TY SEGALL

THE URINALS

The Urinals are a punk rock band from Southern California. Known for their minimalist approach to songwriting and recording.The band's first performance, in 1978, was a parody of punk rock performed for a talent show at their UCLA dorm. Though none could play their instruments, three of the original members continued to perform in on-campus venues. Their songs were usually short, and seldom utilized more than two chords--if that.The band’s first off-campus show was at Raul’s in Austin, Texas. Returning to L.A., they appeared with such groups as The Go-Go's and Black Flag. A roughly-recorded, four-song EP followed. After developing a somewhat more sophisticated sound, the band changed its name to 100 Flowers (inspired by Chairman Mao's famous quote), but disbanded in 1983.In 1996, the band reformed as the Urinals, releasing a CD of new material in 2003. In 2005, they performed at the Chaoyang International Pop Festival in Beijing, in what is believed to be the first punk rock performance in China[1]. They later took the name Chairs of Perception (presumably a parody of Huxley's The Doors of Perception) before again becoming the Urinals in 2008.

ADRENALINE & ALCOHOL FUELED MAYHEM

These distinguished gentlemen have a problem:
They can never agree whether to drink their way through the liquour cabinet from right to left...or vice versa.
In between drinking and eying young ladies the way only the French can, STINKY LOU, THE GOON MAT and LORD BERNARDO are the fiercest Boogie 'n' Roots natural catastrophe going on the European continent.
These bois don't open a show and ease into a set, the set the g'damn house on fire the moment they hit the first chord and yell: "Do you want to boogie?"
I advise each and everyone of ye to respond: "Hell yeah!"
What follows are 90 minutes of adrenaline and alcohol fused primal BOOGIE mayhem.
THE GOON MAT is hip to the hypnotic drone that is remiscent of a Junior Kimbrough, STINKY LOU plays the washtub base not unlike a man whose hair is on fire...and LORD BERNARDO...that boi has lost his mind and plays the most demented and groovin' harp I've heard in years.
Now all the hip blues punk kids talk like they've been to a jukejoint and we all know that they haven't but I'll be damned if these Boogie fiends wouldn't have stood their ground in Chulahoma or Holy Springs alongside the allmighty R.L. Burnside and T- Model Ford and their whisky guzzlin' bloodshot-eyed chums.
Now this ain't cutesy blues...this is testosterone driven, hard hitting drinkin' and dancin' music and it certainly ain't nuthin' for the underaged.
I shit you not...these partisan bluesmen are out to raise Cain..and mothers beware of your daughter 'cause these bois have ideas...and they ain't pure.

JET ROCK 'N' ROLL

Guitar Wolf is a three-piece garage punk band founded in Japan in 1987. The band is known for songs with piercing vocals and an extremely loud style of noise rock which emphasizes heavy distortion and feedback. They coined the phrase "Jet Rock 'n' Roll", which they also used to describe their musical style — an energetic cross between The Ramones, rockabilly, classic punk, and noise rock. It is a part of Sony Music Japan's Ki/oon Records division.
The band has released nine studio albums internationally as well as a live album, numerous singles, and a greatest hits album called "Golden Black." The band members have also been featured in two B-grade science fiction horror movies, "Wild Zero" and "Sore Losers." A collection of Guitar Wolf's most popular videos and live performances have been compiled into a limited edition DVD entitled Red Idol. In March 2005, bassist and founding member Billy, also known as Bass Wolf, died of a heart attack at the age of 38. His replacement in the band, bassist U.G., has become a permanent member of Guitar Wolf and now rounds out the trio which currently consist of band members Seiji (Guitar Wolf): U.G. (Bass Wolf); and Toru (Drum Wolf).

HIT AND RUN

The Hentchmen are a top-notch Rock n' Roll combo from Detroit, Michigan. Their origin dates back to October 1992, when founding members John and Tim, bored with commercial radio, set out to play stripped down, primitive Rock n' Roll. Using the same blunt and essential instruments (organ, guitar and minimal drum kit) as their Sixties Garage/Punk heroes, the boys rebirthed a savage "hit and run" sound that would soon prove to drive the young-at-heart into a feeding frenzy.With their youthful good looks (cited in the "Cute Bands Alert '97" in Seventeen magazine), and clean-cut charm, these able youngsters were soon invited to play several parties and functions as the Hentchmen.Within the first year they had an explosive reputation and a solid fan base in both Detroit and Ann Arbor. In this time, the fellows released their first self-titled and produced seven-inch record. This effort led to a recording contract with Norton Records in New York and landed them many other indie seven-inch agreements. With all the local excitement, the Hentchmen were playing many shows in the Detroit area but decided to tour nationally. These cross-country, short-notice tours are what the gents are best known for as they have been from coast to coast several times.In early 1996 after two full-length albums and half a dozen singles, John and Tim added Mike, former member of the Marquette Book Club, to payroll as their new drummer. Maintaining their reputation as one of Detroit's most prolific bands, the boys tightened up the "Hentch sound" and recorded their junior effort, "Broad Appeal".

