Monday, August 20, 2012
Saturday, July 28, 2012
He
y all - Still Working on a site that will carry my music postings for yeah - like i started to do at the beginin' of this blog ....... so bare w/me - till then i am postin' the podcast for my show
this one is part of the Friday Night Retro Shows i am doin' for the summer - truth be told would love to keep this show as a perm. thang - shrug - who knows maybe 20th cent. will switch shows/times w/me lmfao and maybe hell will freeze over xox
found this pretty kewl site - podomatic when i post the podcast i don't have to re print/type my playlists each time - you can also subscribe to it if you want - ok enjoy! xo
http://punksandotherdv8s.podomatic.com
this one is part of the Friday Night Retro Shows i am doin' for the summer - truth be told would love to keep this show as a perm. thang - shrug - who knows maybe 20th cent. will switch shows/times w/me lmfao and maybe hell will freeze over xox
found this pretty kewl site - podomatic when i post the podcast i don't have to re print/type my playlists each time - you can also subscribe to it if you want - ok enjoy! xo
http://punksandotherdv8s.podomatic.com
Wednesday, July 25, 2012
Sunday, July 15, 2012
Saturday, February 18, 2012
jinx here from t.dot w/episode 119 of punks and other dv8's / garge thang From the Hideout to You
http://ping.fm/KZSvQ
http://ping.fm/KZSvQ
Tuesday, January 24, 2012
THE WORLD MOVE ON A WOMEN'S HIPS
The world move on a women's hips - think it was david burn or talkin' head that have that as a line in their lyrics -
any way this time i want to post something from punk and something from reggae that sort of hybrid thang
and the New Age Steppers i think is the perfect example of what i am talking bout...
early eighties we got shook up by a new sound, On-U Sound it was
called. creation rebel, singers and players, and the New Age
Steppers are some of the groups formed from a much larger group,
all managed and almost directed by the master of sound, adrian
sherwood.
sherwood's effects , his bass and beats were and are of
a unique flavour. Today he also releases CD's under his own name,
but in those days he used to produce only. players of Prince
Far-I's band and other mainly jamaican artists dominate the sound
that is based on reggae.
this is the first of a big pile of On-U Sound LP's... i am posting it in flac and in mp3 formats so you get your pick
but back to case in hand just in case you have no idea who adrian sherwood is...
sherwood was co-founder of Carib Gems and Pressure Sounds, and founder of Hitrun Records as well as Green Tea Records and Soundboy Records. He is also the fourth member of industrial hip-hop outfit Tackhead, credited as "mixologist."
During the early 1980s he brought together many Jamaican artists under the collective name of Singers and Players including Prince Far I, Mikey Dread, Bim Sherman and many others, this helped promote the individual artists at the same time as promoting the record label, On-U Sound Records. He also worked with Suns of Arqa on many of their early records.[3]
In 1986, he began working with Jamaican dub producer and singer Lee Perry. They produced the classic album Time Boom X De Devil Dead and sherwood's support helped relaunch perry's career.
He made contributions to the industrial genre in his remix of Einstürzende Neubauten's song "Yü Gung" on the album Halber Mensch, as well as his production work with Ministry, Cabaret Voltaire, KMFDM, Terminal Power Company and Nine Inch Nails. Adrian has also delved into the blues, producing Little Axe's Real World Records release Champagne & Grits in 2006.
In 2003, sherwood supported Blur at wolverhampton civic hall. the same year, sherwood released his first album as a solo artist, Never Trust a Hippy, which featured collaborations with various artists such as Sly & Robbie, Steven "Lenky" Marsden, Carlton "Bubblers" Ogilvie and Jazzwad.
In 2006 he released his second album Becoming a Cliché that again featuring numerous artists such as Lee "Scratch" Perry, the late Bim Sherman, Dennis Bovell, Little Roy, Lee "LSK" Kenny, Samia Farah, Raiz and Mark Stewart. A limited 2-disc version was released simultaneously with the second disc titled Dub Cliché.
On beginning a solo career, sherwood stated, "I wanted to do some of my own writing and make something that was challenging for me... As a producer, it's my job to satisfy the artist foremost. I wanted to make something that was a little more aggressive and modern. I wanted to paint a picture that was contemporary, one that specifically showed where my brain was at. I've got to the point in my life where it's time for me to call all of the shots."[4]
most recently, sherwood produced the original score for the 2006 independent film, Johnny Was starring Vinnie Jones, Roger Daltrey and Samantha Mumba.
in some ways i've just got ahead of myself - guess i should also tell yeah a bit bout his back ground/himself
Adrian Sherwood (born 1958, London, England) is an English record producer, best known for his work with dub music as well as for remixing a number of popular acts such as Coldcut, Depeche Mode, The Woodentops, Primal Scream, Pop Will Eat Itself, Sinéad O'Connor, and Skinny Puppy.[2] Within his role as a record producer, he has worked with a variety of record labels, however his most well-known label is On-U Sound Records. sherwood has been a member of the band Tackhead.
now back to what i wanna post for all you to grab.... the New Age Steppers album from back in 1981
i remember grabbin' this album when it first came out.....
reason at the time it was another project that ari up was in....
started watchin's sherwoods effects/master o mixology or mixologest projects after the fact....
