio sessions with John Peel and Richard Skinner, and a previously unreleased live 1980 set recorded at Berkeley, CA's Berkeley Square. Meanwhile, the liner notes offer two different perspectives on the band: Greil Marcus' in-depth 1980 piece for New West magazine, and a new essay by friend and collaborator Jon Langford. Most important, though, is the band's music, and while this leftist post-punk outfit from Leeds -- which belonged to the scene that also spawned the Mekons and Gang of Four -- was part of a movement that tended to shun glamour, there is an undeniable, distinctive style in the group's sound. On "Try" and "Now That You've Gone," the Delta 5 are as precise and aloof as any of their better-known post-punk peers. However, along with their economical rhythms and alternately taut and bristling guitars, the band's layered, interjecting vocals -- which turn many of their songs into playful but pointed debates -- and their unique dual-bassist lineup add an extra bit of flair and sass to their music. The icy, disdainful wit of "Mind Your Own Business" is emblematic of the band's attitude on many of the tracks here, but "Anticipation" and "Colour" allow the Delta 5's joyful and brooding sides to shine through as well. "You" is downright funny and liberating; with lyrics like "Who likes sex only on Sundays? You, you, you!," it sounds like someone realizing, all at once, everything that's wrong with and then getting rid of a lover, with pleasure. The tracks from the sessions are nearly as sharp and tight as the singles, with "Make Up"'s lyrical ambivalence ("Do you wear it? Does it wear you?") underscoring the Delta 5's uniquely feminine vantage point and songs like the spooky, evocative "Train Song" and "Final Scene" sending off more sparks than they did on the band's first (and last) album, See the Whirl (which, hopefully, will be reissued as well). Singles & Sessions does the Delta 5's music justice; even if they weren't the most radically inventive group of the post-punk movement, their best work still captures the sound and feeling of that era perfectly. ~ Heather Phares, All Music GuidePerformers: Jeff Evans - Horn; |
|
Fear and Whiskey
$14.98 Released in 1985, Fear and Whiskey is credited as the album that began the alt-country marketing category. True or not, it shouldn't be held against one of the greatest records ever. The Mekons were one of the most loved and hated bands on the late-'70s/early-'80s punk scenes in England. In 1984 they began touring with drummer Steve Goulding (Graham Parker & the Rumour) and bassist Lu Edmonds (PIL, Damned), who joined John Langford, Tom Greenhalgh, and Kevin Lycett. To record Fear and Whiskey they added fiddler Suzie Honeyman and guitarist Dick Taylor. The original disc was issued on the band's own Sin Records to much ballyhoo by critics like Greil Marcus. A few years later, Rough Trade reissued it with a few EPs added and called it Original Sin. This version is the original, completely remastered by the band. Musically Fear and Whiskey is awash in the delirium of the Reagan and Thatcher '80s. Country melodies collide into reggae rhythms and drones to create a forlorn tale in "Trouble Down South"; the title track is pure Hank hillbilly with lyrics that may not be as simple and poetic but do the job, as the tune creates a base from which to pick up the bottle or dance. But it's not all country and roots, unless those roots still include the dynamic of shambolic punk rock, which is the core of "Hard to Be Human Again." Despite its country melody line, which falls apart constantly, the guitars blare and falter, the drums pound on needlessly, and the band cavorts the tune like it's the end of the gig and it only track three. Seriously, there isn't a song on this disc that Langford and Greenhalgh don't turn into some epic repudiation of capitalism, depersonalization, greed, and social engineering. The fact is, these serious topics are dealt with in a piss-take way to music that carries everything from honky tonk, hillbilly, rockabilly, reggae, punk rock, and folk melodies all entwined with each other in a myriad of ways so complex, so drunkenly passionate, you just have to laugh -- as you dance, that is. A bona fide classic. ~ Thom Jurek, All Music GuidePerformers: Terry Nelson - Walkie Talkie; Suzie Honeyman - Fiddle; Jacqui Callis - Vocals; Lu Edmonds - Bass; Steve Goulding - Drums; Tom Greene - Guitar, Piano, Vocals; Tom G |
