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Suicide / Bruce Springsteen – Dream Baby Dream

Suicide would prove as influential as The Clash. Listening to their self-titled 1977 debut from the vantage point of late 2002, it’s all so obvious: the synthpop, techno, and industrial dance sounds of the ’80s and ’90s, and now the new New Wave of electroclash, all gesture back to that foundational album.

– Wilson Neate

A seminal track from Messrs. Alan Vega and Martin Rev, AKA the hugely influential Suicide!

With assistance from Ric Ocasek of The Cars and the inspirational figures of Englishman Michael Zilkha and Frenchman Michel Esteban (the brains behind ZE, New York’s then newest and hippest record label), the group released this famous track as the double A side single “Dream Baby Dream/Radiation” back in 1979.

The lyrics here won’t exactly win the Nobel literature prize, but the song is about much more than that and is a wonderful powerful piece nevertheless.

A song way ahead of its time, with a beautifully obsessive tone and lush, repetitive structure, Dream Baby Dream is now regarded as the classic Suicide record.

Suicide went on to be a huge influence on a slew of bands the likes of Joy Division, U2, New Order, Stereolab, Sisters of Mercy, Radiohead, The Cars and even Bruce Springsteen.

Springsteen used an interesting pared down solo keyboard version of “Dream Baby Dream” to close the concerts on his 2005 Devils & Dust Tour. See below.

Some good Suicide links:

keep that flame burnin’
keep that flame burnin’

dream baby dream
dream baby dream
forever, and ever
forever, and ever

I see that smile on your face
yeah, makes you free
I see that smile

dream baby dream
dream baby dream
dream baby dream
dream baby dream
forever …

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March 23, 2009 Posted by | Bruce Springsteen, Music_Electronica, Music_Punk, Suicide, _MUSIC, _VIDEO | Leave a comment

Stooges Guitarist Ron Asheton Dead At 60

Sad news with the recent death of the hugely influential guitarist Ron Asheton, from Punk pioneers the mighty Stooges.

Ron is a huge loss to the world of music, but the great records he made will live on forever.

Catch the great man in action in two clips below, from either side of the extended  Stooges hiatus!

  • Ron Asheton and the Stooges Perform “TV Eye” And “1970,” Live In Cincinnati, 1970 (a.k.a. “The Peanut Butter Incident”)
  • Ron Asheton and the Stooges Perform “Dirt,” Live In Detroit, 2006., January 6, 2009

The Stooges stayed together for less than five years, but many punk guitarists taught themselves to play by strumming along to the band’s records. In fact, Rolling Stone named Asheton the 29th most influential guitar player of all time. Asheton’s sound was choppy, distorted and intense. It helped define American punk.

When The Stooges broke up, Asheton tried to get his own record deal, failed, and turned to painting as a sideline, though he said he greatly enjoyed touring with The Stooges when the band got back together in 2006. Asheton died at his house in Ann Arbor, Mich., sometime over the past few days, apparently of natural causes.

Ron Asheton and the Stooges Perform “TV Eye” And “1970,” Live In Cincinnati, 1970 (a.k.a. “The Peanut Butter Incident”)

Ron Asheton and the Stooges Perform “Dirt,” Live In Detroit, 2006.

January 10, 2009 Posted by | Music_Punk, Ron Asheton, The Stooges, _MUSIC, _VIDEO | 2 Comments

The Pitchfork 500 – The 500 greatest songs (1977 – 2006)

We are a very naive and gullible lot, here at stupid & contagious. That’s why we’re so eagerly looking forward to Santa Claus’ impending visit this month – on December 25th, we believe!

We are salivating like mad pavlovian dogs at the thought of the great fat man clambering down our chimney. Especially so, given that we don’t even have a fucking chimney!

Anyway, as well as the new uncensored Maria Ozawa DVDs, the reindeer fondler shall be lumping this fine tome, The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present, compiled by the good people at Pitchfork Media exploring the greatest 500 tracks of the past thirty years!

The great tracks in question are listed below.

Of course, instead of waiting to hear groans coming from a non-existent chimney (and we always much prefer to hear groans coming from the bed rather than from a chimney!) the wonderful Simon & Schuster or Pitchfork might send us a copy, so we can eulogise about it!! (We’re not known for grovelling and never ever do so ….. but please please please send us the fucking book Mr. Paul Simon and Art Schuster! Please, for the love of God!)

more info:…..00-is-here

Ladies and gentlemen, as you know, today, November 11, Simon & Schuster imprint Fireside Books publishes The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present. This handy paperback chronologically explores Pitchfork’s 500 favorite songs from 1977-2006, constructing an alternate history of the past three decades of popular music– one that extends beyond the typical Baby Boomer-approved canon of the Clash, Prince, Public Enemy, Nirvana, Radiohead, and Outkast.

From art-rock and proto-punk godfathers such as Brian Eno, Iggy Pop, and David Bowie to today’s leading lights such as the Arcade Fire, the White Stripes, and Kanye West; from superstars to cult heroes; and from punk, indie, and pop to hip-hop, electronic music, and metal, we’ve created the ultimate playlist. Interspersed throughout are sidebars on the most vital subgenres from electro to grime to riot grrrl, along with pieces like “Career Killers: The Songs That Ended It All” and “Runaway Trainwrecks: The Post-Grunge Nadir.”

Edited by Pitchfork founder/president Ryan Schreiber and editor-in-chief Scott Plagenhoef, and written by an all-star team of contributors, The Pitchfork 500 is the perfect book for the train ride to work, a cozy winter’s night by the fireside, or extended stays on the toilet. And it sure would make for a nice holiday gift, hint hint.

The book is available in your friendly neighborhood bookstore right now. Or you can order it via Amazon, Barnes & Noble, Borders, Insound, Powells, or Simon & Schuster.

To celebrate the release of The Pitchfork 500, we’ve lined up a few events and media appearances. If you’re in the Chicago area, head on over to the Borders Books & Music in Lincoln Park (2817 N. Clark St.) on Thursday, November 13 at 7 p.m., where Pitchfork editor-in-chief (and Pitchfork 500 co-editor) Scott Plagenhoef and Pitchfork managing editor (and Pitchfork 500 contributing editor) Mark Richardson will read from The Pitchfork 500, followed by a Q&A session and a book signing.

For those of you in Ohio, Mark Richardson will speak on a panel hosted by the Wexner Center For the Arts at Ohio State University in Columbus on Thursday, November 20 at 5 p.m. Peel Slowly and See: Warhol, Music, and Image will feature a discussion of the Velvet Underground and Warhol’s role in music by Mark, Dean & Britta’s Dean Wareham, and Professor Barry Shank of OSU. A performance by Dean & Britta will follow the panel.

Tune your radios to New York’s WNYC-FM at 2 p.m. on Thursday, November 13 to hear The Pitchfork 500 co-editors Ryan Schreiber and Scott Plagenhoef on “Soundcheck” with host John Schaefer. The next day, Friday, November 14, New Yorkers can tune into WRXP-FM’s “Matt Pinfield in the Mornings” between 6 and 10 a.m. for an interview with Ryan Schreiber, while Chicagoans can catch Scott Plagenhoef on WGN Radio’s “The Noon Show” chatting with host Bob Sirott UPDATE: Scott will be on at 2 p.m. with host John Williams. Then on December 2, Scott will appear live on Chicago’s WGN “Midday News” television show to discuss The Pitchfork 500.

For a complete rundown of these and future events, head over to

by Amy Phillips
Nov 11, 2008

So many of our favourite tracks are in here. So many of our favourite artists! So many diverse genres. So many seminal sounds. And so many “so’s” in this paragraph!

Some amazing tracks here too that are new to us. And not many duds!

Now, what if someone was to go to the tremendous effort of compiling all these tracks? Well, you’d get the greatest musical compilation to surface in many a century! Probably the greatest since Johann Sebastian Bach compiled the best of his majestic works back in 1740 – but that was just a huge pile of musical scores though and would be unplayable on most CD players!

Which is what some kindly souls at the great have actually done – compiled this amazing collection of 500 tracks covering the past thirty years!

We saw something about this compilation on another blog pitchfork-500

(For dumb internet nazis, the phrase “on another blog” means on another fucking blog. Not on this blog! )

The Pitchfork 500 – The 500 greatest songs (1977 – 2006)

1977 – 1979

David Bowie – Heroes
Iggy Pop – The Passenger
Lou Reed – Street Hassle
Kraftwerk – Trans-Europe Express
Brian Eno – 1/1
The Ramones – Rockaway Beach
Talking Heads – Psycho Killer
Television – Marquee Moon
Patti Smith – Rock n Roll Nigger
The Sex Pistols – God Save the Queen
The Clash – (White Man) In Hammersmith Palais
Buzzcocks – Ever Fallen in Love?
Vic Godard and the Subway Sect – Parallel Lines
X-Ray Spex – Oh Bondage! Up Yours!
The Adverts – One Chord Wonders
Wire – Ex-Lion Tamer
Donna Summer – I Feel Love
Giorgo Moroder – The Chase
Chic – Good Times
Thelma Houston – Don’t Leave Me This Way
Gloria Gaynor – I Will Survive
Michael Jackson – Don’t Stop ‘Til You Get Enough
Parliament – Flash Light
Marvin Gaye – Got To Give It Up
Public Image Ltd. – Public Image
Gang of Four – Damaged Goods
Magazine – Shot by Both Sides
The Cramps – Human Fly
The Misfits – Night of the Living Dead
Wire – Outdoor Miner
Joy Division – Disorder
Althea and Donna – Uptown Top Ranking
Lee Perry – Roast Fish and Cornbread
The Congos – Fisherman
Willie Williams – Armagideon Time
This Heat – 24 Track Loop
The Slits – Typical Girls
The Pop Group – She Is Beyond Good and Evil
The Clash – The Guns of Brixton
James Chance and the Contortions – Contort Yourself
Suicide – Dream Baby Dream
Cabaret Voltaire – Nag Nag Nag
Throbbing Gristle – Hot on the Heels of Love
Devo – Mongoloid
Candido – Jingo
Dinosaur – Kiss Me Again
Machine – There but for the Grace of God Go I
Kate Bush – Wuthering Heights
Goblin – Suspiria
Blue Oyster Cult – (Don’t Fear) The Reaper
AC/DC – Highway to Hell
Van Halen – Runnin’ with the Devil
Fleetwood Mac – The Chain
Steely Dan – Deacon Blues
Electric Light Orchestra – Mr. Blue Sky
The Only Ones – Another Girl, Another Planet
The Undertones – Teenage Kicks
Plastic Bertrand – Ca plane pour moi
The Records – Starry Eyes
Cheap Trick – Surrender
The Cars – Just What I Needed
Elvis Costello and the Attractions – Radio Radio
The Cure – Boys Don’t Cry
XTC – Making Plans for Nigel
Blondie – Atomic
Talking Heads – Memories Can’t Wait

1980 – 1982

Kurtis Blow – The Breaks
Spoonie Gee Meets the Sequence – Monster Jam
The Sugarhill Gang – 8th Wonder
The Treacherous Three – The New Rap Language
The Clash – The Magnificent Seven
Talking Heads – Born Under Punches (The Heat Goes On)
Yoko Ono – Walking on Thin Ice
Klein + MBO – Dirty Talk
ESG – Moody
Grandmaster Flash and the Furious Five – The Adventures of Grandmaster Flash on the Wheels of Steel
Funky 4+1 – That’s The Joint
Kraftwerk – Numbers/Computer World 2
Afrika Bambaataa & Soulsonic Force – Planet Rock
Grandmaster Flash and the Furious Five – The Message
Glenn Branca – Lesson No. 1 for Electric Guitar
Laurie Anderson – O Superman (For Massenet)
Joy Division – Atmosphere
The Fall – Totally Wired
Elvis Costello and the Attractions – Beyond Belief
The Pretenders – Back on the Chain Gang
The B-52’s – Private Idaho
Dexys Midnight Runners – There There My Dear
Young Marble Giants – Final Day
Altered Images – Happy Birthday
The Specials – Ghost Town
Robert Wyatt – Shipbuilding
Bauhaus – Third Uncle
Adam and the Ants – Kings of the Wild Frontier
Scritti Politti – The Sweetest Girl
The Human League – Don’t You Want Me
Soft Cell – Tainted Love
The Associates – Party Fears Two
ABC – All of My Heart
New Order – Temptation
The Jam – Town Called Malice
Duran Duran – The Chauffeur
The English Beat – Save It for Later
The Go-Go’s – Our Lips Are Sealed
Tom Tom Club – Genius of Love
Prince – Dirty Mind
Daryl Hall & John Oates – I Can’t Go for That (No Can Do)
Michael Jackson – Billie Jean
ABBA – The Day Before You Came
Roxy Music – More Than This
Queen – Under Pressure
Bruce Springsteen – Atlantic City
Journey – Don’t Stop Believing
Bad Brains – Pay to Cum
Minor Threat – Minor Threat
Dead Kennedys – Holiday in Cambodia
Black Flag – Rise Above
Wipers – Youth of America
Flipper – Sex Bomb
Motorhead – Ace of Spades
Iron Maiden – Run to the Hills
Orange Juice – Blue Boy
The Television Personalities – This Angry Silence
The Fall – The Classical
The Clean – Tally Ho!
The Feelies – The Boy with the Perpetual Nervousness
R.E.M. – Radio Free Europe
Violent Femmes – Blister in the Sun
Mission of Burma – That’s When I Reach for My Revolver