sorry the url/code is not generating for me
i will grab a code to post it as soon as possible
any way this time i want to post something from punk and something from reggae that sort of hybrid thang
and the New Age Steppers i think is the perfect example of what i am talking bout...
early eighties we got shook up by a new sound, On-U Sound it was
called. creation rebel, singers and players, and the New Age
Steppers are some of the groups formed from a much larger group,
all managed and almost directed by the master of sound, adrian
sherwood.
sherwood's effects , his bass and beats were and are of
a unique flavour. Today he also releases CD's under his own name,
but in those days he used to produce only. players of Prince
Far-I's band and other mainly jamaican artists dominate the sound
that is based on reggae.
this is the first of a big pile of On-U Sound LP's... i am posting it in flac and in mp3 formats so you get your pick
but back to case in hand just in case you have no idea who adrian sherwood is...
sherwood was co-founder of Carib Gems and Pressure Sounds, and founder of Hitrun Records as well as Green Tea Records and Soundboy Records. He is also the fourth member of industrial hip-hop outfit Tackhead, credited as "mixologist."
During the early 1980s he brought together many Jamaican artists under the collective name of Singers and Players including Prince Far I, Mikey Dread, Bim Sherman and many others, this helped promote the individual artists at the same time as promoting the record label, On-U Sound Records. He also worked with Suns of Arqa on many of their early records.[3]
In 1986, he began working with Jamaican dub producer and singer Lee Perry. They produced the classic album Time Boom X De Devil Dead and sherwood's support helped relaunch perry's career.
In 2003, sherwood supported Blur at wolverhampton civic hall. the same year, sherwood released his first album as a solo artist, Never Trust a Hippy, which featured collaborations with various artists such as Sly & Robbie, Steven "Lenky" Marsden, Carlton "Bubblers" Ogilvie and Jazzwad.
In 2006 he released his second album Becoming a Cliché that again featuring numerous artists such as Lee "Scratch" Perry, the late Bim Sherman, Dennis Bovell, Little Roy, Lee "LSK" Kenny, Samia Farah, Raiz and Mark Stewart. A limited 2-disc version was released simultaneously with the second disc titled Dub Cliché.
On beginning a solo career, sherwood stated, "I wanted to do some of my own writing and make something that was challenging for me... As a producer, it's my job to satisfy the artist foremost. I wanted to make something that was a little more aggressive and modern. I wanted to paint a picture that was contemporary, one that specifically showed where my brain was at. I've got to the point in my life where it's time for me to call all of the shots."[4]
most recently, sherwood produced the original score for the 2006 independent film, Johnny Was starring Vinnie Jones, Roger Daltrey and Samantha Mumba.
in some ways i've just got ahead of myself - guess i should also tell yeah a bit bout his back ground/himself
Adrian Sherwood (born 1958, London, England) is an English record producer, best known for his work with dub music as well as for remixing a number of popular acts such as Coldcut, Depeche Mode, The Woodentops, Primal Scream, Pop Will Eat Itself, Sinéad O'Connor, and Skinny Puppy.[2] Within his role as a record producer, he has worked with a variety of record labels, however his most well-known label is On-U Sound Records. sherwood has been a member of the band Tackhead.
now some of you are goin' to love this - sherwood n ari up back in the day
now back to what i wanna post for all you to grab.... the New Age Steppers album from back in 1981
i remember grabbin' this album when it first came out.....
reason at the time it was another project that ari up was in....
started watchin's sherwoods effects/master o mixology or mixologest projects after the fact....
sorry the url/code is not generating for me
i will grab a code to post it as soon as possible
Thursday, January 19, 2012
'all women are bad' there's one with you, lookin' so sweet, but she's just a wolf dressed up like sheep, secret gadgets up under their clothes - stuff you hear about but nobody knows, and it ain't no use...all women are bad save me the label of that perfume on the table, so i can remember what made a wreck of me
ALL WOMEN ARE BAD - so the story goes... but there is one livin' doll outta them, my lit'le sista - Ms D. for 20yrs there 'bouts she dj'ed at a local college radio station. spun some of the best music out there - w/a like'in to metal but a soft spot for rocksteady/reggae
well a month ago was her bday and i missed seein' her in person...
shame on me!! so here you go lit'le sista LOVE YEAHS AND ENJOY!!
to all of you out there ... you can also take a wee part in this brilliant collection of kick ass sets
this is the trojan story w/just two chapters/sets RUDE BOY and ROCKSTEADY both 3 cd sets (at the moment and more to come in a day or two
Since its creation in 1968, Trojan Records has led the way in presenting the very best in classic Jamaican sounds, from the Rocksteady and early Reggae sounds that dominated in the years of its launch, up to the modern styles of Dancehall and Jungle. The company has always taken pride in the quality of its releases, which has highlighted the cream of Jamaican talent, with the likes of Bob Marley & The Wailers, Dennis Brown, John Holt, Ken Boothe, Toots & The Maytals and The Inner Circle all included on its illustrious roster. The output of the leading producers who have been instrumental in the developing sound of Jamaican music has also received due attention, with the works of such legendary figures as Arthur ‘Duke’ Reid, Lee ‘Scratch’ Perry, Clement ‘Coxsone’ Dodd and Leslie Kong all featuring prominently on Trojan releases.