The Hentchmen divide their time between brushing up on foreign language skills and preparing a new batches of hits. They have toured Europe several times, and have criss crossed the nation.

Although the Hentchmen will deny any professional affiliation with the future Detroit legend, Jack "Whitey" White, the local social mag, "Sceen Beat" has spotted both parties hangin' out together at several Detroit hotspots recently. This strongly supports rumors that White has been lending his "talents" on sessions for an Italy Records' mini-LP, titled "Gawker Delay". Along with the mini-LP, a more satiating Norton full-length, called "Motorvatin'" will hopefully re-ignite "Hentch Fever" and fans will "Fall" for any new platters!

BROTHER IS DEAD...BUT THE FLY HAS GONE

Thee Headcoats 1989 - 2000, was a band comprising Billy Childish, Bruce Brand, and Johnny Johnson. Childish was featured on guitar and vocals, Brand on drums and backing vocals, and Johnson on bass. The band was the most prolific of Childish's many musical projects, releasing fourteen full length albums. Formed in Kent, England in the late 1980s, the band was well known for its garage rock sound, explicitly sticking to this format on almost all of their albums. The band's signature sound as well as their prolific writing has been attributed to Childish's love of simple, direct recording. The band has been on multiple labels including Billy's own Hangman Records and Sub Pop.
The band played their final concert on May 12th 2000 at the Dirty Water Club. Billy Childish went on to play with The Buff Medways from 1999 to 2006. His latest group is The Musicians of The British Empire.

DRUM BUDDY DEMO!

WARNING - NO GUITARS!

Mr. Quintron (real name Robert Rolston; born circa 1972, Germany is an American musician and leader of the eponymous one-man-band, "Quintron". He is a celebrated nightclub organist and inventor, who has patented a number of his own inventions and often performs at his own private club, the Spellcaster Lodge, located on St. Claude Avenue in New Orleans’ 9th Ward. He frequently performs with his wife, fellow musician and puppeteer, Panacea Pussycat (also known as Miss Pussycat), co-founder of the 9th Ward's now defunct Pussycat Caverns. Quintron’s most notable invention to date is the Drum Buddy, a mechanically-rotating, five-oscillator, light-activated drum machine.Mr. Quintron is a multi-instrumental one-man-band. During performances, Mr. Quintron utilizes a custom-made Hammond organ/Fender Rhodes synthesizer combo which he has had custom outfitted to resemble the body of a car, complete with working headlights and a license plate which reads “Mr. Q”. Mr. Quintron is often accompanied by The Drum Buddy, a rotating, light-activated analog synthesizer, one of many which he has created and manufactured himself. Mr. Quintron frequently plays multiple instruments simultaneously, the Hammond organ acting as his primary instrument, and the Fender Rhodes supplying bass lines. He can often be seen keeping time on a hi-hat with one foot while toggling between a volume and wah-wah pedal with the other. Mr. Quintron is regularly accompanied by his wife Miss Pussycat, who sings backup and plays maracas.Mr. Quintron has invented a number of innovative musical devices. His first invention was called the 'Spit Machine' a hand organ which used saliva as a tuning conductor. Describing how the apparatus works, Quintron explains that “You had to spit on a stick, like a paint stir stick, and you had two metal leads that you would touch to either end of the line of spit and then you would move the leads closer together - higher pitch - and farther apart - lower pitch. The weird thing is that, the way I built the oscillator, spit was the only thing that I could use as a conducter (sic). Lemon juice was too conductive, water not enough, etc. You actually had a lot of control over the pitch with spit - it wasn’t too sensitive - and could really play it in tune like a real organ. There was also some resistive quality to human spit that gave the oscillator some weird (sic) overtones too.”
His next invention was called the 'Disco Light Machine,' a device which, in his own words, was a “system of pick-ups that you would attach to a drum kit and the sound of the drums would light up a light inside a darkened box and this light would activate electronic sounds to go along with the drums - the harder you played the drums, the brighter the light and the louder the electronic sounds.”
His most notable instrument, however, is the 'Drum Buddy'. The Drum Buddy is a mechanically-rotating, five-oscillator, light-activated drum machine which can either be set to play automatically, or manipulated to create a number of different sound effects. The drum buddy has its own informercial, The Drum Buddy Show, which includes a number of guest appearances and performances by artists such as Quintron, Miss Pussycat, Ernie K-Doe, MC Trachiotomy, and the Drum Buddy Dancers.