The Smiths – This Charming Man
Sonic Youth – Death Valley ‘69
Husker Du – Pink Turns to Blue
Meat Puppets – Plateau
The Replacements – I Will Dare
Minutemen – History Lesson (Part II)
R.E.M. – So. Central Rain (I’m Sorry)
Echo and the Bunnymen – The Killing Moon
The Cure – Close to Me
Siouxsie and the Banshees – Cities in Dust
Run-D.M.C. – It’s Like That
Crash Crew – On the Radio
Rammelzee vs. K-Rob – Beat Bob
Boogie Down Productions – South Bronx
New Order – Blue Monday
Prince and the Revolution – When Doves Cry
Talking Heads – This Must Be the Place (Naïve Melody)
Kate Bush – Running Up That Hill (A Deal with God)
U2 – New Year’s Day
Simple Minds – Don’t You (Forget About Me)
The Replacements – Bastards of Young
The Mekons – Last Dance
Big Black – Kerosene
Scratch Acid – The Greatest Gift
The Jesus and Mary Chain – Just Like Honey
The Smiths – How Soon Is Now?
Cocteau Twins – Lorelei
New Order – Bizarre Love Triangle
Billy Bragg – A New England
Metallica – Battery
Slayer – Angel of Death
Saint Vitus – Clear Windowpane
Einstruzende Neubauten – Halber Mensch
Art of Noise – Beat Box (Diversion One)
Frankie Goes to Hollywood – Relax
Liquid Liquid – Optimo
Alexander Robotnick – Problemes d’Amour
Shannon – Let the Music Play
Section 25 – Looking from a Hilltop (Restructure)
Madonna – Holiday
Cyndi Lauper – Girls Just Want to Have Fun
Prince – Kiss
Run-D.M.C. – Rock Box
LL Cool J – I Can’t Live Without My Radio
Beastie Boys – No Sleep Till Brooklyn
Mantronix – Needle to the Groove
The Go-Betweens – Cattle and Cane
The Chills – Pink Frost
Felt – Primitive Painters
The Smiths – There Is a Light That Never Goes Out
Tom Waits – Jockey Full of Bourbon
Bruce Springsteen – I’m on Fire
Scott Walker – Rawhide
U2 – Bad
Don Henley – The Boys of Summer
Paul Simon – Graceland
Wayne Smith – Under Me Sleng Teng
Anthony “Red” Rose – Tempo
Model 500 – No UFO’s


Mr. Fingers – Can You Feel It
Rhythim Is Rhythim – Strings of Life
A Guy Called Gerald – Voodoo Ray
M/A/R/R/S – Pump Up The Volume
My Blood Valentine – You Made Me Realise
Spacemen 3 – Walking With Jesus
Ride – Dreams Burn Down
Glaxie 500 – Blue Thunder
Happy Mondays – Kinky Afro
The Stone Roses – She Bangs the Drums
Sonic Youth – Teen Age Riot
Dinosaur Jr. – Freak Scene
Butthole Surfers – Human Cannonball
Pixies – Where Is My Mind?
Fugazi – Waiting Room
Audio Two – Top Billin’
Eric B & Rakim – I Know You Got Soul
Public Enemy – Rebel Without a Pause
N.W.A. – Straight Outta Compton
Nick Cave and the Bad Seeds – The Mercy Seat
Ministry – Stigmata
The Jesus and Mary Chain – Head On
The Sugarcubes – Birthday
The Cure – Just Like Heaven
Morrissey – Everyday Is Like Sunday
The Pogues – Fairytale of New York
The Wedding Present – My Favourite Dress
The Field Mice – Emma’s House
Another Sunny Day – You Should All Be Murdered
The Dead Milkmen – Punk Rock Girl
The Primitives – Crash
The La’s – There She Goes
They Might Be Giants – Birdhouse in Your Soul
Superchunk – Slack Motherfucker
Fugazi – Merchandise
The Jesus Lizard – Mouth Breather
Slick Rick – Children’s Story
Gang Starr – Just to Get a Rep
Rob Base and DJ E-Z Rock – It Takes Two
Sal-n-Pepa – Push It
Beastie Boys – Hey Ladies
De La Soul – Me Myself and I
Biz Markie – Just a Friend
Public Enemy – Fight The Power
Guns N’ Roses – Welcome to the Jungle
Swans – Beautiful Child
John Zorn – The Sicilian Clan
Prince and the Revolution – If I Was Your Girlfriend
Madonna – Like a Prayer
Deee-Lite – Groove Is in the Heart
Pet Shop Boys – Being Boring
Sinead O’Connor – Nothing Compares 2 U
The Orb – Little Fluffy Clouds
The KLF – Wichita Lineman Was a Song I Once Heard
808 State – Pacific State
Orbital – Chime
Depeche Mode – Enjoy the Silence
My Blood Valentine – Soon
The Vaselines – Son of a Gun
Beat Happening – Indian Summer
Daniel Johnston – Some Things Last a Long Time
Mudhoney – Touch Me I’m Sick
Pixies – Wave of Mutilation


Nirvana – Smells Like Teen Spirit
Pavement – Summer Babe
Archers of Loaf – Web in Front
Yo La Tengo – From a Motel 6
Sebadoh – The Freed Pig
A Tribe Called Quest – Check the Rhime
De La Soul – A Roller Skating Jam Named ‘Saturdays’
Black Sheep – The Choice Is Yours
Massive Attack – Unfinished Sympathy
Tricky – Aftermath (Version 1)
Primal Scream – Higher Than the Sun
Spiritualized – Step into the Breeze
Slowdive – Alison
Aphex Twin – Xtal
Talk Talk – Ascension Day
Slint – Good Morning, Captain
Disco Inferno – The Last Dance
Stereolab – French Disko
Acen – Trip II the Moon Pts. 1 and 2
The Future Sound of London – Papua New Guinea
Human Resource – Dominator (Joey Beltram Mix)
Metalheadz – Terminator
Omni Trio – Renegade Snares
Red House Painters – New Jersey
Teenage Fanclub – The Concept
Heavenly – C Is the Heavenly Option
Tindersticks – City Sickness
Unrest – Make Out Club
Tenor Saw/Buju Banton – Ring the Alarm Quick
Dr. Dre – Nuthin’ but a ‘G’ Thang
Ice Cube – It Was a Good Day
2Pac – I Get Around
Souls of Mischief – 93 ‘Til Infinity
Suede – The Drowners
Blur – For Tomorrow
Elastica – Stutter
Ween – Doctor Rock
Wu-Tang Clan – Protect Ya Neck
Geto Boys – Mind Playing Tricks on Me
Pete Rock and C.L. Smooth – They Reminisce Over You (T.R.O.Y.)
Bikini Kill – Rebel Girl
Melvins – Hooch
Dinosaur Jr. – Start Choppin’
Pixies – U-Mass
Liz Phair – Divorce Song
PJ Harvey – Rid of Me
The Afghan Whigs – Debonair
Rage Against the Machine – Killing in the Name
The Lemonheads – It’s a Shame About Ray
Beck – Loser
The Breeders – Cannonball
Nirvana – Scentless Apprentice


Hole – Violet
Smashing Pumpkins – 1979
Green Day – Longview
Weezer – Say It Ain’t So
Blur – Girls & Boys
Oasis – Live Forever
Pulp – Common People
The Notorious B.I.G. – Juicy
Nas – It Ain’t Hard to Tell
Mobb Deep – Shook Ones, Pt. 2
GZA – 4th Chamber
Pavement – Gold Soundz
Built to Spill – Car
Modest Mouse – Broke
Frank Black – Headache
The Jon Spencer Blues Explosion – Bellbottoms
Guided by Voices – I Am a Scientist
Nine Inch Nails – Closer
Bjork – Hyper-Ballad
Beck – Devil’s Haircut
Portishead – Sour Times (Nobody Loves Me)
Saint Etienne – Like a Motorway
Basic Channel – Octagon
Paperclip People – Throw
DJ Shadow – Midnight in a Perfect World
Dr. Octagon – Blue Flowers
Common – I Used to Lover H.E.R.
Jeff Buckley – Grace
Mazzy Star – Fade Into You
Arthur Russell – This Is How We Walk on the Moon
Low – Words
The Auteurs – Unsolved Child Murder
Jawbox – Savory
Drive Like Jehu – Luau
Brainiac – Pussyfootin’
Napalm Death – Twist the Knife (Slowly)
Darkthrone – En As I Dype Skogen
Ol’ Dirty Bastard – Brooklyn Zoo
Snoop Doggy Dogg – Gin and Juice
Luniz – I Got 5 on It
Cutty Ranks – Limb by Limb
The Prodigy – No Good (Start the Dance)
Underworld – Born Slippy (NUXX)
The Chemical Brothers – Setting Sun
Daft Punk – Da Funk
Belle and Sebastian – The State I Am In
Elliott Smith – Needle in the Hay
The Magnetic Fields – Take Ecstasy with Me
Palace Music – New Partner
Arab Strap – The First Big Weekend
Tortoise – Gamera
The Sea and Cake – Parasol
Pavement – Rattled by the Rush
Guided by Voices – Game of Pricks
Weezer – El Scorcho


Radiohead – Paranoid Android
Bjork – Joga
The Verve – Bitter Sweet Symphony
Elliott Smith – Between the Bars
Cat Power – Cross Bones Style
The Clientele – Reflections After Jane
Bonnie “Prince” Billy – I See a Darkness
Smog – Teenage Spaceship
Silver Jews – Random Rules
Autechre – Arch Carrier
Boards of Canada – Happy Cycling
Herbert – So Now…
Aphex Twin – Windowlicker
Uilab – St. Elmo’s Fire
Air – Le Soleil est Pres du Moi
Massive Attack – Teardrop
Black Star – Respiration
The Notorious B.I.G. – Hypnotize
Outkast – Spottieottiedopaliscious
The Roots – The Next Movement
The Flaming Lips – Waitin’ for a Superman
The Beta Band – Dry the Rain
The Olivia Tremor Control – Hideaway
Neutral Milk Hotel – Holland, 1945
Super Furry Animals – Ice Hockey Hair
Stardust – Music Sounds Better with You
Basement Jaxx – Jump n’ Shout
Wilco – Via Chicago
Pulp – This Is Hardcore
Belle and Sebastian – Lazy Line Painter Jane
Yo La Tengo – Autumn Sweater
Sleater-Kinney – One More Hour
Refused – New Noise
The Dismemberment Plan – The City
Boredoms – Super Shine
Mogwai – Like Herod
Jim O’Rourke – Halfway to a Threeway
Sigur Ros – Svefn-g-Englar


Daft Punk – One More Time
Radiohead – Idioteque
Godspeed You! Black Emperor – Storm
The Avalanches – Since I Left You
Broadcast – Come On Let’s Go
Aaliyah – Try Again
Justin Timberlake – Cry Me a River
Luomo – Tessio
Vitalic – La Rock 01
Kylie Minogue – Love at First Sight
Jay-Z – Big Pimpin’
Outkast – B.O.B.
Eminem – The Real Slim Shady
Ghostface Killah – Nutmeg
Missy Elliott – Get Ur Freak On
The White Stripes – Dead Leaves and the Dirty Ground
The Strokes – The Modern Age
…And You Will Know Us by the Trail of Dead – Another Morning Stoner
Interpol – Obstacle 1
Electric Six – Danger! High Voltage
Golden Boy with Miss Kittin – Rippin Kittin’
Jurgen Paape – So Weit Wie Noch Nie
Osymyso – Intro-Inspection
The Knife – Heartbeats
LCD Soundystem – Lossing My Edge
The Rapture – House of Jealous Lovers
The Streets – Weak Become Heroes
Aesop Rock – Daylight
Rjd2 – Good Times Roll Pt. 2
Bright Eyes – The Calendar Hung Itself
Wilco – Poor Places
Queens of the Stonge Age – No One Knows
My Morning Jacket – The Way That He Sings
Modest Mouse – 3rd Planet
Clinic – Distortions
Shellac – Prayer to God
Mclusky – To Hell with Good Intentions
Lightning Bolt – Ride the Sky
The Microphones – The Moon
The New Pornographers – Letter from an Occupant
The Shins – New Slang
The Decemberists – Here I Dreamt I Was an Architect
Radiohead – Life in a Glasshouse
Broken Social Scene – Cause = Time
Deerhoof – This Magnificent Bird Will Rise
Spoon – The Way We Get By
Dizzee Rascal I Luv U
M.O.P. – Ante Up
Clipse – Grindin’
Talib Kweli – Get By
Jay-Z – Takeover


Outkast – Hey Ya
Kanye West – Through The Wire
R. Kelly – Ignition (Remix)
Beyonce – Crazy In Love
Gnarls Barkley – Crazy
!!! – Me and Giuliani Down by the School Yard (A True Story)
TV on the Radio – Staring at the Sun
Yeah Yeah Yeahs – Maps
The Walkmen – The Rat
Devendra Banhart – A Sight to Behold
Joanna Newsom – Peach, Plum, Pear
Sufjan Stevens – Casimir Pulaski Day
Antony and the Johnsons – Hope There’s Someone
Animal Collective – Leaf House
The Books – Take Time
M83 – Don’t Save Us from the Flames
The Postal Service – Such Great Heights
Annie – Heartbeat
M.I.A. – Galang
The White Stripes – Seven Nation Army
Franz Ferdinand – Take Me Out
The Fiery Furnaces – Here Comes the Summer
The Mountain Goats – No Children
The Wrens – She Sends Kisses
Les Savy Fav – The Sweat Descends
Ted Leo and the Pharmacists – Where Have All the Rude Boys Gone?
The Exploding Hearts – Modern Kicks
Art Brut – Formed a Band
Boris – Farewell
Mastodon – Sleeping Giant
Madvillain – America’s Most Blunted
T.I. – What You Know
Kelly Clarkson – Since U Been Gone
Amerie – 1 Thing
Ciara – Oh
The Go! Team – The Power Is On
Feist – Mushaboom
Arcade Fire – Neighborhood #1 (Tunnels)
Wolf Parade – I’ll Believe in Anything
Band of Horses – The Funeral
The Hold Steady – Stuck Between Stations
Beirut – Postcards from Italy
Johnny Boy – You Are the Generation That Bought More Shoes and You Get What You Deserve
Love Is All – Busy Doing Nothing
Jens Lekman – Black Cab
Christian Falk – Dream On
Peter Bjorn and John – Young Folks
Justice vs. Simian – We Are Your Friends
Hot Chip – Boy from School
Animal Collective – Grass
Black Dice – Cone Toaster
Liars – The Other Side of Mt. Heart Attack
Panda Bear – Bros


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December 8, 2008 Posted by | Music_Alternative, Music_Pop, Music_PostPunk, Music_PostRock, Music_Punk, pitchfork, Roykeanz, Various Artists, _BABE, _CARTOON, _MUSIC | 1 Comment

The Clash – The Clash (1977)

The Clash – The Clash (1977)
Released 8 April 1977
Recorded 10 February 1977–27 February 1977 National Film and Television School, Beaconsfield, CBS Studios London
Length 35:18
Label CBS
Producer Mickey Foote

The seminal debut LP from the The Clash. A hugely important and influential album!