The Trojan story begins on July 28th 1967 when the first incarnation of the label was launched by Island Records as a showcase for the productions of Duke Reid. The name itself derived from the seven ton Leyland ‘Trojan’ trucks that were used to transport the producer‘s huge sound system around Jamaica, and which had emblazoned upon its sides, ’Duke Reid, The Trojan King Of Sounds‘. In fact, long before Island launched their version of the imprint, Reid had used the name on a series of 78s, although it was by the early sixties it had been dropped in favour of the Duke Reid’s and later, Treasure Isle labels. Meanwhile, the first British inception of Trojan proved a short-lived operation, folding after a mere dozen or so releases, with Reid‘s productions subsequently highlighted on the UK incarnation of the aforementioned Treasure Isle imprint.
In 1968, the Trojan name was reactivated by businessman Lee Gopthal, whose company, B&C (Beat & Commercial) had recently merged with Island. Unlike its previous manifestation, the new Trojan label showcased material from varying sources, ranging from British-based producers such as Dandy and Joe Mansano to their esteemed Jamaican counterparts, among whose number included Lee Perry, Bunny Lee, Clancy Eccles and the aforementioned Duke Reid. Meanwhile, the increased volume of recordings being purchased and licensed by the company led to the formation of a series of subsidiary labels, most of which showcased the output of a single producer. Included among these were Amalgamated (for Joe Gibbs), High Note (Sonia Pottinger), Upsetter (Lee Perry), Jackpot (Bunny Lee), Clandisc (Clancy Eccles) and Downtown (Robert ’Dandy‘ Thompson). So substantial was the volume of material obtained for release that further labels such as Blue Cat, Big Shot and Duke were also created to fulfil a similar function to the parent label, issuing recordings from an array of producers. Over the next year or so more than thirty different labels under the Trojan umbrella were launched.
Soon after its creation, Trojan also began releasing albums, with the TRL (S) series featuring packages considered more up-market and the TTL line (later superseded by TBL) aimed at the budget-price market, predominantly featuring various artist compilations, the most successful of which were the popular ’Tighten Up‘ volumes.
In 1969, the company enjoyed their first taste of mainstream success, when Tony Tribe’s upbeat version of Neil Diamond‘s ’Red Red Wine‘ briefly entered the lower reaches of the UK singles chart on 16th July, re-appearing the following month to peak at number 46. Rather than proving a one-off success, the record in fact marked the beginning of a deluge of hits for Trojan and its associated labels. In the Autumn, the Upsetters, led by saxophonist, Val Bennett, hit the number five spot with their double-header, ’Return Of Django‘/’Dollar In The Teeth‘, while the Pioneers’ ‘Long Shot Kick De Bucket’ peaked at number 21. These were swiftly followed by top ten singles from Jimmy Cliff (‘Wonderful World, Beautiful People’) and the Harry J All Stars (‘Liquidator’).
The hits continued into 1970, with Desmond Dekker, the Melodians, Toots & the Maytals, Bob & Marcia, Nicky Thomas, Horace Faith, Freddie Notes & the Rudies, as well as the aforementioned Jimmy Cliff, all breaking into the charts. In the spring of 1971, ‘Double Barrel’ by Dave (Barker) & Ansel Collins gave the company their first British number one, while further chart entries were provided by Bruce Ruffin, Greyhound and The Pioneers.
Aside from the more commercially successful releases, Trojan also showcased work from an array of artists previously considered virtual unknowns outside the shores of Jamaica. Among these were a number of performers who were later to become major international recording stars, including Dennis Brown, Gregory Isaacs, U Roy and a Kingston-based vocal trio called Bob Marley & the Wailers.
The dramatic rise in the company‘s fortunes since its humble beginnings just a year or so before were nothing short of phenomenal. While its incredible success could certainly be credited in some part to the British West Indian ex-patriot community, it was undoubtedly the buying power of the white and proudly working class youth movement, the skinheads, which had the most profound effect. Unable to identify with either the teen-based style of bubblegum or the psychedelic sounds so favoured by the middle-classes, skinheads found the direct, unpretentious approach of Reggae in keeping with their lifestyle and attitudes and readily adopted the music as their own. But as Reggae became mainstream, Trojan’s releases developed a more sophisticated sound, which although initially proved successful, ultimately led to the disenchantment of the music‘s loyal skinhead following. Nonetheless, the hits continued for the company into 1972, with singles from Greyhound, The Pioneers, Dandy (Livingstone) and Judge Dread. The same year Trojan finally severed all links with Island, which began to concentrate its efforts into promoting UK-based acts.
Over the next few years, Trojan released further UK chart hits, with singles by Dandy, Judge Dread and John Holt all breaching the top thirty, while Ken Boothe’s soulful rendering of Bread‘s ’Everything I Own‘ gave the company its second UK number one. Meanwhile, back in Jamaica, the sound of Reggae was changing. Increasingly apparent was the rise in black consciousness and the growing influence of the Rastafarian faith, while Dub had also begun to make its mark, with the pioneering sound engineer, King Tubby continually furthering the boundaries of the sound with his innovative mixing style.
In 1975, Trojan was sold to Saga Records and despite a number of worthwhile releases, sustained commercial success proved elusive. Despite this, the company continued to present some of the best in Jamaican sounds, showcasing the work of leading vocalists, including Linval Thompson and Sugar Minott, DJs, such as the late Prince Far I, and leading Dub masters, Scientist and Prince Jammy.