COACHWHIPS

Coachwhips were a three-piece noise/punk rock outfit from San Francisco, California formed in 2001. John Dwyer (also of Pink and Brown, Landed, Burmese, The Ohsees, Yikes, The Hospitals) was the guitarist/vocalist. John Harlow played drums and Mary Ann McNamara played keyboard/tambourine and provided backing vocals. In their second incarnation, Val (tronic) played keyboard/tambourine, and Matt Hartman (former guitarist for Cat Power, current drummer for Sic Alps) played drums.
Coachwhips are known for their stripped-down, unpolished garage rock and completely inaudible lyrics, a sound that is similar to The Oblivians and The Gories. Coachwhips played their last show in New York City in late 2005.

HOT STUFF

Led by Brooklyn native and former Count Bishops' Mike Spenser, The Cannibals started a new musical style in the UK which they dubbed "Trash". Back in 1982 they were the first to come up with what they saw as the logical moniker for a new scene that came hot on the heels of the original punk movement (which, by that time, had become stagnated). The Cannibals first put together the legendary Trash Tour with the Cannibals, The Milkshakes (an early band of Mr Billy Childish) and the Stingrays which included a handful of dates around London and a fantastic Night of Trash in Le Havre, France. Besides the numerous headline gigs across the UK and Europe, the Cannibals financed and promoted one short East Coast trip to the States. They have played with the likes of the Cramps, the Heartbreakers, Bo Diddley, the Barracudas and the Nomads. While keeping a low profile these past few years, their name was in the press and on television recently when one of their 45s was found to be in John Peel's box of essential singles. Today,despite having been around since the late seventies, the Cannibals retain the same chaotic, unpredictable and volatile approach to their music - essentially a mixture of classic sixties and seventies garage punk along with their own self-penned numbers. This is the latest and longest surviving line-up of over 15 years standing. They remain the one group that started it all and refuse to go away before blowing people's minds one more time. The Cannibals have 7 albums, 15 singles and one CD to their credit. By the time they come to Valencia they might just be promoting a full album of new stuff which has recently been recorded. The Cannibals are veterans and have begun what is now a healthy garage/trash scene that all over the world bands are doing now what the Cannibals started 30 years ago. With their authentic 60's Vox guitars and their total dedication to creating a wild wall of fuzz, the Cannibals will numb your brain and make you realize that once and for all as the originators and the first to carry the trash flag they deserve everything they get . . They have released " The Brunch Of Cannibals" a compilation of unreleased tracks from the mid 80's for their Japanese fans having toured there successfully in january 2008 .

BEST LIVE BAND I HAVE SEEN IN A LONG TIME

Somewhere beyond nostalgia, beyond the garage, somewhere beyond the fireside song and supposed goo-rock, you will find the latest incarnation of Thee Oh Sees, now a quartet composed of John Dwyer (OCS, Coachwhips, Pink & Brown), Brigid Dawson, Petey Dammit!, and Mike Shoun. Following 2007's understated and unjustly ignored Sucks Blood, The Master's Bedroom weaves Dwyer's signature AM radio howl with the catchiest of driving tunes, Dawson's gorgeous harmonies, heightened fidelity, thick spring-reverbed bombast, mighty drums (at times in pairs), and an undeniable pull.

The tracks were recorded by Chris Woodhouse in San Francisco except three which were done with Chris Moore and Dave Sitek in New York City. From the introductory wailing feeback of "Block Of Ice" to the heavy-footed trudge of "You Will See This Dog Before You Die," you will be captivated. The Master's Bedroom is undeniable.

DOO RAG!