It was released in two different versions, both of which are still in print: the original version in 1977 and the revised U.S. version in 1979 (with several post-1977 single sides added to the album)

The subject of the opening track, “Janie Jones”, was a famous madam in London in the 1970s. “Remote Control” was written by Mick Jones after the Anarchy Tour and contains pointed observations about the civic hall bureaucrats who had cancelled concerts, the police, big business and especially record companies. CBS decided to release the song as a single without consulting the band. “I’m So Bored with the U.S.A.”, developed from a Mick Jones song, entitled “I’m So Bored With You”, condemns the Americanization of the UK in Europe.

“White Riot” was the first single put out by The Clash. The song is short and intense, punk style of two chords played very fast. Lyrically, the song is about class economics and race.

“Career Opportunities”, the opening track of the B-side, attacks the political and economic situation in England at the time, citing the lack of jobs available, and the dreariness and lack of appeal of those that were available. “Protex Blue”, sung by Mick Jones, is about a 1970s brand of condom. The song ends with the shouted phrase “Johnny Johnny!”, “johnny” being a British slang term for a condom. The version of “White Riot” featured here was not recorded for the album. Instead they used the original demo version, recorded at Beaconsfield Studios before the band signed to CBS.

“Police & Thieves” was added to the album when the band realised just how short the tracklist was. Another cover the band toyed with at these sessions was Bob Marley’s “Dancing Shoes”. “Garageland” was written in response to Charles Shaar Murray’s damning review of the band’s early appearance at the Sex Pistols Screen on the Green concert – “The Clash are the kind of garage band who should be returned to the garage immediately, preferably with the engine running”.It was the final track recorded for the album.

The album’s front cover photo, shot by Kate Simon, was taken in the alleyway directly opposite the front door of the band’s ‘Rehearsal Rehearsals’ building in Camden Market.

Drummer Terry Chimes, though a full member of The Clash at the time, did not appear in the shot as he had already decided to leave the band.

The picture of the charging police officers on the rear, shot by Rocco Macauly, was taken during the 1976 riot at the Notting Hill Carnival—the inspiration for the track “White Riot”.


Side one

1. “Janie Jones” – 2:08
2. “Remote Control” – 3:03
3. “I’m So Bored with the USA” – 2:24
4. “White Riot” – 1:56
5. “Hate and War” – 2:06
6. “What’s My Name?” (Jones, Keith Levine, Strummer) – 1:41
7. “Deny” – 3:06
8. “London’s Burning” – 2:12

Tracks 1, 3–4, 6–8 are sung by Joe Strummer. Tracks 2 and 5 are sung by Joe Strummer and Mick Jones.

Side two

1. “Career Opportunities” – 1:54
2. “Cheat” – 2:06
3. “Protex Blue” – 1:47
4. “Police & Thieves” (Junior Murvin, Lee Perry) – 6:03
5. “48 Hours” – 1:36
6. “Garageland” – 3:12

Tracks 1–2 and 4–6 are sung by Joe Strummer. Track 3 is sung by Mick Jones.

All tracks were written by Joe Strummer and Mick Jones, except where noted.


* Mick Jones − guitars, vocals
* Joe Strummer − guitars, vocals
* Paul Simonon − bass
* Terry Chimes − drums (credited as “Tory Crimes”)

Here she be:

The Clash. 1977

Big thanks to the original poster

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October 15, 2008 Posted by | Joe Strummer, Mick Jones, Music_ClassicRock, Music_Punk, The Clash, _MUSIC | Leave a comment

The Clash – London Calling + The Vanilla Tapes

The Clash – London Calling + The Vanilla Tapes

The classic original LP – one of the finest in modern music – plus rare demos! (the latter we’ve already posted – at higher bitrate, we think)

We’ve posted this classic a few times before! ..

London Calling was the third album by The Clash, released December 14, 1979, on CBS Records in the UK and in January 1980 on Epic Records in the United States.

The album represented a change in The Clash’s musical style, and featured elements of ska, pop, soul, and reggae music. The album’s subject matter included unemployment, racial conflict, drug use, and the responsibilities of adulthood.

The album received positive reviews and was ranked at number eight on Rolling Stone’ list of the 500 Greatest Albums of All Time in 2003.

London Calling was a top ten album in the UK, and its lead single “London Calling” was a top twenty single.It has sold over two million copies worldwide, and was certified platinum in the United States. album received very positive reviews from critics.

Tom Carson of Rolling Stone said it “celebrates the romance of rock & roll rebellion in grand, epic terms”.

Stephen Erlewine of All Music Guide wrote that London Calling was “invigorating, rocking harder and with more purpose than most albums, let alone double albums” and called it “one of the greatest rock & roll albums ever recorded”.

Pitchfork Media reviewer Amanda Petrusich named “London Calling” the album’s best song and wrote that “The Clash do not let go; each track builds on the last, pummeling and laughing and slapping us into dumb submission”. The website ranked the album at number two on its list of the Top 100 Albums of the 70s in 2004.

Robert Christgau described London Calling as “warm, angry, and thoughtful, confident, melodic, and hard-rocking” and called it “the best double-LP since Exile on Main Street”.

In 2004, Sal Ciolfi of PopMatters called the album a “big, loud, beautiful collection of hurt, anger, restless thought, and above all hope” and wrote that “if released tomorrow would still seem relevant and vibrant”.

In 2007, London Calling was inducted into the Grammy Hall of Fame, a collection of recordings of lasting qualitative or historical significance. Stone (11/89) – Ranked #1 in Rolling Stone’s “100 Best Albums Of The Eighties” survey.

Q magazine (5/02 SE, p.136) – Included in Q’s “100 Best Punk Albums”.

Q magazine (6/00, p.90) – Ranked #4 in Q’s “100 Greatest British Albums.”

Alternative Press (8/01, p.112) – Included in AP’s “10 Essential ’80s Albums.”

CMJ (1/5/04, p.6) – Ranked #3 in CMJ’s “Top 20 Most-Played Albums of 1980”.

Vibe (12/99, p.160) – Included in Vibe’s 100 Essential Albums of the 20th Century.

Mojo (3/03, p.76) – Ranked #22 in Mojo’s “Top 50 Punk Albums.”

NME (9/11/93, p.18) – Ranked #6 in NME’s list of The Greatest Albums Of The ’70s.

The album’s cover features a photograph of Paul Simonon smashing his Fender Precision Bass against the stage at The Palladium in New York City on September 21, 1979 during the “Clash Take the Fifth” US tour. Smith, who photographed the band for the album, originally did not want the photograph to be used. She thought that it was too out of focus, but Strummer and graphic designer Ray Lowry thought it would make a good album cover.

In 2002, Smith’s photograph was named the best rock and roll photograph of all time by Q magazine, commenting that “it captures the ultimate rock’n’roll moment – total loss of control”.

The cover artwork was designed by Lowry and was a parody of the design of Elvis Presley’s debut album.

The cover was named the ninth best album cover of all time by Q magazine in 2001.


Disc 1 – London Calling

1. “London Calling” – 3:19
2. “Brand New Cadillac” (Vince Taylor) – 2:08
3. “Jimmy Jazz” – 3:54
4. “Hateful” – 2:44
5. “Rudie Can’t Fail” – 3:29
6. “Spanish Bombs” – 3:18
7. “The Right Profile” – 3:54
8. “Lost in the Supermarket” – 3:47
9. “Clampdown” – 3:49
10. “The Guns of Brixton” (Paul Simonon) – 3:09
11. “Wrong ’em Boyo” (Clive Alphonso) – 3:10
12. “Death or Glory” – 3:54
13. “Koka Kola” – 1:47
14. “The Card Cheat” (Mick Jones, Joe Strummer, Paul Simonon y Topper Headon) – 3:49
15. “Lover’s Rock” – 4:03
16. “Four Horsemen” – 2:55
17. “I’m Not Down” – 3:06
18. “Revolution Rock” (Jackie Edwards & Danny Ray) – 5:33
19. “Train in Vain (Stand By Me)” – 3:10

Disc 2 – The Vanilla Tapes

1. “Hateful” – 3:23
2. “Rudie Can’t Fail” – 3:08
3. “Paul’s Tune” (Paul Simonon) – 2:32
4. “I’m Not Down” – 3:34
5. “4 Horsemen” – 2:45
6. “Koka Kola, Advertising & Cocaine” – 1:57
7. “Death or Glory” – 3:47
8. “Lover’s Rock” – 3:45
9. “Lonesome Me” (The Clash) – 2:09
10. “The Police Walked in 4 Jazz” – 2:19
11. “Lost in the Supermarket” – 3:52
12. “Up-Toon (Inst.)” – 1:57
13. “Walking The Sidewalk” (The Clash) – 2:34
14. “Where You Gonna Go (Soweto)” (The Clash) – 4:05
15. “The Man in Me” (Bob Dylan) – 3:57
16. “Remote Control” – 2:39
17. “Working and Waiting” – 4:11
18. “Heart & Mind” (The Clash) – 4:27
19. “Brand New Cadillac” (Vince Taylor) – 2:08
20. “London Calling” – 4:26
21. “Revolution Rock” (Jackie Edwards & Danny Ray) – 3:51

Big thanks to album-base

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October 15, 2008 Posted by | Joe Strummer, Mick Jones, Music_ClassicRock, Music_Punk, The Clash, _MUSIC | Leave a comment

The Clash – The Vanilla Tapes (‘London Calling’)

The Clash – The Vanilla Tapes (2 Disc set of early ‘London Calling’ tracks)

The Vanilla Tapes were demo tracks recorded by The Clash which are, in essence, an early version of their greatest album London Calling (although the track Remote Control was a song from the band’s first album).

Roadie Johnny Green was to deliver the tapes to the band’s new producer, Guy Stevens but Green fell asleep on the train ride to the studio. Waking up at the station where he was to disembark, he panicked, and in his rush left the tapes behind!!

After that, the tapes were considered lost until March 2004, when Clash guitarist Mick Jones was moving boxes and came upon a copy of the tape.

There is reported to be a 37 track completist edition of this floating around the world between some discerning (read as snooty and greedy) collectors and if anyone can get their mitts on this, please do let us know!

Until then, my fellow prisoners, please enjoy the sensational ‘London Calling – The Vanilla Tapes’!

We’ve posted the classic ‘London Calling‘ a few times before! ..


1. “Hateful”
2. “Rudie Can’t Fail”
3. “Paul’s Tune” (Paul Simonon)
4. “I’m Not Down”
5. “Four Horsemen”
6. “Koka Kola”
7. “Death or Glory”
8. “Lover’s Rock”
9. “Lonesome Me” (The Clash)
10. “Jimmy Jazz”
11. “Lost in the Supermarket”
12. “Up-Toon” (instrumental)
13. “Walking the Slidewalk” (The Clash)
14. “Where You Gonna Go (Soweto)” (The Clash)
15. “The Man in Me” (Bob Dylan)
16. “Remote Control”
17. “Working and Waiting”
18. “Heart and Mind” (The Clash)
19. “Brand New Cadillac” (Vince Taylor)
20. “London Calling”
21. “Revolution Rock” (J. Edwards, D. Ray)

Here she be:

Disc 1 –

Disc 2 –

All thanks to DaddyRich

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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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October 15, 2008 Posted by | Joe Strummer, Mick Jones, Music_ClassicRock, Music_Punk, The Clash, _MUSIC | 1 Comment

The Clash – Live At Shea Stadium 1982 (2008) Deluxe edition

The Clash – Live At Shea Stadium 1982 (2008)
Deluxe Edition

Release date: 06 Oct 2008.
220 kbps VBR

“The late Joe Strummer once said that during the 1982 US tour when this was recorded, The Clash did enough drugs to make the band they were supporting, The Who, look like boy scouts.”
Great quality capture of a great NYC show by one of the greatest groups of all, the mighty Clash, at their prime back in 82!

Recorded at New York’s Shea Stadium in October 13th 1982, Live at Shea Stadium captures the band at the peak of its powers and on devastating form.

It’s a show bristling with raw energy and attitude.

This recording was rediscovered by Strummer during a house move!

The recording now serves as a Clash coinage exercise, complete with DVD and autobiography.

1. Kosmo Vinyl Introduction 1:11
2. London Calling 3:29
3. Police On My Back 3:28
4. The Guns Of Brixton 4:07
5. Tommy Gun 3:19
6. The Magnificent Seven 2:33
7. Armagideon Time 2:56
8. The Magnificent Seven (Return) 2:23
9. Rock The Casbah 3:21
10. Train In Vain 3:45
11. Career Opportunities 2:05
12. Spanish Bombs 3:18
13. Clampdown 4:26
14. English Civil War 2:39
15. Should I Stay Or Should I Go 2:43
16. I Fought The Law 3:24

Here she be;

Big thanks to iraklis

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

October 15, 2008 Posted by | Joe Strummer, Mick Jones, Music_ClassicRock, Music_Punk, The Clash, _MUSIC | Leave a comment

Mick Jones – Amongst Pirate Friends – 1992

Mick Jones – Amongst Pirate Friends – 1992

Fascinating find this!

And what a back-story!

This was posted on a Big Audio Dynamite forum as follows:

Thanks go to El Buccanero for turning up this absolute gem. The story behind it goes a little like this-

How about this for a story:

Here’s the story:

These tracks were all (or at least most) intended to be included in the Amongst Friends movie soundtrack. The director’s house was robbed before the film’s completion – oddly nothing was taken except a box of studio tapes labelled “Mick Jones Master Bits”. Only three tracks were left as they had not yet been collected from the studio – these are the three on the soundtrack album as we know it.