Ten years on, the company changed hands yet again and its new owners embarked on an extensive re-issue programme, with the imprint quickly becoming established as world leaders in field of vintage Jamaican sounds. In the summer of 2001, Trojan was acquired by Sanctuary Records Group who immediately set about raising the label’s standards even higher. Today, Trojan‘s future looks brighter than ever and with some of the leading authorities in the field of vintage Jamaican music contributing to future releases, there are undoubtedly some truly exciting times ahead.
Source: Trojan Records
RUDE BOY
Accused of causing trouble simply for the sake of it, to many the Rude Boys were heroes on a level with the mythical cowboy and gangster figures who blasted their way through the films that they loved and viewed in a near participatory manner. The glamour of an outlaw existence was glorified in films that became almost like rule books for Rude Boy behaviour and the 'spaghetti westerns' of Sergio Leone and lesser known Italian directors, with their recurrent themes of vengeful violence coupled with studied detachment, exercised so great an influence that many subsequently adopted the names of their favourite characters and actors from the silver screen. James Bond was seen as the ultimate archetypal Rude Boy and '007 (Shanty Town)', a litany of all things Rude from Desmond Dekker & The Aces, carried the cult to the rest of the world in a crossover smash hit in 1967 that is probably the most enduring record of the genre. But most of these real life legends of the Kingston ghettos are almost invariably real dead and have now assumed the mythical and legendary status of the celluloid heroes that they aspired to emulate. Their refusal to become victims of their deprived social status meant that instead they became victims of another kind.
RUDE BOY 3 CD - SET - LINK
http://www.filesonic.com/file/IQQCgza/trojan_rude_boy_box_set_1-3.zip
ROCKSTEADY
to Lit'le Sista - Lady D/Ms D w/all me love xox Happy Bday xox
another 3 set to come w/in the next few days - try to do it in the next 24hrs - to everyone else - enjoy! and pls add yourself to my followers thanks - jinx
well a month ago was her bday and i missed seein' her in person...
shame on me!! so here you go lit'le sista LOVE YEAHS AND ENJOY!!
to all of you out there ... you can also take a wee part in this brilliant collection of kick ass sets
this is the trojan story w/just two chapters/sets RUDE BOY and ROCKSTEADY both 3 cd sets (at the moment and more to come in a day or two
Since its creation in 1968, Trojan Records has led the way in presenting the very best in classic Jamaican sounds, from the Rocksteady and early Reggae sounds that dominated in the years of its launch, up to the modern styles of Dancehall and Jungle. The company has always taken pride in the quality of its releases, which has highlighted the cream of Jamaican talent, with the likes of Bob Marley & The Wailers, Dennis Brown, John Holt, Ken Boothe, Toots & The Maytals and The Inner Circle all included on its illustrious roster. The output of the leading producers who have been instrumental in the developing sound of Jamaican music has also received due attention, with the works of such legendary figures as Arthur ‘Duke’ Reid, Lee ‘Scratch’ Perry, Clement ‘Coxsone’ Dodd and Leslie Kong all featuring prominently on Trojan releases.
The Trojan story begins on July 28th 1967 when the first incarnation of the label was launched by Island Records as a showcase for the productions of Duke Reid. The name itself derived from the seven ton Leyland ‘Trojan’ trucks that were used to transport the producer‘s huge sound system around Jamaica, and which had emblazoned upon its sides, ’Duke Reid, The Trojan King Of Sounds‘. In fact, long before Island launched their version of the imprint, Reid had used the name on a series of 78s, although it was by the early sixties it had been dropped in favour of the Duke Reid’s and later, Treasure Isle labels. Meanwhile, the first British inception of Trojan proved a short-lived operation, folding after a mere dozen or so releases, with Reid‘s productions subsequently highlighted on the UK incarnation of the aforementioned Treasure Isle imprint.
In 1968, the Trojan name was reactivated by businessman Lee Gopthal, whose company, B&C (Beat & Commercial) had recently merged with Island. Unlike its previous manifestation, the new Trojan label showcased material from varying sources, ranging from British-based producers such as Dandy and Joe Mansano to their esteemed Jamaican counterparts, among whose number included Lee Perry, Bunny Lee, Clancy Eccles and the aforementioned Duke Reid. Meanwhile, the increased volume of recordings being purchased and licensed by the company led to the formation of a series of subsidiary labels, most of which showcased the output of a single producer. Included among these were Amalgamated (for Joe Gibbs), High Note (Sonia Pottinger), Upsetter (Lee Perry), Jackpot (Bunny Lee), Clandisc (Clancy Eccles) and Downtown (Robert ’Dandy‘ Thompson). So substantial was the volume of material obtained for release that further labels such as Blue Cat, Big Shot and Duke were also created to fulfil a similar function to the parent label, issuing recordings from an array of producers. Over the next year or so more than thirty different labels under the Trojan umbrella were launched.
Soon after its creation, Trojan also began releasing albums, with the TRL (S) series featuring packages considered more up-market and the TTL line (later superseded by TBL) aimed at the budget-price market, predominantly featuring various artist compilations, the most successful of which were the popular ’Tighten Up‘ volumes.