The members of Doo Rag first began performing together at a party in Tucson in 1990. "I had a snare drum with a guitar bolted onto it, and I was playing Fred McDowell songs when a friend jumped up and started banging a cheese grater with a spoon," guitarist Bob Log recalls. "The next day we went out on the sidewalk and played, hoping to scrounge up cigarette money." The band recorded a cassette together, which they self-released, and then began touring, despite the unsigned nature of the band and their lack of record label promotion.
Doo Rag first gained recognition outside of Tucson playing in San Diego at the Casbah nightclub when members of the late 80's and early 90's cult underground band Crash Worship. Crash worship had gotten ahold of their first self released cassette tape, "Chunked and Muddled", some months before and hadn't even believed that they were an actual band although they had been listening to it repeatedly as they had become fans of the mystery duo. Soon after Doo Rag was opening for Crash Worship on several U.S. tours.
Soon after they had started playing semi regularly in L.A. at a former bowling alley turned nightclub where they first caught the attention of Beck before his hit "Loser" had garnered him national attention. Beck asked Doo Rag to open for him on his first major U.S. tour after his first Geffen Records release.
Doo Rag was soon after touring Europe and playing everything from small clubs to the huge outdoor summer music festivals in Holland. In 1995 they played the side stage of Lollapalooza where they met Sonic Youth who had become ardent fans of the pair.
The next summer found Doo Rag touring with The Jon Spencer Blues Explosion and Delta Blues legend R.L. Burnside.
While on tour in support of the band Ween, and after six years of working together, Malling left the tour to spend time with his new wife. Rather than end the tour, Bob decided to finish the tour as a solo act. He purchased a drum machine and attempted to recreate Malling's rhythms. He still employs this technique after 12 years.

MEMPHIS LEDGENDS!

The initial '68 Comeback lineup consisted of Monsieur Evans on vocals, guitar, and blues harp; Jack Taylor of the Monster Truck Five and Darin Lin Wood of the Red Devils on guitar; ex-Gloryhole member, Dan Brown, on bass; and Peggy O'Neil, formerly of The Gories, on drums. With this lineup the band released a number of well-received 7" singles and then began the first leg of a 60-day, 42-city U.S. tour. The tour immediately ran into problems when drummer Peggy O'Neil was unable to perform, leaving the band without a drummer in the midst of a cross-country tour. This position was eventually filled by then-Compulsive Gambler and future Oblivians frontman Greg Cartwright.
With the success of their first tour under their belt, the band re-entered the studio, completing their first EP, "Paper Boy Blues", in 1993, and their first full-length, "Mr. Downchild", in 1994. The band continued its rigorous release schedule, issuing a number of 7" before heading back into the studio, this time with Walter Daniels and backed by former stand-in drummer Greg Cartwright's Oblivians for what would eventually become the Walter Daniels Plays With Monsieur Jeffrey Evans & The Oblivians At Melissa's Garage" EP, later re-released with additional tracks as "Melissa's Garage Revisited."
In 1998, following a number of personnel changes, the band released the 21-track double LP, A Bridge Too Fuckin' Far. The album was dedicated to original guitarist Jack Taylor who had recently died of a drug overdose. This album was followed in 1999 by Love Always Wins, an album primarily of cover songs which is widely considered to be the band's most accessible album to date.
The 2000s saw '68 Comeback on hiatus as Monsieur Evans pursued a solo career, releasing albums with the C.C. Riders, the Porch Ghouls, and eventually reuniting with Walter Daniels and ex-Oblivan, Jack Yarber, for the band South Filthy.

BO DIDDLEY PULLED A BONER!

The Gibson Bros came howling out of Columbus, Ohio with a reckless, feckless brand of semi-competent minimalist American roots revisionism, twisting blues, hillbilly and gospel gems — as well as their own already bent tunes — dementedly passionate, loosely played music that never stooped to gimmicks or camp. The quartet, which included rock-critic-turned-drummer-turned-guitarist-and- singer Don Howland (ex-Great Plains), did their level best to put their town on the map. Although often compared to the Cramps (also from Ohio, as it happens), the Gibsons cast a wider musical net, digging their wildly reverbed guitars, super-simple drumming and Jeff Evans' frantic vocals into obscure blues and hillbilly tunes, gospel classics and derivative originals (where the lyrics can get pretty bizarre), all with equal fervor. Not always focused — or tuned up — enough to be enjoyable, the willfully hapless Gibson Bros were still capable of deep wit and high excitement.

Big Pine Boogie boasts the hysterical mantra of "Bo Diddley Pulled a Boner," while Dedicated Fool (on which the group dispenses with bass and has a guest saxman on two songs) has clearer crappy production and reveals a taste for rock'n'roll ("Tight Capris," Elvis Presley's "Trying to Get to You," Alice Cooper's "Caught in a Dream") amid the blues ("No Way to Get Along"), gospel ("Lone Wild Bird") and junkabilly ("Poor White Trash").

DUNEDINS NEWEST HIT MAKERS

From wikipedia - The Stones - named cheekily after The Rolling Stones - were a band from Dunedin in New Zealand. One of the earliest bands to record on the Flying Nun label, they helped form the style of music known as the Dunedin Sound, along with label mates such as The Chills, The Verlaines and Sneaky Feelings, all of whom appeared alongside the Stones on the seminal Flying Nun release The Dunedin Double EP.
Whereas the other three bands to appear on this record went on to increased fame both in New Zealand and overseas, the Stones split up not long after its release, although all members of the band went on to success in other local bands. Most important of these was Wayne Elsey's time in The DoubleHappys, a band which itself led to the formation of Straitjacket Fits.