I was sent a cassette tape over two years ago by an LA burglar (no joke) who for obvious reasons can’t be named (you know who you are and thank you again) who came upon a cassette copy, he tells me, when he was serving time. He was given it by this punk guy who (so the story goes) would sit alone in his cell all day and play harpsichord music tapes.

So thanks to these chaps, we finally get to hear the whole thing – even if the sound quality is not great and some of the mixes a little rough, I reckon it’s a really interesting and unique, not to say highly enjoyable bunch of tracks. And Mick, hope you don’t mind – I’d like you to know no profit at all is being made by anybody involved. But if you do object for any reason then please contact me and I’ll get them taken down. What I would say is that if any of you like the tracks then tell the gang here on the BAD discussion page, and give a few quid or dollars or U-Roez to a charity you believe in. If you’re at a loss for one to choose then why not start a discussion about that.

I have re-christened this collection “AMONGST PIRATE FRIENDS”.

I will be ‘releasing’ the MP3s in sets of 3 each Friday afternoon with the help of Tosh and EE. Just a tip I learned from my mum from childhood Xmas mornings!

The first 3 are up now – there will eventually be 19 tracks in total (plus a few odd bits after), mostly instrumental themes and versions of the three tracks we already know. There are also two songs with Mick performing the vocal – one of which is up now called “When The Rain Would Fall” and the other will be in the last batch in about six weeks just to keep you all on your toes… (and I have kept them in the order they appear on the tape)

Technical note – the cassette source I have is not great quality but it’s the best you’re gonna get as my LA contact seems to think the masters were destroyed… I have encoded them at 192 kbps so some of the files are quite large, but I didn’t want to compromise on quality for such a treasure.

Now what are you waiting for???


01 Instrumental 1 Bass
02 Long Island Piano
03 When The Rain Would Fall
04 Long Island March
05 Instrumental 2 Calm
05b Long Island LP
06 Instrumental 3 Lite
07 Instrumental 4 Mood
08 Instrumental 5 Cut Off
08b Instrumental 3 Repeated.
09 Instrumental 6 SoulSpace
09b Instrumental 7 Aborted
10 Instrumental 7 Girl a
10b Instrumental 1 Aborted
11 Instrumental 8 Acid
12 Instrumental 9 Horns
13 No Ennio Version
14 Instrumental 10 Girl b
15 Instrumental 11 Yazz
16 Long Island Strings]
17 Instrumental 12 Spacy
17b Rush Live
18 What Can I Do
19 No Ennio Strings
19b I Don’t Know LP
19c No Ennio LP

Here she be;

Big thanks to El Buccanero and the original posters and Coga

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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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October 15, 2008 Posted by | Big Audio Dynamite, Mick Jones, Music_ClassicRock, Music_Punk, The Clash, _MUSIC | Leave a comment

The Saints – This Perfect Day

The Saints – This Perfect Day

One of our favourite punk /post punk bands and one of our favourite Ozzy band, the mighty Saints!

This comes from back in the early days, from a punk festival at The Hope and Anchor, during their first tour of the United Kingdom.

The audience, wanting their punk bands to look like a punk band, never really took to the Saints and the response on this record is lukewarm at best but the music is pure brilliance.


Do the Robot
Lost and Found
Lipstick on Your Collar
River Deep Mountain High
Memories Passed
Run Down
This Perfect Day
Messin’ With the Kid
Nights in Venice
I’m (Stranded)
Demolition Girl
One Way Street

Here she be:


Big thanks to the excellent madparade

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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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October 7, 2008 Posted by | Australia, Music_PostRock, Music_Punk, The Saints, _MUSIC | Leave a comment

The Jesus and Mary Chain – The Power of Negative Thinking:

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The Jesus and Mary Chain – The Power of Negative Thinking:
B-Sides & Rarities (2008 BOX)

From a group that blew our little mind back, and who we obsessed about back in the eighties with their wonderful raucous cacophonous sound which seemed to come from nowhere, the marvellous JAMC.

They opened new music worlds to us that led us to explore the influences on their sound, most prominently The Velvets, but also various punk bands – Stooges, Ramones, Television etc – and the avant-garde scene – John Cage etc. Not forgetting pure pop such as the Beachboys etc.

They in turn would go onto inspire wonderful groups such as the Pixies, Nirvana, Mazzy Star and countless more.

Here we get a trmendous collection of 80 chronologically ordered tracks!…..desandmore

In addition to being one of the U.K.’s most influential alternative rock bands, The Jesus And Mary Chain were also among the most prolific. Along with their five landmark Blanco y Negro albums (all recently remastered and reissued by Rhino), the band produced a steady stream of inspired non-LP material, now compiled in one sonically walloping 4-CD boxed set, Rhino/Warner’s THE POWER OF NEGATIVE THINKING: B-SIDES & RARITIES.

Presenting 80 chronologically ordered tracks, the box writes a parallel history of The Jesus And Mary Chain, covering every phase of the group’s history from their 1984 debut single for Creation Records (“Upside Down” b/w “Vegetable Man”) to their final Sub Pop releases in 1998.

The project was produced in cooperation with JAMC founders Jim and William Reid. Packaged in a 63 x 103 gatefold shell, the new four-disc set includes fresh interviews with the Reid brothers, rare photos and an 183 x 243 double-sided poster featuring a hand-drawn “family tree” tracing JAMC’s evolving lineups on one side and artwork from many of the band’s singles on the other.

B-SIDES & RARITIES builds on the 1988 compilation Barbed Wire Kisses, which was comprised of 20 obscure tracks; all but one of those recordings is included on the new box, which also features hard-to-find cuts from their post 1988 output and eight never-before-heard sides. This massive noise-pop bounty blends non-album tracks revealing some of the band’s most fascinating work, including demo and acoustic versions of well-known favorites, oddball covers, revelatory Reid originals and more.

The box opens with the discovery “Up Too High,” a Darklands-esque song Jim and William committed to cassette in 1983. Other previously unreleased recordings include an alternate version of “Never Understand,” demos of “My Little Underground” and “The Living End” and the unheard song “Walk And Crawl” (all circa Psychocandy), as well as a trio of Stoned And Dethroned-era recordings: an alternate take of “Coast To Coast,” a demo of “Dirty Water” and the lost song “Till I Found You.”

The Jesus And Mary Chain remain one of the most important U.K. bands of the last quarter century. Formed in East Kilbride, Scotland in 1983, the group created a new intersection of noise and pop, draping curtains of guitar feedback over melodies worthy of The Ronettes or The Beach Boys.

In listing JAMC’s 1985 debut Psychocandy among its “500 Greatest Albums Of All Time,” Rolling Stone called the work, “a decadent alt-rock masterpiece of bubblegum pop…drowned in feedback.”

With brothers Jim and William Reid as its, JAMC went on to influence countless alt-rockers to come.

After disbanding in 1998, JAMC re-emerged at 2007’s Coachella Music & Arts Festival. They subsequently embarked on a world tour, and a new album is in the works.


Disc: 1

1. Up Too High(Demo ’83)
2. Upside Down
3. Vegetable Man
4. Suck
5. Ambition
6. Just Out Of Reach
7. Boyfriend’s Dead
8. Head
9. Just Like Honey(Demo Oct. ’84)
10. Cracked
11. Taste Of Cindy(Acoustic)
12. The Hardest Walk
13. Never Understand(Alternate)
14. My Little Underground (Demo)
15. The Living End(Demo)
16. Some Candy Talking
17. Psychocandy
18. Hit
19. Cut Dead(Acoustic)
20. You Trip Me Up(Acoustic)
21. Walk And Crawl

Disc: 2

1. Kill Surf City
2. Bo Diddley Is Jesus
3. Who Do You Love
4. Everything’s Alright When You’re Down
5. Shake
6. Happy When It Rains(Demo)
7. Happy Place
8. F.Hole
9. Rider
10. On The Wall(Porta Studio Demo)
11. Surfin’ USA(April Out-Take)
12. Here It Comes Again
13. Don’t Ever Change
14. Swing
15. Sidewalking
16. Surfin’ USA(Summer Mix)
17. Shimmer
18. Penetration
19. Break Me Down
20. Subway
21. My Girl

Disc: 3

1. In The Black
2. Terminal Beach
3. Deviant Slice
4. I’m Glad I Never
5. Drop(Acoustic Re-Mix)
6. Rollercoaster
7. Silverblade
8. Lowlife
9. Tower Of Song
10. Heat
11. Guitarman
12. Why’d You Want Me
13. Sometimes
14. Teenage Lust(Acoustic Version)
15. Reverberation(Doubt)
16. Don’t Come Down
17. Snakedriver
18. Something I Can’t Have
19. Write Record Release Blues
20. Little Red Rooster

Disc: 4

1. The Perfect Crime
2. Little Stars
3. Drop-Re-Recorded
4. I’m In With The Out Crowd
5. New York City
6. Taking It Away
7. Ghost Of A Smile
8. Alphabet Street
9. Coast To Coast(Alternate-William VOX)
10. Dirty Water(Demo-William VOX)
11. Till I Found You
12. Bleed Me
13. 33 1/3
14. Lost Star
15. Hide Myself
16. Rocket
17. Easylife, Easylove
18. 40,000k
19. Nineteen666

Big thanks to iraklis

We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.

Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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September 30, 2008 Posted by | Music_ClassicRock, Music_Punk, The Jesus And Mary Chain, _MUSIC | 1 Comment

SUICIDE – Live 1977-1978 (2008, 6CD-BOX)

SUICIDE – Live 1977-1978 (2008, 6CD-BOX)
High VBR, 511 Mb:

A magnificent find this!

This was a limited edition of 3000, x 6 CD set of high quality “audio verite” recordings of Suicide playing live in their heyday, September 1977 to August 1978 !

As you will hear, this proved to be a crucial year in Suicide’s development and their mission to stretch the label of Punk Rock to the very limit.

The release also included a 64 page booklet of Suicide & Red Star Records memorabilia from the personal archives of Howard Thompson, the A&R man that signed Suicide to UK Bronze Records.

Only the infamous “23 Minutes Over Brussels” had been released before !!

All mastered by Denis Blackham for optimum listening pleasure.


Disc: 1

1. CBGB Sept 29 1977: 96 Tears Intro/Ghostrider/Rocket USA/Cheree/Jonny/Fr
2. CBGB Dec 3 1977, Set 2: Ghostrider/Jesus Vega/Frankie Teardrop/Put a Li

Disc: 2

1. Palladium NYC Jan 7: Rocket USA/Cheree/Dance/Frankie Teardrop
2. Maxs Jan 13: Ghostrider/Rocket USA/Cheree/Dance/96 Tears/Frankie
3. CBGB Feb 3: Harlem/Ghostrider/Keep Your Dreams/Dance/Frankie Teardrop

Disc: 3

1. Brussels June 16 1978: Frankie Teardrop
2. Paris Olympia June 18 1978: Ghostrider/Rocket USA/Cheree/Dance/Frankie
Charles Ball, Miriam Linna, Martin Rev, Marty Thau, Howard Thompson, Roy Trakin, , Alan Vega

Disc: 4

1. Hamburg Audiomax: Rocket USA/Cheree/Harlem
2. Berlin Kant Kino-Neue Welt June 30 1978: Ghostrider/Rocket USA/Cheree/H
3. Berlin Kant Kino-Neue Welt June 30 1978, Set 2: Ghostrider/Rocket USA/9

Disc: 5

1. London Musicmachine July 24 1978: Rocket USA/Dance/Harlem/Cheree/Mr Ray
2. Our Price Radio Ad
3. Erics Liverpool July 29 1978: Rocket USA/Cheree/Ghostrider/96 Tears
4. Erics, Pt. 2 July 29 1978: Cum Ahead/Frankie Teardrop

Disc: 6

1. Maxs August 25 1978: Ghostrider/Rocket USA/Cheree/Mr Ray/Jonny/Harlem

Big thanks to iraklis / the original poster

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September 28, 2008 Posted by | Music_Electronica, Music_Experimental, Music_PostPunk, Music_Punk, Suicide, _MUSIC | 2 Comments

The Replacements – 4 great Remastered LPs (2008)

The Replacements were an American alternative rock band formed in Minneapolis, Minnesota in 1979. The band comprised guitarist and vocalist Paul Westerberg, guitarist Bob Stinson, bassist Tommy Stinson, and drummer for most of their career.

The Replacements began as a punk rock group, but began to incorporate other subgenres of rock music and became instrumental in the development of early alternative rock.

Following the critically acclaimed Let It Be (1984), the band signed to Sire Records, becoming one of the first American underground rock bands to sign to a major record label. After Bob Stinson was fired from The Replacements in 1986, the band experienced several line-up changes; Slim Dunlap joined as lead guitarist and Steve Foley replaced Chris Mars in 1990.

Towards the end of their career, Westerberg exerted more control over the band’s creative output, recruiting session musicians for recording and writing all the original material. The band disbanded in 1991, with the members soon pursuing various projects. The Replacements never experienced wider commercial success, but have influenced various alternative rock acts, including Goo Goo Dolls, Green Day and Pavement.

The Replacements’ music was influenced by classic rock artists such as the Faces and The Rolling Stones as well as punk bands such as The Clash. Unlike many of their underground contemporaries, The Replacements played “heart-on-the-sleeve” rock songs that combined Westerberg’s “raw-throated adolescent howl”with self-deprecating lyrics. The Replacements were a notoriously wayward live act, often performing under the influence of alcohol and trashing their instruments. The Replacements credit the Twin Cities founding punk band The Suicide Commandos as being their inspiration to become rock musicians.