In 1969, the company enjoyed their first taste of mainstream success, when Tony Tribe’s upbeat version of Neil Diamond‘s ’Red Red Wine‘ briefly entered the lower reaches of the UK singles chart on 16th July, re-appearing the following month to peak at number 46. Rather than proving a one-off success, the record in fact marked the beginning of a deluge of hits for Trojan and its associated labels. In the Autumn, the Upsetters, led by saxophonist, Val Bennett, hit the number five spot with their double-header, ’Return Of Django‘/’Dollar In The Teeth‘, while the Pioneers’ ‘Long Shot Kick De Bucket’ peaked at number 21. These were swiftly followed by top ten singles from Jimmy Cliff (‘Wonderful World, Beautiful People’) and the Harry J All Stars (‘Liquidator’).
The hits continued into 1970, with Desmond Dekker, the Melodians, Toots & the Maytals, Bob & Marcia, Nicky Thomas, Horace Faith, Freddie Notes & the Rudies, as well as the aforementioned Jimmy Cliff, all breaking into the charts. In the spring of 1971, ‘Double Barrel’ by Dave (Barker) & Ansel Collins gave the company their first British number one, while further chart entries were provided by Bruce Ruffin, Greyhound and The Pioneers.
Aside from the more commercially successful releases, Trojan also showcased work from an array of artists previously considered virtual unknowns outside the shores of Jamaica. Among these were a number of performers who were later to become major international recording stars, including Dennis Brown, Gregory Isaacs, U Roy and a Kingston-based vocal trio called Bob Marley & the Wailers.
The dramatic rise in the company‘s fortunes since its humble beginnings just a year or so before were nothing short of phenomenal. While its incredible success could certainly be credited in some part to the British West Indian ex-patriot community, it was undoubtedly the buying power of the white and proudly working class youth movement, the skinheads, which had the most profound effect. Unable to identify with either the teen-based style of bubblegum or the psychedelic sounds so favoured by the middle-classes, skinheads found the direct, unpretentious approach of Reggae in keeping with their lifestyle and attitudes and readily adopted the music as their own. But as Reggae became mainstream, Trojan’s releases developed a more sophisticated sound, which although initially proved successful, ultimately led to the disenchantment of the music‘s loyal skinhead following. Nonetheless, the hits continued for the company into 1972, with singles from Greyhound, The Pioneers, Dandy (Livingstone) and Judge Dread. The same year Trojan finally severed all links with Island, which began to concentrate its efforts into promoting UK-based acts.
Over the next few years, Trojan released further UK chart hits, with singles by Dandy, Judge Dread and John Holt all breaching the top thirty, while Ken Boothe’s soulful rendering of Bread‘s ’Everything I Own‘ gave the company its second UK number one. Meanwhile, back in Jamaica, the sound of Reggae was changing. Increasingly apparent was the rise in black consciousness and the growing influence of the Rastafarian faith, while Dub had also begun to make its mark, with the pioneering sound engineer, King Tubby continually furthering the boundaries of the sound with his innovative mixing style.
In 1975, Trojan was sold to Saga Records and despite a number of worthwhile releases, sustained commercial success proved elusive. Despite this, the company continued to present some of the best in Jamaican sounds, showcasing the work of leading vocalists, including Linval Thompson and Sugar Minott, DJs, such as the late Prince Far I, and leading Dub masters, Scientist and Prince Jammy.
Ten years on, the company changed hands yet again and its new owners embarked on an extensive re-issue programme, with the imprint quickly becoming established as world leaders in field of vintage Jamaican sounds. In the summer of 2001, Trojan was acquired by Sanctuary Records Group who immediately set about raising the label’s standards even higher. Today, Trojan‘s future looks brighter than ever and with some of the leading authorities in the field of vintage Jamaican music contributing to future releases, there are undoubtedly some truly exciting times ahead.
Source: Trojan Records
RUDE BOY
Accused of causing trouble simply for the sake of it, to many the Rude Boys were heroes on a level with the mythical cowboy and gangster figures who blasted their way through the films that they loved and viewed in a near participatory manner. The glamour of an outlaw existence was glorified in films that became almost like rule books for Rude Boy behaviour and the 'spaghetti westerns' of Sergio Leone and lesser known Italian directors, with their recurrent themes of vengeful violence coupled with studied detachment, exercised so great an influence that many subsequently adopted the names of their favourite characters and actors from the silver screen. James Bond was seen as the ultimate archetypal Rude Boy and '007 (Shanty Town)', a litany of all things Rude from Desmond Dekker & The Aces, carried the cult to the rest of the world in a crossover smash hit in 1967 that is probably the most enduring record of the genre. But most of these real life legends of the Kingston ghettos are almost invariably real dead and have now assumed the mythical and legendary status of the celluloid heroes that they aspired to emulate. Their refusal to become victims of their deprived social status meant that instead they became victims of another kind.