LOOKING FOWARD TO HEARING THIS ONE!

(TRANSLATED FROM HIS MYSPACE PAGE) Likes God d' to embellish ***** and its faithful by giving long life to Yussuf Jerusalem, by helping them by the tinkling of its tambourine and its lamentations, by sheltering them in l' width of its shade! And as it has, for them, washed of any impurity the sources of its merits, can it in the same way subject the ground to its very high capacity to order or defend, and the heads of its enemies to the sentence of his guitar. (well i can't make much sense of that,but the tunes sound great!)

ALBUM OUT NOW ON FLORIDA IS DYING

http://www.floridasdying.com/

http://www.myspace.com/ridersofallah

JACUZZI BOYS!

I'M BACK.... STAY TUNED

wild-eyed, porcelain-skinned innocence

The Strange Boys evoke a wild-eyed, porcelain-skinned innocence that is capable of summoning the wayward spirit of Brian Jones. The mystery of the South couples with the mastery of rhythm making to create a sound that is completely timeless and familiar, yet absolutely raw and avant-garde. Greg Enlow’s syncopated, organ-driven grooves hark back to the Seeds pushing too hard while guitarist Ryan Sambol’s acute voice wavers beyond comparison. Older brother Philip Sambol keeps the pulse with the aptly named Matt Hammer, who unmercifully pounds an old Ludwig set. With only a seven-song demo available on their website, it’s titillating to imagine what the next step is for these Dallas, Texas adolescents. “The States Newest Noise Makers” is yet to be released by any record label, though it is easy to imagine the songs surging out of any Califone between “The Psychedelic Sounds of the 13th Floor Elevators” and Wire’s “Pink Flag.”

http://www.myspace.com/thestrangeboys

THE END

YOU HAVE TO COMMENT ON THiS!

After a long night of dancing around a campfire naked, destroying a backstage with apples, emptying a bar, sacrificing articles of clothing for the fiery tears of St.Laurent. It is 8AM and the heavy psychedelics are still kicking. The Demon's Claws, King Khan, Frau Sofia and Kram are invited off the street to teach a rock n roll lesson to the kids of Anne Frank Highschool. The other teachers complained about the noise but our teacher said keep going!! You can't stop Rock N' Roll!!!!!!

Shake All Night

http://www.myspace.com/fefifofums

Ooh! My Soul

THE ORIGINATOR

SHIT GAZE

The recording quality sounds bottomless, as if ES is trapped in a well. Vocalist Rob Enbom's hollers echo in and out of tune, the drums are barely audible, and the entire thing sounds messy most of the time. Enbom revealed through an e-mail that the band's recording techniques are "four-track, eight-track, and Radio Shack" and that "the garage thing results from recording the album three weeks after we started playing together on a four-track, drunk." He also disclosed that ES dubbed their songs over some old Chinese opera tapes, which probably factors into the filthy sound — and the authentic basementlike feel. If this recording is a sign of things to come, I would suggest stocking up on plenty of earplugs before trotting down to the Hemlock.

CHA CHA CHA

"No offense to Amy Winehouse, but it was the Cobras‚ Rachel Nagy who first reinvented the 60s soul-pop diva as a boozy, punk-informed, smart-mouthed chanteuse in the late 90s." Falling James LA Weekly

pointless fact of the day # 2

The first audio CD manufactured in the USA was Bruce Springsteens' "Born in The USA"..

pointless fact of the day # 1

the only two English words that are not rhymable (is that even a word?) are "silver" and "orange"..

SATAN NEVER SLEEPS

Anyways, this is the Ass-draggers follow up to their debut on Crypt recorded way back in 1997. Tim Warren entered a 4.track studio with the guys and out came this blurry monster. Not as asskicking as their debut but still a really coll record nontheless. They’re the fastest band alive and seeing them live is still one of the funniest things I’ve ever seen. It was really amazing, like it was shown as fast as the songs are. They love their r’n’r and they’re not afraid to show it! Hope to hear more someday soon!

DON'T KNOCK THE ROCK

The second and the best 13th floor elevators album in my opinion.More focused and even more trippy than their first album, "Easter Everywhere" features the 13th Floor Elevators at their best. The songs are eerie, rambling, and potent, so powerful that they overcome the lo-fi production that plagued the Elevators throughout their career. Roky Erickson's vocals are sometimes eerily reminiscent of Robert Plant. This is a heavily psychedelic album and shows a San Francisco influence; at this point in their career the Elevators had played in SF and shared stages with the Jefferson Airplane, among other 60s psych groups.
The difference is that the Elevators mean every word and note. They were really trying to "break on through to the other side," unlike some psych groups who were just in it for the money. As a result "Easter Everywhere" is spookier and edgier than most psychedelia. At times it approaches Syd Barrett territory. Highly recommended.