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The_Replacements-All_Shook_Down-(Remastered)-2008-FNT Part01
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The_Replacements-All_Shook_Down-(Remastered)-2008-FNT Part02

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Average Bitrate: 194/194

Big thanks to burn

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September 28, 2008 Posted by | Music_ClassicRock, Music_Punk, Paul Westerberg, The Replacements, _MUSIC | 1 Comment

The Celibate Rifles – Beyond Respect (2004)

The Celibate Rifles – Beyond Respect (2004)
Mp3 @ 160 Kbs

With their second most recent LP, here’s he mighty Oz group The Celibate Rifles

Their fifteenth studio album – yes, fifteenth !! – this one’s another great album of raw garage rock!

The Celibate RiflesAfter 24 years of banging it out, The Celibate Rifles have released their fifteenth album, ‘Beyond Respect’ and are touring nationally. Vocalist Damien Lovelock remains at the core of the band, along with guitarists Kent Steedman and David Morris, while the rhythm section has rotated once again. The journey to this new album wasn’t all easy: while it’s still the same band the modus operandi has changed.

“It’s like everything when you go from being a full-time band to a part-time band, you’ve got to juggle things,” remarks Lovelock. “We haven’t recorded for over three years and we haven’t played for a year. Everybody has wives, kids, mortgages, jobs, other musical projects, but mostly reality. It’s one thing doing for yourself, it’s another thing for three or four mouths: you don’t have the luxury of three months of living cheap and then back again.

“If you want the hardcore Marxist analysis, we’re victims of structural determinism in its crudest form. But also, you have the life you choose. I can remember people saying that the whole music bubble was bursting in the mid ‘eighties and it did for most people but not for us. That was our best period so we’ve always been so out of step with not only public opinion and what’s popular but what the fuck’s going on in our own industry. When everyone else was doing it hard we were killing it.”

Initially using the word “horrible” to sum up the journey of creating the most recent album, Lovelock points out that the previous album, ‘A Mid-Stream Of Consciousness’ wasn’t so easy either, yet still very much worth the journey. “To my ears, ‘…Mid-Stream…’ is one of the best, if not the best record we ever made. I felt we finally got to make a record that covered all of the landscape that is the ‘Rifles so I’m very happy with that. No-one expected that record to come out and when it came out most people’s first reaction was, ‘I didn’t know you guys were still going,’ that’s how invisible we’d been.”

‘Beyond Respect’ has been well received. “Most reviewers have said they are amazed by how good it is. They always approach bands from another time, especially if they like them, with a sort of trepidation when the new one lands on the desk. It’s like ‘oh God, is this gonna be the one where they embarrass themselves?’ But so far we’ve avoided that and that’s nice.”

Rifles fans who are familiar with Thank You America from the bands second and self-titled album might hear a connection with ‘Beyond Respect”s Salute: the poetry of Lawrence Ferlinghetti. “I always thought it was an incredible achievement that Ferlinghetti’s poem sounded so current 20 years after it had been written,” Lovelock explains. “I actually wrote a set of lyrics for[the song] and I went in to cut the vocal and without having even sung it I just said ‘you know what…?’ I dug out this Ferlinghetti book again and said ‘I just wanna try something, just tell me what you think’ and [producer Rick O’Neil] loved it. It sounds like it was written yesterday. It’s one of those poems that once you read it you think ‘why would I bother writing anything fresh about war when there is this perfect piece of work?'”

Having roots in the punk and independent movement of the late 1970s The Celibate Rifles have had to endure at least a few claims that punk was making its return along with the coming and going of so many other musical moments. So does the changing mood and fickleness of the industry ever get annoying?

“The only time it bothered me was in the early ‘nineties, when that whole Nirvana-independent thing really hit. All these people who had been slagging us off for making, and the word they used to use was ‘grungy,’ sounding records were now worshipping at the altar because it was quite clear the cash cow had arrived and whoever was on that band wagon was gonna make money,” he snarls. “But whenever there’s a new thing they don’t want any old stuff, they don’t want someone like us, so that I must say that pissed me off. But, you know, eventually you just think ‘big fuckin’ deal, who said you had to be here…’ The main thing is I’m glad people listen to music, that’s the main thing.”

Playing stripped-down, loud, and fast Ramones-inspired guitar rock, the Celibate Rifles were one of the earliest punk bands to emerge during the post-Radio Birdman/Saints era. Taking their cues from these Aussie bands, along with the American hard rock of the Stooges, MC5, and Blue Oyster Cult, the Rifles were led by the twin-guitar attack of Kent Steedman and Dave Morris, and the deadpan baritone of vocalist Damien Lovelock.



1. You Won’t Love Me
2. We All Move To Buttland
3. Atom Brain
4. Lazy Sunshine
5. Alhambra
6. Salute
7. Form One Line
8. Seems Much Better
9. Dre
10. Can’t See Nothing There
11. When We Meet Again Until
12. Nobody Knows + My Generation [Hidden Track]

Here she be:


Thanks to kelvin and ausrock

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September 20, 2008 Posted by | Music_Alternative, Music_ClassicRock, music_Garage, Music_Punk, The Celibate Rifles, _MUSIC | Leave a comment

Lou Reed Discography

Anyone for a Lou Reed overdose?

I’m not sure where this comes from but kudos to the posters!

Transformer (1972)

01 – Vicious
02 – Andy’s Chest
03 – Perfect Day
04 – Hangin’ Round
05 – Walk On The Wild Side
06 – Make Up
07 – Satellite Of Love
08 – Wagon Wheel
09 – New York Telephone Conversation
10 – I’m So Free
11 – Goodnight Ladies
12 – Hangin’ Round (Acoustic Demo)
13 – Perfect Day (Acoustic Demo)


David Bowie has never been shy about acknowledging his influences, and since the boho decadence and sexual ambiguity of the Velvet Underground’s music had a major impact on Bowie’s work, it was only fitting that as Ziggy Stardust mania was reaching its peak, Bowie would offer Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went.

Musically, Reed’s work didn’t have too much in common with the sonic bombast of the glam scene, but at least it was a place where his eccentricities could find a comfortable home, and on Transformer Bowie and his right-hand man, Mick Ronson, crafted a new sound for Reed that was better fitting (and more commercially astute) than the ambivalent tone of his first solo album. Ronson adds some guitar raunch to “Vicious” and “Hangin’ Round” that’s a lot flashier than what Reed cranked out with the Velvets, but still honors Lou’s strengths in guitar-driven hard rock, while the imaginative arrangements Ronson cooked up for “Perfect Day,” “Walk on the Wild Side,” and “Goodnight Ladies” blend pop polish with musical thinking just as distinctive as Reed’s lyrical conceits.

And while Reed occasionally overplays his hand in writing stuff he figured the glam kids wanted (“Make Up” and “I’m So Free” being the most obvious examples), “Perfect Day,” “Walk on the Wild Side,” and “New York Telephone Conversation” proved he could still write about the demimonde with both perception and respect. The sound and style of Transformer would in many ways define Reed’s career in the 1970s, and while it led him into a style that proved to be a dead end, you can’t deny that Bowie and Ronson gave their hero a new lease on life — and a solid album in the bargain. (

Berlin (1973)

01 – Berlin
02 – Lady Day
03- Men Of Good Fortune
04 – Caroline Says
05 – How Do You Think It Feels
06 – Oh Jim
07 – Caroline Says II
08 – The Kids
09 – The Bed
10 – Sad Song


Transformer and “Walk on the Wild Side” were both major hits in 1972, to the surprise of both Lou Reed and the music industry, and with Reed suddenly a hot commodity, he used his newly won clout to make the most ambitious album of his career, Berlin. Berlin was the musical equivalent of a drug-addled kid set loose in a candy store; the album’s songs, which form a loose story line about a doomed romance between two chemically fueled bohemians, were fleshed out with a huge, boomy production (Bob Ezrin at his most grandiose) and arrangements overloaded with guitars, keyboards, horns, strings, and any other kitchen sink that was handy (the session band included Jack Bruce, Steve Winwood, Aynsley Dunbar, and Tony Levin).

And while Reed had often been accused of focusing on the dark side of life, he and Ezrin approached Berlin as their opportunity to make The Most Depressing Album of All Time, and they hardly missed a trick.

This all seemed a bit much for an artist who made such superb use of the two-guitars/bass/drums lineup with the Velvet Underground, especially since Reed doesn’t even play electric guitar on the album; the sheer size of Berlin ultimately overpowers both Reed and his material. But if Berlin is largely a failure of ambition, that sets it apart from the vast majority of Reed’s lesser works; Lou’s vocals are both precise and impassioned, and though a few of the songs are little more than sketches, the best — “How Do You Think It Feels,” “Oh, Jim,” “The Kids,” and “Sad Song” — are powerful, bitter stuff. It’s hard not to be impressed by Berlin, given the sheer scope of the project, but while it earns an A for effort, the actual execution merits more of a B-. (

Rock N Roll Animal (1974)

01 – Intro – Sweet Jane
02 – Heroin
03 – White Light – White Heat
04 – Lady Day
05 – Rock ‘N’ Roll


In 1974, after the commercial disaster of his album Berlin, Lou Reed needed a hit, and Rock N Roll Animal was a rare display of commercial acumen on his part, just the right album at just the right time. Recorded in concert with Reed’s crack road band at the peak of their form, Rock N Roll Animal offered a set of his most anthemic songs (most dating from his days with the Velvet Underground) in arrangements that presented his lean, effective melodies and street-level lyrics in their most user-friendly form (or at least as user friendly as an album with a song called “Heroin” can get).

Early-’70s arena rock bombast is often the order of the day, but guitarists Dick Wagner and Steve Hunter use their six-string muscle to lift these songs up, not weigh them down, and with Reed’s passionate but controlled vocals riding over the top, “Sweet Jane,” “White Light/White Heat,” and “Rock ‘n’ Roll” finally sound like the radio hits they always should have been. Reed would rarely sound this commercial again, but Rock N Roll Animal proves he could please a crowd when he had to.

The revised CD reissue of Rock N Roll Animal released in 2000 offers markedly better sound than the album’s initial release, along with two bonus cuts that give a better idea of how this band approached the material from Berlin on-stage, as well as an amusing moment of Reed verbally sparring with a heckler. (

Sally Can’t Dance (1974)

01 – Ride Sally Ride
02 – Animal Language
03 – Baby Face
04 – N. Y. Stars
05 – Kill Your Sons
06 – Ennui
07 – Sally Can’t Dance
08 – Billy
09 – Good Taste


On the live album Rock N Roll Animal, Lou Reed showed he’d learned how to give his audience what they wanted, and do it well. Sally Can’t Dance, on the other hand, was the polar opposite, a remarkably cynical album that pandered to the lowest common denominator of the market that had bought Transformer and Rock N Roll Animal, and didn’t even do it with much flair. Reed’s performances here are limited to vocals, except for some sloppy acoustic guitar on one track (this from the man who helped reinvent electric guitar with the Velvet Underground), and the sodden, overblown arrangements sink most of these tunes before they get past the first chorus; much of the time, Reed sounds like an afterthought on his own album.

And while Reed’s best songwriting ranks with the best rock of his generation, Sally Can’t Dance is cluttered with throwaways that reach for the boho decadence of Transformer and come up empty (with special recognition going to the bizarre and truly puzzling “Animal Language”).

Side two does offer two worthwhile songs: “Kill Your Sons,” a powerful and deeply personal remembrance of Reed’s bouts with shock treatment and brutal psychotherapy, which he would revisit in a much stronger performance on 1984’s Live in Italy, and “Billy,” a witty and surprisingly poignant remembrance of an old friend and how their paths in life diverged. But otherwise, Sally Can’t Dance has the distinction of being the worst studio album of Reed’s career; Metal Machine Music may have been a lot more annoying, but at least he was trying on that one. (

Coney Island Baby (1976)

01 – Crazy Feeling
02 – Charley’s Girl
03 – She’s My Best Friend
04 – Kicks
05 – A Gift
06 – Ooohhh Baby
07 – Nonody’s Business
08 – Coney Island Baby

From 1972’s Transformer onward, Lou Reed spent most of the ’70s playing the druggy decadence card for all it was worth, with increasingly mixed results. But on 1976’s Coney Island Baby, Reed’s songwriting began to move into warmer, more compassionate territory, and the result was his most approachable album since Loaded.

On most of the tracks, Reed stripped his band back down to guitar, bass, and drums, and the results were both leaner and a lot more comfortable than the leaden over-production of Sally Can’t Dance or Berlin. “Crazy Feeling,” “She’s My Best Friend,” and “Coney Island Baby” found Reed actually writing recognizable love songs for a change, and while Reed pursued his traditional interest in the underside of the hipster’s life on “Charlie’s Girl” and “Nobody’s Business,” he did so with a breezy, freewheeling air that was truly a relief after the lethargic tone of Sally Can’t Dance. “Kicks” used an audio-tape collage to generate atmospheric tension that gave its tale of drugs and death a chilling quality that was far more effective than his usual blasé take on the subject, and “Coney Island Baby” was the polar opposite, a song about love and regret that was as sincere and heart-tugging as anything the man has ever recorded. Coney Island Baby sounds casual on the surface, but emotionally it’s as compelling as anything Lou Reed released in the 1970s, and proved he could write about real people with recognizable emotions as well as anyone in rock music — something you might not have guessed from most of the solo albums that preceded it. (

Rock and Roll Heart (1976)

01 – I Belive In Love
02 – Banging On My Drum
03 – Follow The Leader
04 – You Wear It So Well
05 – Ladies Pay
06 – Rock And Roll Heart
07 – Chooser And The Chosen One
08 – Senselessly Cruel
09 – Chain To Fame
10 – Vicious Circle
11 – A Sheltered Life
12 – Temporary Thing


Rock and Roll Heart was Lou Reed’s first album for Arista Records, and one senses that he wanted to come up with something saleable for his new sponsors. Uptempo numbers with pop hooks dominate the set, the 12 songs zip by in an efficient 38 minutes, and instead of Reed’s trademark meditations on the dark side of life, the lyrics are (for the most part) lean bursts of verse and chorus, in which the artist sings the praises of good times in general and rock & roll in particular (then again, on “I Believe in Love,” Reed pledges his allegiance to both “good time music” and “the iron cross,” a bit of perversity to remind us whose album this is).