RUDE BOY 3 CD - SET - LINK
http://www.filesonic.com/file/IQQCgza/trojan_rude_boy_box_set_1-3.zip
DISC 1
|
DISC 2
|
DISC 3
|
|
Guns Fever
Baba Brooks & His Band Dance Crasher Alton Ellis & The Flames Rude Boy Gone A Jail Desmond Baker & The Clarendonians The Preacher Alton Ellis & The Flames Gunmen Coming To Town The Heptones Hooligans Count Lasher with Lyn Taitt & The Baba Brooks Band Blessings Of Love Alton Ellis & The Flames Don’t Be A Rude Boy The Rulers Soldiers Take Over The Rio Grandes 0.0.7 (Shanty Town) Desmond Dekker & The Aces Denham Town Winston & George No Good Rudie Justin Hinds & The Dominoes Rudie Gets Plenty The Spainishtonians Guns Town Clancy Eccles Rudie Bam Bam The Clarendonians Drop The Ratchet Stranger Cole & The Conquerors Copasetic The Rulers |
Cry Tough
Alton Ellis & The Flames Rudy Got Soul Desmond Dekker & The Aces Stop Them Hazel & The Jolly Boys with The Fugitives Rude Boy Confession Romeo & The Emotions Cool Off Rudies Derrick Morgan What Can I Do The Tartans No More Trouble Lloyd Robinson Rude Boy Train Desmond Dekker & The Aces Beware Of Rude Boys Henry Buckley Rudies All Around Joe White Beware The Overtakers Rudies Are The Greatest The Pioneers Why Oh Why The Black Brothers Bad Man Joe White Guns Fever (Blam Blam Fever) The Valentines Rudy A Message To You Dandy Livingstone |
Tougher Than Tough (Rudie In Court)
Derrick Morgan Set Them Free Lee Perry & The Sensations Don’t Blame The Children Lee Perry & The Sensations Court Dismiss Derrick Morgan Dreader Then Dread Honeyboy Martin & The Voices Judge Dread In Court Derrick Morgan Some Of Them A Bawl (aka Having A Bawl) The Pioneers Stop The Violence The Valentines Curfew Bobby Aitken & The Caribbeats Ratchet Knife Amiel Moodie & The Dandemites Johnny Too Bad The Slickers Johnny Gunman Jackie Edwards Rudie’s Medley Peter Tosh & The Soulmates You Can’t Win The Slickers Cool Down The Untouchables Hooligan Change Your Style (aka Don’t Fight Your Brothers) John Holt Simmer Down Johnny Clarke |
|
Time - 43:41
|
Time - 40:05
|
Time - 50:12
|
ROCKSTEADY
The development of
Rocksteady, and the demise of it's predecessor, Ska, resulted from a
general need for change allied to one of the hottest Jamaican
summers on record. The scorching conditions which persisted
throughout the early months of '66 undoubtedly played it's part in
the desire for the creation of a slower style more conducive to
dancing in such a climate. As the high temperatures continued
unabated, the tempo of the music decreased accordingly and by the
end of the year the transformation from Ska to Rocksteady was
complete. The once favoured driving beat had disappeared and with it
the limitations it's rigid structure had imposed. The new slower
rhythm introduced a freedom of expression previously denied to
performers, musicians and producers. While vocalists in general
benefited greatly from the change, it was particularly welcomed by
vocal groups, who were finally given the opportunity to bring their
harmonies to the fore. The successful adaptation to the new style by
the likes of the Gaylads, The Maytals and Desmond Dekker & The Aces
inspired the formation of new trios and quartets and soon Jamaica
was awash with new vocal groups.
Musicians also enjoyed the time and
space they now experienced and fully utilised the new environment by
developing more subtle and complex arrangements. Among those who led
the way, few were more influential in shaping the sound and style of
Jamaican music than Tommy McCook 7 The Supersonics, who worked
exclusively for Arthur 'Duke' Reid - undoubtedly the most
influential producer of the age. At his famed Bond Street studio,
Reid created many of the finest recordings of the era, by some of
Jamaica's leading performers which included The Paragons, Justin
Hinds & The Dominoes, Phyllis Dillon, The Jamaicans and Alton Ellis
- the man who had first coined the term 'Rocksteady' in his hit from
early 1967.