|
Barbara Manning Sings With the Original Artists
$19.98 Barbara Manning Sings With the Original Artists is a somewhat slight but wholly enjoyable release from a short-lived "supergroup" consisting of vocalist Barbara Manning and members of Young Marble Giants (Stuart Moxham), the Mekons (Jon Langford), and others. The music has more of a retro/lounge feel than the folk-tinged pop with which Manning is usually associated. Further, she is only credited with one song ("Optimism Is Its Own Reward"), while Moxham and Langford penned the rest of the originals. "Cry Me a River" is a faithful, non-ironic cover of the Julie London classic (much like Grenadine's "I Only Have Eyes for You"), while "Martian Man" is a lovely Lora Logic (X-Ray Spex, Essential Logic) cover embellished with brass and sitar. As a whole, the recording evokes the same sort of insouciant ambience fellow lounge lizards Grenadine, Combustible Edison, and Friends of Dean Martinez were making around the same time (the mid-'90s). Similarly, the approach is more sincere than campy. Moxham's garage-y "Daddy Bully" breaks the mold -- but not the mood -- to some extent by taking as its inspiration Sam the Sham & the Pharoahs' '60s nugget "Wooly Bully." ~ Kathleen C. Fennessy, All Music GuidePerformers: John Upchurch - Clarinet (Bass), Sax (Soprano); Mike Hagler - Piano; Jon Langford - Guitar, Synthesizer; Barbara Manning - Guitar, Vocals; Andrew Moxham - Bass, Drums, Guitar, Organ; Stuart Moxham - Drums, Guitar, Organ, Percussion, Vocals; J. Niimi - Guitar; Baron Von Trumfio - Bass, Double Bass, Sitar |
|
Sound of Music
$14.43 It took a couple of years for this album to find a domestic release, but the wait was worth it. German FSK collaborated with American David Lowery (formerly of Camper Van Beethoven, later with Cracker) to produce an album that's about equal parts polka, power-pop and punk, and you choose which represents the attitude at any given time. Smart, slightly grungy, funny, FSK have been compared to the Mekons, but there isn't much similarity beyond a general tilted approach -- FSK, for one thing, have less of the art-school edge in what they're doing. ~ Steven McDonald, All Music GuidePerformers: Paul Watson - Horn (Alto), Trumpet; Josh Camp - Accordion; Mark Linkous - Vocals (Background); David Lowery - Bass (Electric), Clarinet (Alto), Guitar (Acoustic), Vocals (Background); Thomas Meinecke - Cornet, Guitar (Electric), Guitar (Steel), Vocals, Vocals (Background); Michaela Melián - Bass (Electric), Vocals; John Morand - Tambourine; Carl Oesterhelt - Clarinet (Alto), Cowbell, Drums, Tambourine; Johnny Hickman - Guitar, Vocals (Background); Justin Hoffmann - Guitar (Electric), Organ, Vocals (Background); Carson Huggins - Guitar (Acoustic), Washboard; Wilfried Petzi - Guitar, Guitar (Acoustic), Mandolin, Trombone, Vocals |
|
Cinder