But if Rock and Roll Heart sounds like “Lou Reed Lite,” there are more than a few flashes of Reed’s inarguable talent. His band is in fine form (especially Marty Fogel on sax and Michael Fonfara on keyboards). “Banging on My Drum” is a crunchy rocker that recalls his work with the Velvet Underground; “A Sheltered Life” is an amusing bit of VU archeology (the Velvets demoed the song, but this marked its first appearance on record); and the closer, “Temporary Thing,” is a bitter, haunting narrative that foreshadows Reed’s next album, the harrowing masterpiece Street Hassle. (

Street Hassle (1978)

01 – Gimmie Some Good Times
02 – Dirt
03 – Street Hassle
04 – I Wanna Be Black
05 – Real Good Time Together
06 – Shooting Star
07 – Leave Me Alone
08 – Wait


The rise of the punk/new wave movement in the late ’70s proved just how pervasive Lou Reed’s influence had been through the past decade, but it also gave him some stiff competition, as suddenly Reed was no longer the only poet of the New York streets. 1978’s Street Hassle was Reed’s first album after punk had gained public currency, and Reed appeared to have taken the minimal approach of punk to heart.

With the exception of Metal Machine Music, Street Hassle was Reed’s rawest set of the 1970s; partly recorded live, with arrangements stripped to the bone, Street Hassle was dark, deep, and ominous, a 180-degree turn from the polished neo-glam of Transformer. Lyrically, Street Hassle found Reed looking deep into himself, and not liking what he saw. Opening with an uncharitable parody of “Sweet Jane,” Street Hassle found Reed acknowledging just how much a self-parody he’d become in the 1970s, and just how much he hated himself for it, on songs like “Dirt” and “Shooting Star.”

Street Hassle was Reed’s most creatively ambitious album since Berlin, and it sounded revelatory on first release in 1978. Sadly, time has magnified its flaws; the Lenny Bruce-inspired “I Wanna Be Black” sounds like a bad idea today, and the murk of the album’s binaural mix isn’t especially flattering to anyone.

But the album’s best moments are genuinely exciting, and the title cut, a three-movement poetic tone poem about life on the New York streets, is one of the most audacious and deeply moving moments of Reed’s solo career. Raw, wounded, and unapologetically difficult, Street Hassle isn’t the masterpiece Reed was shooting for, but it’s still among the most powerful and compelling albums he released during the 1970s, and too personal and affecting to ignore. (

The Blue Mask (1982)

01 – My House
02 – Women
03 – Underneath the Bottle
04 – Gun
05 – The Blue Mask
06 – Average Guy
07 – Heroine
08 – Waves of Fear
09 – Day John Kennedy Died
10 – Heavenly Arms

In 1982, 12 years after he left the Velvet Underground, Lou Reed released The Blue Mask, the first album where he lived up to the potential he displayed in the most groundbreaking of all American rock bands. The Blue Mask was Reed’s first album after he overcame a long-standing addiction to alcohol and drugs, and it reveals a renewed focus and dedication to craft — for the first time in years, Reed had written an entire album’s worth of moving, compelling songs, and was performing them with keen skill and genuine emotional commitment. Reed was also playing electric guitar again, and with the edgy genius he summoned up on White Light/White Heat.

Just as importantly, he brought Robert Quine on board as his second guitarist, giving Reed a worthy foil who at once brought great musical ideas to the table, and encouraged the bandleader to make the most of his own guitar work. (Reed also got superb support from his rhythm section, bassist extraordinaire Fernando Saunders and ace drummer Doane Perry).

As Reed stripped his band back to a muscular two-guitars/bass/drums format, he also shed the faux-decadent “Rock N Roll Animal” persona that had dominated his solo work and wrote clearly and fearlessly of his life, his thoughts, and his fears, performing the songs with supreme authority whether he was playing with quiet subtlety (such as the lovely “My House” or the unnerving “The Gun”) or cranked-to-ten fury (the paranoid “Waves of Fear” and the emotionally devastating title cut). Intelligent, passionate, literate, mature, and thoroughly heartfelt, The Blue Mask was everything Reed’s fans had been looking for in his work for years, and it’s vivid proof that for some rockers, life can begin on the far side of 35. (

Legendary Hearts (1983)

01 – Legendary Hearts
02 – Don’t Talk to Me About Work
03 – Make Up Mind
04 – Martial Law
05 – The Last Shot
06 – Turn Out the Light
07 – Pow Wow
08 – Betrayed
09 – Bottoming Out
10 – Home of the Brave
11 – Rooftop Garden

If Legendary Hearts seemed like a disappointment in 1983, that was largely because the year before Lou Reed had released The Blue Mask, one of the finest albums of his career, and Legendary Hearts just wasn’t quite as good. But pull it off the shelf today, give it a listen, and Legendary Hearts easily shuts down nearly anything Reed released in the 1970s; if it’s a less obvious masterpiece than The Blue Mask, it makes clear that Reed was once again in firm command of his strengths, and making the most of them in the studio. Guitarist Robert Quine and bassist Fernando Saunders were both back on board from The Blue Mask, and they reaffirmed their status as the linchpins of the strongest band of Reed’s solo career, and drummer Fred Maher rocked harder (and with fewer frills) than Doane Perry.

The bracing cross-talk of Reed’s and Quine’s guitars had lost nothing in the year separating the two albums, and if Reed didn’t seem to be aiming quite as high as a songwriter this time out, most of the tracks were every bit as intelligent and soul-searching as The Blue Mask‘s lineup; if there were a few moments of comic relief, like “Don’t Talk to Me About Work” and “Pow Wow,” no one could argue that Reed hadn’t earned a few laughs after songs like “Make Up Mind,” “The Last Shot,” and “Betrayed.” On Legendary Hearts, Reed was writing great songs, playing them with enthusiasm and imagination, and singing them with all his heart and soul, and if it wasn’t his best album, it was more than good enough to confirm that the brilliance of The Blue Mask was no fluke, and that Reed had reestablished himself as one of the most important artists in American rock. (

New York (1989)

01 – Romeo Had Juliette
02 – Halloween Parade (Aids)
03 – Dirty Blvd.
04 – Endless Cycle
05 – There Is No Time
06 – Last Great American Whale
07 – Beginning of a Great Adventure
08 – Busload of Faith
09 – Sick of You
10 – Hold On
11 – Good Evening Mr. Waldheim
12 – Xmas in February
13 – Strawman
14 – Dime Story Mystery [To Andy – Honey]


New York City figured so prominently in Lou Reed’s music for so long that it’s surprising it took him until 1989 to make an album simply called New York, a set of 14 scenes and sketches that represents the strongest, best-realized set of songs of Reed’s solo career. While Reed’s 1982 comeback, The Blue Mask, sometimes found him reaching for effects, New York‘s accumulated details and deft caricatures hit bull’s-eye after bull’s-eye for 57 minutes, and do so with an easy stride and striking lyrical facility.

New York also found Reed writing about the larger world rather than personal concerns for a change, and in the beautiful, decaying heart of New York City, he found plenty to talk about — the devastating impact of AIDS in “Halloween Parade,” the vicious circle of child abuse “Endless Cycle,” the plight of the homeless in “Xmas in February” — and even on the songs where he pointedly mounts a soapbox, Reed does so with an intelligence and smart-assed wit that makes him sound opinionated rather than preachy — like a New Yorker. And when Reed does look into his own life, it’s with humor and perception; “Beginning of a Great Adventure” is a hilarious meditation on the possibilities of parenthood, and “Dime Store Mystery” is a moving elegy to his former patron Andy Warhol.

Reed also unveiled a new band on this set, and while guitarist Mike Rathke didn’t challenge Reed the way Robert Quine did, Reed wasn’t needing much prodding to play at the peak of his form, and Ron Wasserman proved Reed’s superb taste in bass players had not failed him. Produced with subtle intelligence and a minimum of flash, New York is a masterpiece of literate, adult rock & roll, and the finest album of Reed’s solo career. (

Songs for Drella (1990)

01 – Smalltown
02 – Open House
03 – Style It Takes
04 – Work
05 – Trouble With Classicists
06 – Starlight
07 – Faces and Names
08 – Images
09 – Slip Away (A Warning)
10 – It Wasn’t Me
11 – I Believe
12 – Nobody But You
13 – A Dream
14 – Forever Changed
15 – Hello It’s Me

John Cale, the co-founder of The Velvet Underground, left the group in 1968 after tensions between himself and Lou Reed became intolerable; neither had much charitable to say about one other after that, and they seemed to share only one significant area of agreement — they both maintained a great respect and admiration for Andy Warhol, the artist whose patronage of the group helped them reach their first significant audience.

So it was fitting that after Warhol’s death in 1987, Reed and Cale began working together for the first time since White Light/White Heat on a cycle of songs about the artist’s life and times. Starkly constructed around Cale’s keyboards, Reed’s guitar, and their voices, Songs for Drella is a performance piece about Andy Warhol, his rise to fame, and his troubled years in the limelight. Reed and Cale take turns on vocals, sometimes singing as the character of Andy and elsewhere offering their observations on the man they knew.

On a roll after New York, Reed’s songs are strong and pithy, and display a great feel for the character of Andy, and while Cale brought fewer tunes to the table, they’re all superb, especially “Style It Takes” and “A Dream,” a spoken word piece inspired by Warhol’s posthumously published diaries. If Songs for Drella seems modest from a musical standpoint, it’s likely neither Reed nor Cale wanted the music to distract from their story, and here they paint a portrait of Warhol that has far more depth and poignancy than his public image Identity-Issues would have led one to expect.

It’s a moving and deeply felt tribute to a misunderstood man, and it’s a pleasure to hear these two comrades-in-arms working together again, even if their renewed collaboration was destined to be short-lived. (

Magic and Loss (1992)

01 – Dorita
02 – What’s Good
03 – Power and Glory
04 – Magician
05 – Sword of Damocles
06 – Goodby Mass
07 – Cremation
08 – Dreamin’
09 – No Chance
10 – Warrior King
11 – Harry’s Circumcision
12 – Gassed and Stoked
13 – Power and Glory, Pt. 2
14 – Magic and Loss


With 1982’s The Blue Mask, Lou Reed began approaching more mature and challenging themes in his music, and in 1992, Reed decided it was time to tackle the Most Serious Theme of All — Death. Reed lost two close friends to cancer within the space of a year, and the experience informed Magic and Loss, a set of 14 songs about loss, illness, and mortality.

It would have been easy for a project like this to sound morbid, but Reed avoids that; the emotions that dominate these songs are fear and helplessness in the face of a disease (and a fate) not fully understood, and Reed’s songs struggle to balance these anxieties with bravery, humor, and an understanding of the notion that death is an inevitable part of life — that you can’t have the magic without the loss.

It’s obvious that Reed worked on this material with great care, and Magic and Loss contains some of his most intelligent and emotionally intense work as a lyricist. However, Reed hits many of the same themes over and over again, and while Reed and his accompanists — guitarist Mike Rathke, bassist Rob Wasserman, and percussionist Michael Blair — approach the music with skill and impeccable chops, many of these songs are a bit samey; the album’s most memorable tunes are the ones that pull it out of its mid-tempo rut, like the grooving “What’s Good” and the guitar workout “Gassed and Stoked.”

Magic and Loss is an intensely heartfelt piece of music, possessing a taste and subtlety one might never have expected from Reed, but its good taste almost works against it; it’s a sincere bit of public mourning, but perhaps a more rousing wake might have been a more meaningful tribute to the departed. (

Set the Twilight Reeling (1996)

01 – Egg Cream
02 – NYC Man
03 – Finish Line
04 – Trade In
05 – Hang on to Your Emotions
06 – Sex With Your Parents (Motherfucker), Pt. II [Live]
07 – Hookywooky
08 – The Proposition
09 – Adventurer
10 – Riptide
11 – Set the Twilight Reeling


After contemplating the decline of New York City, the passing of his mentor Andy Warhol Noteworthy-Art-Basel-Buys Mar-08 , his place in (perhaps) the greatest American rock band Harmonix-Profile of all time, and the very nature of life and death, in 1996 Lou Reed finally began to consider a really important subject — where to get a good chocolate egg cream.

“Egg Cream” kicked off Set the Twilight Reeling, and for many fans it was a kick to hear Reed cranking up his amps and having some fun again, but much of the rest of the album turned out not to be as lightweight as the opener would have led you to expect. On Set the Twilight Reeling, Reed is preoccupied with relationships, as he tries to figure if he wants a long-term commitment (“Trade In”), if he’s better off as a lone wolf (“NYC Man”), if he’s in love (“The Proposition”), or if he just wants to fool around (“Hookywooky”).

Reed rocks a lot harder here than on the two albums that preceded it (and plays plenty of great crunchy guitar), but much of the album is set in a mellow mid-tempo groove that’s casual and comfortable but not especially compelling. And while “Sex With Your Parents (Motherfucker), Pt. II” is an amusing attack on conservative politicians, his logic isn’t exactly clear.

Longtime fans are no doubt grateful that Reed’s relatively unfocused and unsubstantial albums these days are such a vast improvement over his fallow period in the 1970s, but for the most part Set the Twilight Reeling sounds like a standard issue 1990s Lou Reed album — smart, well-crafted, with plenty of guitar, but nothing terribly special, either. (

Ecstasy (2000)

01 – Paranoia Key of E
02 – Mystic Child
03 – Mad
04 – Ecstasy
05 – Modern Dance
06 – Tatters
07 – Future Farmers of America
08 – Turning Time Around
09 – White Prism
10 – Rock Minuet
11 – Baton Rouge
12 – Like a Possum
13 – Rouge
14 – Big Sky


Never let it be said that Lou Reed has lost the ability to surprise his audience; who would have thought that at the age of 58, on his first album of the new millennium, Reed would offer us an 18-minute guitar distortion workout with lyrics abut kinky sex, dangerous drugs, and (here’s the surprise) imagining what it would be like to be a possum? For the most part, Ecstasy finds Reed obsessed with love and sex, though (as you might expect) his take on romance is hardly rosy (“Paranoia Key of E,” “Mad,” and “Tatters” all document a relationship at the point of collapse, while “Baton Rouge” is an eccentric but moving elegy for a love that didn’t last) and Eros is usually messy (“White Prism”), obsessive (“Ecstasy”), or unhealthy and perverse (“Rock Minuet”).