ROCKSTEADY 3CD - SET - LINK
DISC 1
|
DISC 2
|
DISC 3
|
|
Rocksteady
Alton Ellis Beautiful And Dangerous Desmond Dekker On The Beach The Paragons Little Nut Tree The Melodians Teardrops Falling The Versatiles The Loser Derrick Harriott Shocking Love The Federals Just Tell Me The Maytals Here I Stand Justin Hinds & The Dominoes Come On Now The Ethiopians Somebody's Baby Pat Kelly Ilya Kuryakin Ike Bennett And The Crystallites You You The Natives It's Hard To Confess The Gaylads Do I Worry Derrick Harriott Conquering Ruler Derrick Morgan My Conversation The Uniques |
Island In The Sun
The Paragons To Sir With Love Lyn Taitt & The Jets You're Gonna Need Me Errol Dunkley Don't Touch Me Tomato Phyllis Dillon Dreader Than Dreader Dread Honey Boy Martin Mother's Young Gal Desmond Dekker & The Aces Swing And Dine The Melodians Walk The Streets Derrick Harriott Riding On A High And Windy day The Paragons A.B.C. Rocksteady The Gaylads All My Tears Alton Ellis And The Flames Super Special Lester Sterling Young Wings Can Fly Johnny & The Attractions Trust The Book The Versatiles Can't You See Ken Boothe Born To Love You Derrick Harriott Wear You To The Ball The Paragons |
Rudies All Round
Joe White People Rocksteady The Uniques Once Upon A Time Delroy Wilson Ba Ba Boom The Jamaicans Live It Up The Natives The Upsetter Lee Perry Solomon Derrick Garriott Engine 54 The Etyhiopians I Want to Go Home Derrick Morgan I Will Get Along without You The Melodians Save A Bread Justin Hinds & The Dominoes Silent River (Runs Deep) The Gayletts The Time Has Come The Versatiles Bongo Gal Desmond Dekker & The Aces The Shadow Of Your Smile Tommy McCook Over The Rainbow's End The Gaylads |
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Time - 48:46
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Time - 46:49
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Time - 44:00
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to Lit'le Sista - Lady D/Ms D w/all me love xox Happy Bday xox
another 3 set to come w/in the next few days - try to do it in the next 24hrs - to everyone else - enjoy! and pls add yourself to my followers thanks - jinx
Monday, January 16, 2012
Andre Willims - the Story bout a Brilliant Artist
Multi-talented Zephire "Andre" Williams has worn many musical hats
during his long career: recording artist, songwriter, producer, road
manager, and so on. The Father of Rap was born November 1, 1936, in
Chicago, IL, and was raised in a housing project by his mother, who died
when Williams was six years old. Thereafter, Williams' aunts raised the
precocious lad, who had already become quite the character. The R&B
legend is best known for co-writing and producing "Twine Time" for
Alvin Cash & the Crawlers, "Shake a Tailfeather" by the Five
Dutones, and a greasy solo recording, "Bacon Fat," where Williams talked
over a funky, crude rhythm.
A slick, street-smart, dapper Dan, music was one of Williams' hustles. He ventured to Detroit in his late teens and befriended Jack and Devora Brown, the owners of Fortune Records. He started singing with the Don Juans, a group in which the Browns titled their 45s according to who sang lead, something Gwen Gordy and Billy Davis later did with the Voicemasters. At Fortune, Williams became adept at putting songs together. To date he has more than 230 compositions registered with BMI. In 1956, Fortune issued seven singles by Williams, all but two co-billed with the Don Juans: "Going Down to Tia Juana," "It's All Over," "Bacon Fat," "Mean Jean," "Jail Bait," "The Greasy Chicken," and "Country Girl." "Bacon Fat" and "Jail Bait" were solo shots, the former got a boost from Epic Records, which took over the distribution when the demand got too great for Fortune to handle. Fortune also released "Ooh Ooh Those Eyes" by Don Lake & the Don Juans, and two by pianist Joe Weaver & the Don Juans, "Baby I Love You" and "Baby Child," in 1956. Little Eddie & the Don Juans recorded the first Don Juans record on Fortune, "This Is a Miracle" b/w "Calypso Beat," in 1955. Williams later sang with the Five Dollars, who released records on Fortune from 1956 to 1957, and were billed as Andre Williams & the Five Dollars on a 1960 release.
Doing his Fortune stint, Williams kept busy playing the popular clubs in Detroit and other locales, including the Flamingo Club in Memphis, TN. His biggest solo hit, "Bacon Fat," occurred during a drive to Memphis' Flamingo Club. When he got back to Detroit he persuaded Devora Brown to book a session. Fortune's recording studio was in the back room of a record shop the Browns owned. "Bacon Fat" was Williams' third single for Fortune; he didn't even have the lyrics written, but hurried and did so on a napkin while Devora busied herself setting up the studio mikes. Thank God for DJ Frantic Eddie Durham, who observed the session. He was the only one who understood what was going on. Everyone else, including Joe Weaver, thought Williams was wasting time and money with this talk-singing. Williams and Durham proved them wrong when "Bacon Fat" took off, becoming, with "The Wind" by Nolan Strong & the Diablos, Fortune's most popular record. Williams started talking instead of singing because he knew he couldn't compete vocally with Nolan Strong, Clyde McPhatter, Little Willie John, Jackie Wilson, and others. He created a new style that was later adapted by Harvey Fuqua ("Any Way You Wanna"), Jerry-O, Shorty Long, Bootsy Collins, and others.
After Fortune, Williams languished with Berry Gordy and Motown from 1961 to 1965. He signed as an artist, producer, and writer. His only 45, "Rosa Lee" b/w "Shoo Ooo," was scheduled for release on Gordy's short-lived Miracle label, but was never issued. Gina Parks, a friend from the Don Juans, enjoyed a couple more solo releases on Motown labels but none scored. Williams co-wrote Little Stevie Wonder's first record, "Thank You for Loving Me"; "Oh Little Boy What You Do to Me," the flip of Mary Wells' "My Guy"; an early Eddie Holland single, "It Cleopatra Took a Chance"; and "Mojo Hannah," recorded first by Henry Lumpkin, then Marvin Gaye (outside of Motown it's been remade by Tami Lynn, the Ideals, the Neville Brothers, and others).