$15.98 Australia's Dirty Three have covered a lot of ground over their ten-year career, and always as a trio: violinist Warren Ellis (also a prominent member of Nick Cave's Bad Seeds), guitarist Mick Turner, and drummer Jim White (the latter two are also known as the Tren Brothers). The band have continually re-examined their sound, and looked for different textures and dynamics while retaining their original instrumentation. Not this time. This is the Dirty Three as you have never heard them before. Their sound is unmistakable, but their creation process has changed significantly. For starters, the record was not done live in a studio. Secondly, the band employs a greater range of instruments. Ellis adds viola, bouzouki, piano, and mandolin to his cache, and Turner plays organ and bass as well as guitar. There are also two vocal tracks on the set, Sally Timms of the Mekons appears on "Feral," and Chan Marshall (aka Cat Power) wrote the lyrics to, and sings, "Great Waves." Mark Soul also plays bagpipes on "Doris." What it all amounts to is the most adventurous recording in band's catalog. And the experiment pays off in spades. There are 19 tracks here, most of them under four minutes and all but two under five. In other words, Cinder captures the Dirty Three at their tightest, most expansive, yet most "song"-oriented album ever. It opens with White's cymbal and snare slowly and purposely announcing "Ever Since," before Turner's signature electric guitar and Ellis on bouzouki slip in unobtrusively and the melody asserts itself before Ellis' violin finds a melody in the weave and plays in, through, and around, evoking distance, melancholy, and the hint of real sorrow. The tune gains in intensity, but only enough to assert tension that goes unresolved before the band takes it down another notch on "She Passed Through." It's even slower, more meandering, yet more melodic and the shift of mood and dynamic is prescient. The recording becomes almost lushly romantic through "Amy" and "Sad Sexy," where the volume rises, the dynamic thickens, and the pace quickens. But it's still only a glimpse. The chaos begins to assert itself in the title track, which is simply an intro, a way of entering into "Doris," which quite literally explodes with Turner playing power chords in a way he hasn't since Horse Stories. "The Zither Player" also moves into hard-driven rock, albeit textured by Ellis' bouzouki. Marshall's vocal on "Great Waves," graced by Turner's guitar, is moody, drenched in gorgeous erotic poetry and kissed by the slow, unhurried, gradually unfolding drama that is an homage to eros. The dreaminess begins anew here and carries on throughout the rest of the disc. Timms' vocal on "Feral" is wordless, drifting, and spiritual like an inebriated angel trying to find a song in her memory as the band conjures that ghost above and around her voice. The elegiac "In Fall" takes Cinder out, purposeful, droning, whispering. The Dirty Three don't go at things. They |
|
The Executioner's Last Songs
$11.98 It's a great idea, an album to benefit the Illinois Death Penalty Moratorium Project, and who better to execute it (pun intended) than the linchpin of the Chicago alt-country movement, Mekons and Waco Brother member Jon Langford? He's reassembled the occasional Pine Valley Cosmonauts to back a bunch of artists on tales of death, murder, and execution. There's everything from the traditional and gruesome ("Knoxville Girl" from Brett Sparks and a very powerful, gritty "Tom Dooley" by Steve Earle, as graphic as any gangsta rap) to straight-up country (Johnny Paycheck's "Pardon Me (I've Got Someone to Kill)," which these days stands almost as a parody of a country song, albeit a chilling one), all the way to standards (post-punk feminist icon Jenny Toomey on a lovely acoustic rendition of Cole Porter's "Miss Otis Regrets"), punk (the Adverts' "Gary Gilmore's Eyes" interpreted by Dean Schlabowske), and originals (Johnny Dowd's "Judgement Day," among others). It's an odd assemblage, but it hangs together very well, not just because of the thematic content, but also the intensity of the performances, like Edith Frost's luminous "Sing Me Back Home" or Dianne Izzo's raw take on "Oh Death." Apart from contributing guitar and some vocals throughout, Langford does get a couple of moments in the spotlight, duetting on the Dowd cut, then on "The Plans We Made," a tale