Reed genuinely seems to be stretching towards new lyrical and musical ground here, but while some of his experiments work, several pointedly do not, with the epic “Like a Possum” only the album’s most spectacular miscalculation. Still, Reed and producer Hal Wilner take some chances with the arrangements that pay off, particularly the subtle horn charts that dot several songs, and Reed’s superb rhythm section (Fernando Saunders on bass and Tony “Thunder” Smith on drums) gives these songs a rock-solid foundation for the leader’s guitar workouts.

As Reed and his band hit fifth gear on the album’s rousing closer, “Big Sky,” he once again proves that even his uneven works include a few songs you’ll certainly want to have in your collection — as long as they’re not about possums. (

The Raven (2003)

01 – Overture
02 – Edgar Allan Poe
03 – Call On Me
04 – The Valley of Unrest
05 – A Thousand Departed Friends
06 – Change
07 – The Bed
08 – Perfect Day
09 – The Raven
10 – Balloon
11 – Broadway Song
12 – Blind Rage
13 – Burning Embers
14 – Vanishing Act
15 – Guilty
16 – I Wanna Know (The Pit and the Pendulum)
17 – Science of the Mind
18 – Hop Frog
19 – Tripitena’s Speech
20 – Who Am I (Tripitena’s Song)
21 – Guardian Angel

>download part1
>download part2

Edgar Allan Poe was a man who usually looked on the dark side of life, had more than a few less-than-healthy romantic and sexual obsessions, was known to dabble in dangerous drugs, and was fascinated with the possibilities of the English language, so it’s no wonder why Lou Reed regards Poe as a kindred spirit.

In his liner notes to the album The Raven, Reed touches on the parallels between their work when he writes, “I have reread and rewritten Poe to ask the same questions again. Who am I? Why am I drawn to do what I should not?…Why do we love what we cannot have? Why do we have a passion for exactly the wrong thing?” Reed’s obsession with Poe’s work found a creative outlet when visionary theatrical director Robert Wilson commissioned Reed to adapt Poe’s works to music for a production called POE-Try, and The Raven collects the material Reed wrote for this project, as well as a number of dramatic interpretations of Poe’s work, featuring performances by Willem Dafoe, Steve Buscemi, Elizabeth Ashley, Amanda Plummer, and others.

The limited-edition two-disc version of The Raven gives a nearly equal balance to words and music; while the single-disc edition is dominated by Reed’s songs, the double-disc set features a much greater number of spoken-word pieces, most of which have been filtered through Reed’s imagination, with a more intense focus on sex, drugs, and conflict as a result.

While the condensed version of The Raven sounds like one of the oddest and most audacious rock albums of recent memory, the complete edition feels more like a lengthy performance piece (albeit a rather unusual one), and while it lacks something in the way of a central narrative, the focus on the letter as well as the spirit of Poe’s work seems a great deal clearer here. The pitch of the acting is sometimes a bit sharp (especially Dafoe, who seems to be projecting to the last row of the balcony), but the con brio performances certainly suit the tenor of the material and Poe’s writing style. Musically, The Raven is all over the map, leaping from low-key acoustic pieces to full-bore, window-rattling rock & roll, with a number of stops along the way.

Reed also touches more than casually on his own past as well, with new recordings of “The Bed” and “Perfect Day” added to the sequence, and for a man not known for his ability to collaborate well, The Raven is jam-packed with guest artists, including David Bowie , the Five Blind Boys of Alabama, Kate and Anna McGarrigle, Ornette Coleman, and Laurie Anderson, all of whom are used to their best advantage.

The mix of ingredients on The Raven is heady, and the result is more than a little bizarre, but there’s no mistaking the fact that Reed’s heart and soul are in this music; even the most oddball moments bleed with passion and commitment, whether he’s handing the vocal mic over to Buscemi for a faux-lounge number, conjuring up brutal guitar distortion while his band wails behind him, or confronting his fears and desires with just a piano to guide him.

Truth to tell, Reed hasn’t sounded this committed and engaged on record since Magic and Loss over a decade before; The Raven reaches for more than it can grasp, especially in its two-hours-plus expanded edition, and is dotted with experiments that don’t work and ideas that don’t connect with their surroundings.

But the good stuff is strong enough that anyone who cares about Lou Reed’s body of work, or Edgar Allan Poe’s literary legacy, ought to give it a careful listen.

The edition contained herein, ladies and gentlemen, is the double disc version!

Big thanks to the original posters

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September 16, 2008 Posted by | David Bowie, John Cale, Lou Reed, Music_Alternative, Music_ClassicRock, Music_Punk, _MUSIC | 1 Comment

Iggy Pop – Zombie Birdhouse (1982)

Nice piece from thefatvat about a somewhat neglected Iggy LP Zombie Birdhouse.

This one was recently released in a bumper 2 CD volume .. we’ll try to dig that version out too and post it soon!

Iggy Pop –
Zombie Birdhouse

Animal Records
6.0 / 10


Of course, we’d love to simply gush over The Ig’s Zombie Birdhouse. He’d likely love it, too. After burning down the house The Stooges built with two miraculous solo albums (yes, yes, we mean 1977’s The Idiot and Lust for Life), Pop put together this album to finally communicate his own voice. The problem is that, as always, his big ideas got in the way. Sorry, Ig.

As is typical, The Stooges collapsed under the weight of ego. Pop felt stifled, as the story goes, by the band members and by the limitations of the band’s genre. Somewhere in mid-rail he’d dreamed himself a genius, and punk unfit. He then emerged from a brief spell of writing in 1977 with twin albums. No small feat, even for bad albums. But both albums were almost impeccable. The Idiot explored Pop’s take on Bowie’s Low influences, turning long sonic indulgences into terrifying noise. Lust for Life, however, better mirrored what would soon be Bowie’s Heroes, trussed up in glittered bows and hip shaking like only a tough guy can.

We hardly need to point out the irony, but we just can’t help ourselves: Pop destroyed his band in the name of pioneering his own sound, then released two Bowie albums. Go figure.

What came after was a series of records that saw Pop being, for the first time in his life, predictable. New Values, Soldier, and Party all sound like Pop trying to prove he can sell a record without Bowie writing the music, each release presenting Pop as an almost likable guy.

Zombie Birdhouse, however, sounds more like a middle finger than a handshake. There’s hardly a song on here that seems built for radio. Every track rolls on, with Pop singing – or we might say quote-unquote singing – the sort of ethereal, pseudo-voodoo lyrics we’d expect of Jim Morrison. He doesn’t rock as hard as he could, nor pander to the masses. Zombie Birdhouse stands now as a reactionary gesture to Pop’s previous releases, a final attempt to establish the genius he was so sure he had. For the first half of the album, he succeeds. Things fall apart in the final half, where the songs begin to emulate far superior work from earlier in his career: “Platonic” steals the dreamy guitar from “China Girl”; “Pain and Suffering” tries to recapture the sulking horror of “Nightclubbing”. That four years passed after Zombie Birdhouse before Pop would be inspired to write again is telling. The album fades out slowly, not with triumph, but exhaustion, the procession indicating that maybe, just maybe, The Ig’s badass brand of art had finally been tapped.

Don’t believe us? Download it first.


1. Run Like a Villain
2. Villagers
3. Angry Hills
4. Life of Work
5. Ballad of Cookie Mcbride
6. Ordinary Bummer
7. Eat or Be Eaten
8. Bulldozer
9. Platonic
10. Horse Song
11. Watching the News
12. Street Crazies

Big thanks to thefatvat

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September 12, 2008 Posted by | Iggy Pop, Music_Punk, _MUSIC | Leave a comment

The Ramones – CBGB, New York City, NY 06-10-77


The Ramones – CBGB, New York City, NY 06-10-77

Extensive boot of wonderful, timeless, live Punk-Pop music from the masters of that art!

Gabba, Gabba, Heyyyyyyyyyyy!!

Dee Dee Ramone
Dee Dee Ramone (aka Douglas Colvin) would have turned 56 next thursday (Sept 18th). All too sadly, he died of a heroin overdose on June 5, 2002. We miss you, man!

Let’s remember Dee Dee with some live clips of himself and compadres in action in CBGBs … don’t know the dates though.

Ramones @ CBGB

More Ramones @ CBGB


01 I Don’t Wanna Go Down To The Basement
02 Beat On The Brat
03 Good Boy
04 Swallow My Pride
05 Glad To See You Go
06 Gimme Gimme Shock Treatment
07 I Don’t Care
08 Now I Wanna Sniff Some Glue
09 Sheena Is My Punk Rocker
10 You Should Never Have Opened That Door
11 I Wanna Be Your Boyfriend
12 Suzy Is A Headbanger
13 Listen To My Heart
14 California Sun
15 Texas Chainsaw Massacre
16 I Don’t Wanna Walk Around With You
17 Today Your Love Tomorrow The World

01 Loudmouth
02 Do You Wanna Dance
03 Blitzkrieg Bop
04 I Remember You
05 Glad To See You Go
06 Teenage Lobotomy
07 You’re Gonna Kill That Girl
08 Carbona Not Glue
09 Sheena Is A Punk Rocker
10 Commando
11 Babysitter
12 Oh Oh I Love Her So
13 Let’s Dance
14 Judy Is A Punk
15 I Don’t Wanna Fuck Around With You
16 Pinhead
17 Suzy Is A Headbanger
18 Chainsaw
19 California Sun

Here she be;


Big thanks to berkeleyplaceindie.blogspot

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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

September 12, 2008 Posted by | Music_Punk, The Ramones, _MUSIC, _VIDEO | Leave a comment

DIY-Starry Eyes UK Pop II (1978-79)

DIY-Starry Eyes UK Pop II (1978-79)
Mp3 / Bitrate: 320 / 2 files

Another great punk/pop collection with wonderful bands like the Buzzcocks, the Undertones, XTC and Squeeze, amongst others!

This is a fine follow up to the excellent collection already posted here .. DIY Teenage Kicks – UK Pop I (1976-79)

Velllyyy Niccceeee!

Picking up where Teenage Kicks left off, D.I.Y.: Starry Eyes: UK Pop II is even more pop-oriented than its predecessor, and that’s taking the Buzzcocks’ searing “Ever Fallen in Love (With Someone You Shouldn’t’ve?)” into consideration.

Although it includes a handful of great singles from artists that were on Teenage Kicks (the Undertones’ “Get Over You,” XTC’s “Life Begins at the Hop,” Squeeze’s “Up the Junction,” the Revillos’ “Where’s the Boy for Me?”), plus Joe Jackson’s familiar “Is She Really Going Out With Him?,” Starry Eyes shines in rounding up terrific singles from under-appreciated artists like Bram Tchaikovsky (“Girl of My Dreams”), the Jags (“Back of My Hand [I’ve Got Your Number]”), the Records (“Starry Eyes”), the Searchers (“Hearts in Her Eyes”), and Purple Hearts (“Millions Like Us”).

These are sparkling pop songs, with ringing guitars and immediate, catchy melodies. Very few of these songs were actual hits, but they are the cornerstone of British new wave and power pop, which has rarely sounded as energetic and vital as it does here.

~ Stephen Thomas Erlewine, All Music Guide


1. Ever Fallen in Love? – Buzzcocks
2. Get over You – The Undertones
3. Yachting Types – The Yachts
4. Is She Really Going Out With Him? – Joe Jackson
5. Schooldays – Starjets
6. Girl of My Dreams – Bram Tchaikovsky
7. This Is Airebeat – Squares
8. Life Begins at the Hop – XTC
9. Up the Junction – Squeeze
10. Back of My Hand (I’ve Got Your Number) – The Jags
11. Let’s Talk About the Weather – The Radiators
12. Starry Eyes – The Records
13. Mourning Star – Zones
14. Millions Like Us – Zones
15. Time Goes by So Slow – Distractions
16. Hearts in Her Eyes – The Searchers
17. Where’s the Boy for Me? – Revillos
18. White Mice – Mo Dettes
19. So Good to Be Back Home Again – The Tourists

Here she be:

2 parts
files interchangeable between hosts

Part 1 / Part 2


Part 1 / Part 2

Password: PVAcblog
Bitrate: 320

Big thanks to digivinyltal


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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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September 11, 2008 Posted by | Music_Pop, Music_Punk, Various Artists, _MUSIC | Leave a comment

John Cooper Clarke – "Où est la maison de fromage?" 1978

John Cooper Clarke – “Où est la maison de fromage?”
Released 1978
Genre Spoken word / Pop / Punk
Label Epic
Producer Martin Hannett

‘I’m freezing Charlie – haven’t ya finished yet?’

From the bard of Salford, the wonderful John Cooper Clarke, comes his amazing debut album LP, titled “Where is the Cheese House?”, chock full of post punk and surreal poetry. And cheese too, obviously!

Like a cross between Luis Bunuel, Spike Milligan, Bob Dylan, Hank Bukowski and Joey Ramone, Clarke was – and still is – a truly unique and magnificent talent!

Yes, it’s “Johnny Clarke, the name behind the hairstyle”!

This LP was produce by Martin Hannett of Factory Records (Joy Division et al) fame.

Liner Notes:

This record comprises twenty three tracks compiled from a selection of material recorded at performances and rehearsals in Manchester. These early tapes contain both previously unpublished poems and firm live performance favourites from John’s extensive repertoire. It’s an essential album.
Make a date with the brassy brides of Britain
the altogether ruder readers’ wives
who put down their needles and their knitting
at the doorway to our dismal daily lives

The fablon top scenarios of passion
nipples peep through holes in leatherette
They seem to be saying in their fashion
‘I’m freezing Charlie – haven’t ya finished yet?’