ANGRY ANGLES

The force of negativity in music has always been the most compelling, and that's just one reason why Memphis' Angry Angles are a new and volatile band to watch out for in this redundant world of overhyped music. Jay Reatard's angular credentials are too numerous to list, but even if you've heard everything by the Reatards and Lost Sounds, you'll still have a real surprise in store for you with this new project. Joining him is Alix Brown, formerly of Atlanta's ever lovable Lids, and rounding out the male/female delivery that's got such a special charm that's it's almost hard to quantify. Starting their own imprint, Shattered Records in 2004, the two quickly put together the Angry Angles, armed with a range of obtuse lyrics and structures, poisonous hooks from obscure girl groups of the 60s to atypical Wire and Devo covers, it clearly shows the couple's fascination with post-punk's unorthodox songwriting, and a knack for great dual lead vocals. They quickly acquired a metronomical impersonator (alternating between Paul from Die Rotzz and Ryan from Tokyo Electron) and hit the road this past fall. They even took in a quick tour of Europe before their second single had even been released, yet their harmonic allusions foreshadowed great things to come. It didn't take long for everyone to catch on, and soon enough, a slew of symmetrically round records emerged including a tour-only 7" EP on Ken Rock, the Crowds 7" EP on PTrash, and most recently, the Apparent/Transparent 7" EP on Plastic Idol. But don't let yourself think it's overkill, as the songs are getting even stronger, and as Jay's quality control is running at it's peak of ambivalence, the diametrically aligned hits just keep on coming as they are embarking on their second US tour within the year, and getting ready to record their debut LP for In The Red. No time for introspection, this music is acutely desperate and sweetly violent, and if this is the direction the post-Lost Sounds co-conspirator is spearheading, we're all in for a great new set of recordings that break free of the preconceived boundaries of the previous academics he's been associated with. I've said it before and I'll say it for eternity, there is geometry in the humming of the strings, and for that, the world is complete.

DON'T FORGET TO LEAVE COMMENTS DOUCHE BAGS!

80'S GARAGE REVIVAL

Upstate New York's Chesterfield Kings landed upon the growing punk/new wave scene in the late '70s with an unbelievably raw '60s rhythm & blues sound that borrowed heavily from pre-1966 Rolling Stones. The group, so unlike any other underground sensations of the period, arguably kickstarted the entire '80s garage rock revival, which flourished in small circles until the end of the decade.After releasing two scene-defining LPs, Here Are the Chesterfield Kings and Stop!, the combo changed its lineup and sound. With only singer Greg Prevost and bassist Andy Babiuk remaining from the Kings' 1979 incarnation, the band rescinded its promise never to sound like anything from rock's post-1966 history, and began to generate a '70s Rolling Stones/Flamin' Groovies hard rock image and sheen, which culminated in its 1994 LP, Let's Go Get Stoned, a sendup/tribute of post-Aftermath Rolling Stones. Still, the Kings have never drifted too far from their garage band roots, and the group's subsequent albums, which include Don't Open Til Doomsday (1997), Where the Action Is (1999), The Mindbending Sounds of the Chesterfield Kings (2003), and Psychedelic Sunrise (2007), have all been cut from the same fabric.

TIMES NEW VIKING

Breath in: snuff a line speed, a half hour jump on your cheap amplifiers, salad yet once a half hour with you yet cheaper guitar against the wall. Write eleven popliedjes, lay the emphasis on cryptic and forget everything your song teacher you ever learned has. Seek your neighbor girl on and tell her that your musics will make. Lay her emphatically from that she must not try to sing. Stick, now that you it really are, also just your tongue between her lips till you certainly are that they that rather has not. Give her then you eleven popliedjes and (optioneel) a guitar. Question her these eleven popliedjes with you together to not to sing, expect of it surplus. Mess what with the buttons on the amplifier, let the hamster of your neighbor girl also once over the strings run, sign the head of the father of your neighbor girl on the skins of a Bears Smit drumstel, call her feather ten-year-old little brother and lay from that its father him really real hatred. Breath out: and voila, Yourself Summoned. Sounds good? Sounds in it really yet better. Blessed with a delicious dose ADHD-spontaneity and a fine nose for popmelodieën know Tim New Viking on Summoned Yourself a particular charming pot borrow-fi garagepop down to dump. A kind of contemporary version of The Shaggs, but then without the implicit family tie. More a neighbor boy-neighbor girl tie thus.