of love gone awfully wrong that he sings with fellow Mekon Sally Timms. There's no bad cut here, although Tony Fitzpatrick's "Idiot Whistle" proselytizes a little too much, and "The Hangman's Song" from Christa Meyer and Tim Kelley of Puerto Muerto is just plain weird. But this album makes its points in very plain, blunt terms, and offers some excellent music along the way. If you still don't think music and politics can mix, start here. ~ Chris Nickson, All Music GuidePerformers: Drew Carson - Mandola; Amy Domingues - Cello, Piano; Jon Rauhouse - Banjo; Tom Ray - Banjo, Double Bass, Ukulele; Ken Sluiter - Vocals (Background); Deanna Varagona - Harmony Vocals, Vocal Harmony; Steve Goulding - Drums; Jon Langford - Guitar, Vocals; |
![No Thanks! The '70s Punk Rebellion [Box]](http://images.bestbuy.com/BestBuy_US/images/products/6019/6019541.jpg)
|
No Thanks! The '70s Punk Rebellion [Box]
$59.99 Track Listing: (DISC 1: NO THANKS!: THE 70'S PUNK REBELLION:), (DISC 2: NO THANKS!: THE 70'S PUNK REBELLION:), (DISC 3: NO THANKS!: THE 70'S PUNK REBELLION:), (DISC 4: NO THANKS!: THE 70'S PUNK REBELLION:), 1. Blitzkrieg Bop - The Ramones, 1. Hong Kong Garden - Siouxsie and the Banshees, 1. Lust for Life - Iggy Pop, 1. Ready Steady Go - Generation X, 2. Gary Gilmore's Eyes - The Adverts, 2. Hanging on the Telephone - Blondie, 2. Teenage Kicks - The Undertones, 2. White Riot - The Clash, 3. Heart of the City - Nick Lowe, 3. Saturday Night in the City of the Dead - Ultravox, 3. Sex & Drugs & Rock & Roll - Ian Dury, 3. Top of the Pops - The Rezillos, 4. Adult Books - X, 4. Boredom - Howard Devoto/Buzzcocks, 4. Ever Fallen in Love? - Buzzcocks, 4. What Do I Get? - Buzzcocks, 5. (I'm) Stranded - The Saints, 5. Rocket U.S.A. - Suicide, 5. Sound of the Suburbs, The - Members, 5. X Offender - Blondie, 6. California ?ber Alles - Dead Kennedys, 6. Lookin' After No. 1 - Boomtown Rats, 6. Mongoloid - Devo, 6. Neat, Neat, Neat - The Damned, 7. Another Girl, Another Planet - The Only Ones, 7. Don't Dictate - Penetration, 7. Homicide - 999, 7. In the City - The Jam, 8. (I Want to Be An) Anglepoise Lamp - The Soft Boys, 8. Bingo Masters Breakout - The Fall, 8. Final Solution - Pere Ubu, 8. Mr. Big - Dils, 9. Free Money - Patti Smith, 9. Radio, Radio - Elvis Costello & the Attractions, 9. Roadrunner - Modern Lovers, 9. Warsaw - Joy Division, 10. Little Johnny Jewel - Television, 10. Modern World, The - The Jam, 10. Typical Girls - The Slits, 10. Where Were You? - The Mekons, 11. Chinese Rocks - The Heartbreakers, 11. Human Fly - The Cramps, 11. Lexicon Devil - The Germs, 11. One Chord Wonders - The Adverts, 12. (My Baby Does) Good Sculptures - The Rezillos, 12. Born to Lose - The Heartbreakers, 12. New Rose - The Damned, 12. Psycho Killer - Talking Heads, 13. Ambition - Subway Sect, 13. Babylon's Burning - Ruts, 13. Search and Destroy - Iggy & the Stooges, 13. Wait, The - The Pretenders, 14. If the Kids Are United - Sham 69, 14. Let Me Dream If I Want To (Amphetamine Blues) - Mink DeVille (live), 14. See No Evil - Television, 14. We Got the Neutron Bomb - The Weirdos, 15. Alternative Ulster - Stiff Little Fingers, 15. Oh Bondage Up Yours! - X-Ray Spex, 15. Pablo Picasso - Modern Lovers, 15. Suspect Device - Stiff Little Fingers, 16. 12XU - Wire, 16. Action Time Vision - Alternative TV, 16. Boys Don't Cry - The Cure, 16. Mannequin - Wire, 17. 2-4-6-8 Motorway - Tom Robinson, 17. Baby Baby - The Vibrators, 17. Blank Generation - Voidoids/Richard Hell, 17. She Is Beyond Good and Evil - The Pop Group, 18. (Get A) Grip (On Yourself) - The Stranglers, 18. Is She Really Going Out With Him? - Joe Jackson, 18. Love Comes in Spurts - Voidoids/Richard Hell, 18. We Are the One - The Avengers, 19. Borstal Breakout - Sham 69, 19. Cherry Bomb - The Runaways, 19. First Time - The Boys, 19. Get Over You - The Undertones, 20. Love Like Anthrax - Gang of Four, 20. Personality Crisi |