Cold flesh the colour of potatoes
in an instamatic living room of sin
All the required apparatus
too bad they couldn’t fit her head in

In latex pyjamas with bananas going ape
their identities are cunningly disguised
by a six-inch strip of insulation tape
strategically stuck across their eyes

Wives from Inverness to inner London
prettiness and pimples co-exist
Pictorially wife-swapping with someone
who’s happily married to his wrist

This issue of John Cooper-Clarke’s very first album is nothing less than a riot – and shows how well Salford’s best Bob Dylan lookalike was able to handle an audience and make poetry into a popular art form again.

His stylistic masters are the Liverpool poets of the ’60s, and their influence is apparent in pieces like “Film Extra’s Extra” or the hilarious social comment “Daily Express (You Never See a Nipple In).”

Plenty of his best-known poems get an early airing here (before a relatively welcoming audience), including “Kung Fu International” and “(I Married A) Monster From Outer Space,” in addition to his very first single, “Psycle Sluts (Part 1).” For all the humor, though, there’s plenty of acute social observation going on in the words once the wit has grabbed the ear. A mix of live performances, demos, and rehearsals (all largely unaccompanied, without the Invisible Girls, who’d accompany him on his later studio albums, although tracks like “Spilt Beans” actually have fairly accomplished, if minimal, backing).

Maybe it’s ultimately for completists, but given the small amount of Cooper-Clarke material available, every little bit is to be grabbed at. And this is definitely not the sound of a barrel being scraped. A joy and a shambles, but still a hoot.

– Chris Nickson, All Music Guide


  1. “The Serial, Pt. 1, – 1:43
  2. “Letter to Fiesta, – 1:01
  3. “Film Extra’s Extra, – 3:46
  4. “Majorca, – 1:41
  5. “Action Man, – 1:09
  6. “Kung Fu International, – 1:48
  7. “Sperm Test, – 1:05
  8. “Missing Persons, – 1:56
  9. “Split Beans, – 4:13
  10. “Dumb Row Laughs, – 0:50
  11. “Bunch of Twigs, – 0:33
  12. “Trains, – 0:45
  13. “The Cycle Accident, – 1:18
  14. “Gimmix, – 3:01
  15. “Readers Wives, – 1:14
  16. “Ten Years in an Open Neck Shirt, Pt. 1 – 16:44
  17. “Nothing, – 17:44
  18. “(I Married A) Monster from Outer Space, – 18:44
  19. “Ten Years in an Open Neck Shirt, Pt. 2, – 19:44
  20. “Daily Express (You Never See a Nipple In), – 20:44
  21. “Ten Years in an Open Neck Shirt, Pt. 3, – 21:44
  22. “Salome Malone, – 22:44
  23. “Psycle Sluts, Pt. 1, – 23:44

All tracks written by John Cooper Clarke except where noted

Here be the big cheese!

pw: rideyourpony

Big thanks to the great rideyourpony-twighlightzone

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September 8, 2008 Posted by | John Cooper Clarke, Music_Pop, Music_Punk, OTHER_SPOKEN WORD, _POETRY | Leave a comment

Fugazi – Repeater + 3 Songs (1990)

Fugazi – Repeater + 3 Songs (1990)
MP3 320 kbps / 99 MB

What could a businessman ever want more than to have us sucking in his store?

With its righteous disdain for capitalism and the almighty dollar, Repeater’s themes update Gang of Four’s Solid Gold. Lines/slogans like “When I need something, I reach out and grab it,” and “You are not what you own,” bear this out.

Repeater honestly gets a little stifling in its unrelenting conviction and grandstanding. It’s not too difficult to see why the band was allegedly lacking a sense of humor at this stage; they could have been yelling about filing their taxes, after all.

The title makes sense, if only by mistake. But — and that’s a big but — Repeater nearly matches the early EPs with its musical invention and skill, spitting out another serving of excellence, making the finger-pointing a little easier to digest.

Few rhythm sections of the time had the great interplay of Joe Lally and Brendan Canty. Likewise, the guitar playing and interaction of Ian MacKaye and Guy Picciotto almost always get overlooked, thanks to all the other subjects brought up when the band is talked about. A guitar magazine even rated Repeater as one of the best guitar records of the ’90s, and rightfully so. Anemic revs spiked by pig squeals (or is it a screeching train?) highlight the title track, one of the band’s finest moments.

As always, MacKaye and Picciotto’s noise-terrorism-as-guitar-joust avoids flashiness, used as much as rhythm as punctuation device. Sharp, angular, jagged, and precise. Other gnarling highlights include the preachy “Styrofoam,” the late-breaking “Sieve-Fisted Find,” and the somewhat ironic “Merchandise,” which skewers Mr. Business Owner by asking, “What could a businessman ever want more than to have us sucking in his store?” Not everyone can do mail order, guys.

[The CD version adds the 3 Songs 7″ as a bonus, titled Repeater + 3 Songs.]…..q7g4attv6z


1. Turnover
2. Repeater
3. Brendan #1
4. Merchandise
5. Blueprint
6. Sieve-Fisted Find
7. Greed
8. Two Beats Off
9. Styrofoam
10. Reprovisional
11. Shut the Door
12. Song #1
13. Joe #1
14. Break-In

Here she be;

Big thanks to the original poster

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September 4, 2008 Posted by | Fugazi, Music_Punk, _MUSIC | Leave a comment

Various Artists – C81 Tape

Various Artists – C81 Tape (1981)
Alternative / Indie
Mp3 @ 269kbps

Less famous than the C86 tape, from Brit music mag, New Musical Express together with seminal Indie label Rough Trade, this is a fascinating look at what the Indie Music world in UK – and further afield – looked like at the dawn of the eighties!

C81 was a cassette that was obtained through the British magazine New Musical Express in 1981 (hence (C)assette 81) and released in conjunction with the record label Rough Trade. Intended to mark the first 5 years of the independent label movement in the UK record industry and Rough Trade itself, it was the first in a series of many cassette releases from the paper. Probably the best known (and derided) was the C86 compilation.

Publishing a tape was also an acknowledgment of the flourishing self published cassette culture of the time that the NME had been supporting in its short lived Garageland column.

C81 was compiled by NME journalist Roy Carr, and Christopher Rose, who worked in public relations for Rough Trade. To get a copy, NME readers had to collect two coupons from the newspaper and send off £1.50. The 15,000 orders were sold out within a month.

The tape contained a set of 24 diverse tracks ranging from jazz (James Blood Ulmer), poetry (John Cooper Clarke), ska (The Beat), and the folksy ‘Canterbury Scene’ (Robert Wyatt).

British music writer Simon Reynolds called it “post punk’s swan song”, noting the appearance of three acts from Scottish independent label Postcard Records, and the emerging new pop tendency of bands such as Linx and Scritti Politti.

This is actually much better than C86 in terms of the quality of the acts. Many great bands. Some amazing music.

It’s even got Dublin punk cabaret act The Virgin Prunes, led by one Gavin Friday (professional friend of Boner, sorry Bono!)

A great piece on the C81 Tape below from Stylus;

nME’s C86 cassette was promoted with a week-long series of gigs at London’s Institute of Contemporary Arts, spawned a genre of the same name, and is feted on a regular basis by blogs such as Indie MP3 – Keeping C86 Alive! Twenty years later, the compilation remains firmly entrenched in the indie pop enthusiast’s consciousness.

But C86’s predecessor has never reaped such rewards—quite an injustice too, since NME’s less-heralded, oft-forgotten C81 compilation is more catholic in reach and gleaned from a coterie of far more influential artists.

Like an ancient amphora unearthed during an excavation, the 24-song cassette brilliantly captures the aesthetics of its bygone era: the unfettered boldness, the challenging complexity, and the earnest self-consciousness of post-punk. The comp’s provenance is fairly basic: it was borne out of a conversation between an NME journalist, Roy Carr, and a promotions department employee from Rough Trade Records, Christopher Rose. At the time, Rose was working at Rough Trade with, as he put it, “one of the best-ever PR teams”: one-time Smiths manager Scott Piering and former Slash patriarch Claude Bessy.

“On one of my regular trips to the NME, I was talking with Roy, and during the convo came up with the idea. Obviously I loved it—it was my idea!—and he did too, so we spoke to our respective people and everybody liked it.”

The decision to release the compilation on cassette was Rough Trade and NME’s way of acknowledging the then-prosperous cassette culture. (American and U.K. artists were avidly selling or exchanging music on cassette through a loose network of other artists, as well as fanzine readers.) The compilation was also expected to build on the relative momentum generated by Elvis Costello’s Ten Bloody Marys and Ten How’s Your Fathers (released Nov. 6, 1980) and Bow Wow Wow’s Your Cassette Pet (released one week later)—the U.K.’s first cassette-only releases.

“Cassette culture was very important then,” said Rose, who now runs a vacation villa in Spain. “People had been taping stuff for years, first on reel-to-reel and then on cassettes. I’ve still got loads of tapes of the John Peel show and other stuff. Scott and I—mostly Scott—used to tape loads of gigs by bands we worked with. This was for our own pleasure; I seem to recall some of the recordings were even released. Obviously this trend lives on in the whole bootleg, pirate CD, file-sharing culture of today.”

It’s also important to note C81’s influence upon pop music’s great egress in the late 70s/early 80s. Twenty-five years ago, personal music portability was an unknown concept. However, thanks to releases like C81 and a revolutionary piece of technology introduced in 1979 known as the Sony Walkman (previously dubbed the Stowaway, the Soundabout, and the Freestyle), pop music began to leave the bedroom. It became more disposable, an accessory: “Something that your Pakistani tobacconist will be able to sell under the counter,” as Malcolm McLaren once said.

Just as importantly, C81 also lionized the nascent independent movement, showcasing acts from fledgling labels that had sprouted up in the previous five years: Postcard, 2 Tone, Industrial, and New Hormones.

“It was just another phenomenon that weakened the control of the music industry by the six major labels that existed then,” Rose explained. “We used to say that before the arrival of independent labels and, crucially, independent distributors, six people actually controlled whether you could be in the music industry or not. The independent labels and distributors completely broke that control, although it’s obviously regressed somewhat since then.”

Of course, C81’s status as a landmark release was solidified by its tracklist, which was unparalleled in scope. The cassette cut a wide swath across the post-punk landscape—from industrial and free jazz, to The Sound of Young Scotland and conceptual pop, to DIYers and pre-post-punk luminaries such as Pere Ubu and The Red Krayola.

Compilations with such grandiose ambitions typically spur derision in some listeners, but any Icarusian tendencies on C81’s part are bridled by the inclusion of tracks like the barmy “The Day My Pad Went Mad” by mad Manc John Cooper Clarke, as well as cookie-cutter (but catchy, nonetheless) pop fare from Essential Logic and Linx.

Simply put, the collection delivers highlight after highlight: the volcanic opening crescendo to Orange Juice’s “Blue Boy,” and its lyrics detailing a lad stricken with lovesick schoolboy disease; the saccharine-y pop bliss of Scritti Politti’s “The ‘Sweetest Girl’”; “Kebab Traume Live” by D.A.F. and its garrote-around-the-throat sound; the tribal rhythms, gypsy violins, and plucky guitars in “Shouting Out Loud” by The Raincoats; “The Milkmaid” by The Red Krayola, and its siren-like vocals, lulling the listener into a trance; the humorous vitriol in the lyrics of The Specials’ “Raquel”; Josef K’s “Endless Soul” and its sharp, clean riffing; the chest-constricting tension of Cabaret Voltaire’s “Raising The Count”; and the compilation’s closer—the epic, breathless “Parallel Lines” by Subway Sect.

According to Rose, accumulating such a pop bonanza wasn’t particularly difficult. “Rough Trade was also a distributor of other labels, so we had a huge amount of contacts,” he said. “Getting material really wasn’t a problem; everybody was keen to be involved. I’m pretty sure that there was way more material than space available.”

Upon its release, C81 did have its naysayers, particularly those who felt the compilation was about profit, and was not a true crystallization of cassette culture and the independent label movement. However, such negativity was atypical, as C81 ended up being a massive hit for Rough Trade and NME; thousands of readers ordered the cassette (complete with its dowdy colors and a campy illustration) by doing the necessary busywork: clipping two coupons from the magazine and mailing in £1.50.

“If memory serves,” Rose said, “the C81 compilation sold over 15,000 copies, giving a response rate of way over 10 percent. Normal response rates are typically around the one to four percent range, so this was a big commercial success, as well as a great slice of culture.”

That success led to subsequent compilations offered by NME: the follow-ups, Jive Wire and Mighty Reel, which were released in 1982; Mad Mix II (1983); Raging Spool (1984); Tapeworm and Department of Enjoyment (both in 1985). And, of course, C86.

And what were Rose’s thoughts regarding that particular comp?

C81 was way better than C86, which was much more about the NME trying to shape and control indie music, and keep itself relevant. It failed!”


Side A

Scritti Politti – The Sweetest Girl
The Beat – Twist and Crawl Dub
Pere Ubu – Misery Goats
Wah! Heat – 7,000 Names of Wah!
Orange juice – Blue Boy
Cabaret Voltaire – Raising the Count
D.A.F. – Kebab Traume
Furious Pig – Bare Pork
The Specials – Raquel
Buzzcocks – I Look Alone
Essential Logic – Fanfare in the Garden
Robert Wyatt – Born Again Cretin

Side B

The Raincoats – Shouting Out Loud
Josef F – Endless Soul
The Blue Orchids – Low Profile
Virgin Prunes – Red Nettle
Aztec Camera – We Could Send Letters
Red Crayola – Milkmaid
Linx – Don’t Get in My Way
The Massed Carnaby St John Cooper Clarkes – The Day My Pad Went Mad
James Blood Ulmer – Jazz Is the Teacher, Funk Is the Preacher
Ian Dury – Close to Home
Gist – Greener Grass
Subway Sect – Parallel Lines
John Cooper Clarke – 81 Minutes

Here she be:


thanks to

September 3, 2008 Posted by | Aztec Camera, Music_Alternative, Music_PostPunk, Music_Punk, Various Artists, _MUSIC | 1 Comment