DO THE MILKSHAKE

The Oblivians’ sound was much harsher than the Compulsive Gambler’s sound had been, owing both to Friedl’s influence on the band, and to some of the music the members had taken to heart since the Gamblers disbanded, including Thee Headcoats and The Gories. The music was also much more stripped-down than that of the Compulsive Gamblers; the Oblivians had no bass player and no bass drum on their drum kit, instead using only two guitars and a standard drum kit between the three of them. All three members shared songwriting responsibilities, and each member of the group supplied vocals, guitar, and drums, when recording. During live performances, it was not uncommon for members to switch back and forth multiple times between a shared set of instruments. The band did catch a certain amount of flack for their unconventional setup; while the band was working at Sun Studios the group was refused a space to record until they procured a bassist. Despite being offered a chance to record at sun records for free, with the only condition being that they add a bass player to the lineup, the band opted to record elsewhere rather than conform to the request.

BUDGET ROCK

In 1998, Budget Rock™ headquarters in John Daly City, California tumbled into the God Damn Pacific ocean as a result of the El Niño storms, claiming the lives of two of The Mummies and the entire Pre-B.S. archive of original master tapes. Now, thanks to the miracle of modern technology, the two surviving members of The Mummies have traveled back in time to right this terrible tragedy--they've rescued the master tapes.

For the first time ever: 22 tracks of pure fool's gold, like you've never heard them before... now, with bass! That's right. Apparently, The Mummies did have a bass player, as these master tapes have revealed. Listen and marvel at the Kings of Budget Rock™ as they define what was to be a world-wide revolution of retardo rock. Slopehead slop like 'Food, Sickles & Girls' and 'I'm Gonna Kill My Baby Tonight' and barnyard classics such as 'Zip A Dee Doo Dah' and 'Stronger Than Dirt.'

Yup, 22 tracks culled from their now ridiculously overpriced, collector's item 45's, including a very special, never before released, hide-the-salami hidden bonus track... The Mummies say "Fuck vinyl, 'cause this CD shit is soundee so good." So what are you waiting for, jackass? It just don't get any easier than this.

GOT A RECORD

The Rip Offs featuring Greg Lowery of Supercharger. Get it. You know it has to be good. There is a great history of the band written by Greg Lowery on their myspace page.

AMERICAS WORST ROCK'N'ROLL BAND

Brought together by a love of rock & roll and a newly purchased drum set Supercharger rocked the early '90s with trashy guitar riffs and a full-throttle misfit punk attack. Based on the cretin hop of the Ramones and the Angry Samoans with a good knowledge of rock & roll's two-minute pop nugget history, Supercharger deconstructed songs till only the essentials of beat and hooks remained. Filling in the gaps with power and volume the music comes across like a cold slap in the face. Teenage mayhem and a general antisocial sentiment cast the band as delinquent savants like those that created the music originally in the 1950s. Calling San Francisco central headquarters, Greg Lowery (bass/vocals), Darin Raeffelli (guitar/vocals), and Karen Singletary (drums/vocals) formed in 1991 and before playing out or mastering singing and playing at the same time, they recorded their debut platter Supercharger and released it on their own label Radio X. As Lowery says of the record, "we basically were learning as we were writing the songs." A limited vinyl pressing of 500 created a collectors item, rumor has it fans/collectors in Japan pay upwards of 500 bucks a pop. Supercharger was later reissued on Bellingham, WA, Garage Punk label Estrus Records in 1997 with two bonus tracks to trump the bootleggers. After a handful of singles the band was back recording their second and final long player Goes Way Out, this time given a wide release on Estrus in 1993. Standing as their masterwork, Goes Way Out was also their swan song as it was their last release and basically came out as the band was folding. The band imploded after a 1993 tour of Europe with the fabulous Mummies where both bands took their budget rock manifesto to places like Holland and Belgium. After the death of the band, the individual members continued to D.I.Y. themselves into punk rock history. Singletary and Raeffelli formed the short-lived Brentwoods and than Raeffelli went on to do a Kim Fowley trip with teenage all-girl band the Donnas. Lowery played in the Rip Offs (with Jon Von who had recently departed the Mr. T Experience), the Infections, and currently the Zodiac Killers. He also started and runs the punk rock label Rip Off Records, which continues to champion the visual, musical, and attitudinal style employed by Supercharger.

ARE YOU A BOY OR ARE YOU A GIRL ?

The Barbarians were a moderately successful American garage band of the 1960s with a few nationally charted hits. They had their biggest hit with the novelty single "Are You a Boy or Are You a Girl?," but are probably best known today for being led by a one-armed drummer, Victor "Moulty" Moulton.
The Barbarians formed in 1964 in Cape Cod, Massachusetts. Original members included Bruce Benson, Ronnie Enos, and Jerry Causi. While their debut single, "Hey Little Bird" produced by Al Ham,(on Joy Records) bombed, two of their next three singles (on Laurie) charted on Billboard, (with "Are You a Boy or Are You a Girl?" peaking at #55) and also made the Cash Box charts. "Are you a Boy" was co-written by Doug Morris, who went on to head Universal Music Group.
They received their biggest break when featured on The T.A.M.I. Show (performing "Hey Little Bird") alongside other artists such as The Rolling Stones, The Supremes, Lesley Gore, Chuck Berry, James Brown, and Marvin Gaye.
As their name implies, their image relied heavily on looking barbaric. They wore leather sandals and grew their hair longer than most of their contemporaries. One-armed drummer Victor "Moulty" Moulton used a prosthetic hook on his left arm. He had lost part of his left arm in an explosion at the age of 14. Moulty was able to play drums using the prosthesis to hold a drum stick. Their minor hit "Moulty" was a humorous and melodramatic autobiographical song chronicling the drummer's life and the loss of his hand. In 1965 Boston guitarist, Geoffrey Morris replaced Ronnie Enos on lead guitar. It was Morris' arrangement of "Are You a Boy or Are You a Girl", that is heard on the single. The Barbarians disbanded in 1968.

GREAT GARAGE COMPILATION

Not much to say really. Some great tracks, some greater. My favourites would have to be "Go Away" by Plauge and "Why" by The Dirty Wurds.

THE BARBARAS

i dont't know much about this band other than they recently released a 7" on Goner Records that i can not wait to hear and there is a guy from Jay Reatards band involved. Check 'em out. There is a couple of there songs to download on their myspace.

http://www.myspace.com/thebarbaras

Always Was, Is, And Always Shall Be

This album is pure genius. The band with GG on this one is The Jabbers. I'm not a huge fan of his later stuff but this is one solid pop/rock/punk gem. Now go get drunk , smear yourself in shit , jerk off & fight someone.

BAD VIBES

REAL ROCK'N'ROLL FROM "VIOLENCIA" SPAIN..CHECK 'EM OUT.

http://www.myspace.com/negativewavess

BORN BAD

Not much to say really. Six albums of the best music ever made. Enjoy.

AUSTRALIAS NEWEST HIT MAKERS

The Frowning Clouds are a bunch of young kids from Geelong,Australia. These juvenile delinquents possess a frantic obsession with R'n'B in its most rawest form.If your not a fan of the first stones record,you probably wont enjoy. Ass shakin fun tunes. These songs are demos taken off their myspace page.

http://www.mediafire.com/?ks89ztwgws0

EVERYBODY HATES YOU

The Pagans were a late 70's punk band from Cleveland, Ohio that were part of the second wave of Cleveland proto-punk and post-punk bands (such as Pere Ubu and Frankenstein). Best known for their sneering 7" single, Six and Change, and controversial lyrics, the Pagans proved to be an influential band that was overlooked during their two tenures.

BEST ALBUM I'VE HEARD IN A LONG TIME...

DEMONS CLAWS - SATANS LITTLE PET PIG

Review taken from Terminal Boredom

Demon's Claws "Satan's Little Pet Pig" LP/CD This one rushes right out of the pen with one of the songs of the year in "Shadow of A Castle" (which also appeared on last year's 'Live in Spring Branch Texas' 12" by the way), and keeps the momentum going from there. A real bush hog of a release, rootin' for rootsy' garage-folk-psych truffles in a creepily psychedelic forest. I have nothing smarter to say than that I always feel these guys have a distinct Canadian sound, sort of like a Guess Who meets Scat Rag Boosters meets Neil Young meets Stompin Tom Connors. And instead of hitting ye olde sophomore slump they manage to take their sound one step further, recording a great LP whereas their first full length was merely good. They've filled in the gaps on this one. This reminds me of when we used to visit an old cabin in Northern Ontario and take mushrooms and drink tons of Labatt's and go night fishing. This is what we should've been playing instead of Sabbath. Well, no, we should've played this AFTER we listened to Sabbath. To reiterate, far better than their debut and worth a look. Scary, as in scary-good at times, and also scary as in "There's something in those woods!" (RK) (In The Red Records)

BO DIDDLEY !

JAY REATARD

http://www.mediafire.com/?ywqfbmb0zt1