His relationship with Berry Gordy was one of mutual respect, but stormy. He never conformed to Gordy's way of doing things, and the four years he spent at Motown weren't consecutive months. When Williams got under Gordy's skin, Gordy fired him; Williams would leave for a few months and produce a hit for someone on another label, and Gordywould invite him back. Williams was still associating with Motown when he masterminded "Shake a Tail Feather" for the Five Dutones and "Twine Time" for Alvin Cash & the Crawlers, on George Leaner's Onederful Records in Chicago. Williams cut a lot of tracks for the Contours; by his estimate he supervised at least two albums' worth of material on the wild, raucous, dancing group, but few were released. During this time Williams co-wrote "Girls Are Getting Prettier," a non-hit for Edwin Starr on Ric Tic Records. At one point, Williams was Starr's road manager.
By 1965, Williams left Motown for good to sign with Chicago's Chess Records and had a string of R&B releases including "The Stroke," "Girdle Up," "Humpin' Bumpin' & Thumpin'," and "Cadillac Jack." His legend grew. A nefarious character but a good entertainer, Williams wore lavender suits, and continued to entertain crowds at bucket-of-blood-type establishments. He produced and wrote for more acts than he remembers, including "The Funky Judge" by Bull & the Matadors on Toddlin' Town Records. A 18-month stint with Ike Turner led to Williams' hitting rock bottom; after the experience he returned to Chicago a full-blown street junkie and was on the verge of self-destruction for years. His biggest period as an artist came around 1960 when Fortune released the LP Jail Bait. He contributed to many sessions including Parliament, Jesse James, Funkadelic, the Red Hot Chili Peppers, the Spinners, Trey Lewd (George Clinton's son), and Amos Milburn. He produced tracks for Mary Wells when she left Motown for 20th Century Fox Records.
Williams now lives in Queens, NY, and is back active in the business of music. He performs at much better venues then he did during his Jail Bait years, and still dazzles audiences with his swagger and loud, pimpish wardrobe. He released more albums in the '90s than he did during the first 40 years of his career, including Silky and Directly from the Streets. The Black Godfather and Fat Back & Corn Liquor followed in 2000. He paired with the New Orleans Hellhounds for 2008's Can You Deal with It? on Bloodshot Records. For 2010's That's All I Need, also on Bloodshot Records, Williams worked with Detroit musicians, including members of the Dirtbombs, the Witches and the Volebeats as well as the Funk Brothers' Dennis Coffey.
Tracks:01. Surfin' In Country Hell
02. Alleluia/Proud Mary
03. I Can Tell
04. Car With The Star
05. She's Allright
06. I Wanna Be Your Favorite Pair Of Pajamas
07. Jail Bait
08. Agile, Mobile, Hostile
09. Tell Me Why
10. Ride, Sally, Ride (aka "Mustang Sally")
11. Let Me Put It In (Your Pussy Is Gut)
A slick, street-smart, dapper Dan, music was one of Williams' hustles. He ventured to Detroit in his late teens and befriended Jack and Devora Brown, the owners of Fortune Records. He started singing with the Don Juans, a group in which the Browns titled their 45s according to who sang lead, something Gwen Gordy and Billy Davis later did with the Voicemasters. At Fortune, Williams became adept at putting songs together. To date he has more than 230 compositions registered with BMI. In 1956, Fortune issued seven singles by Williams, all but two co-billed with the Don Juans: "Going Down to Tia Juana," "It's All Over," "Bacon Fat," "Mean Jean," "Jail Bait," "The Greasy Chicken," and "Country Girl." "Bacon Fat" and "Jail Bait" were solo shots, the former got a boost from Epic Records, which took over the distribution when the demand got too great for Fortune to handle. Fortune also released "Ooh Ooh Those Eyes" by Don Lake & the Don Juans, and two by pianist Joe Weaver & the Don Juans, "Baby I Love You" and "Baby Child," in 1956. Little Eddie & the Don Juans recorded the first Don Juans record on Fortune, "This Is a Miracle" b/w "Calypso Beat," in 1955. Williams later sang with the Five Dollars, who released records on Fortune from 1956 to 1957, and were billed as Andre Williams & the Five Dollars on a 1960 release.
Doing his Fortune stint, Williams kept busy playing the popular clubs in Detroit and other locales, including the Flamingo Club in Memphis, TN. His biggest solo hit, "Bacon Fat," occurred during a drive to Memphis' Flamingo Club. When he got back to Detroit he persuaded Devora Brown to book a session. Fortune's recording studio was in the back room of a record shop the Browns owned. "Bacon Fat" was Williams' third single for Fortune; he didn't even have the lyrics written, but hurried and did so on a napkin while Devora busied herself setting up the studio mikes. Thank God for DJ Frantic Eddie Durham, who observed the session. He was the only one who understood what was going on. Everyone else, including Joe Weaver, thought Williams was wasting time and money with this talk-singing. Williams and Durham proved them wrong when "Bacon Fat" took off, becoming, with "The Wind" by Nolan Strong & the Diablos, Fortune's most popular record. Williams started talking instead of singing because he knew he couldn't compete vocally with Nolan Strong, Clyde McPhatter, Little Willie John, Jackie Wilson, and others. He created a new style that was later adapted by Harvey Fuqua ("Any Way You Wanna"), Jerry-O, Shorty Long, Bootsy Collins, and others.
After Fortune, Williams languished with Berry Gordy and Motown from 1961 to 1965. He signed as an artist, producer, and writer. His only 45, "Rosa Lee" b/w "Shoo Ooo," was scheduled for release on Gordy's short-lived Miracle label, but was never issued. Gina Parks, a friend from the Don Juans, enjoyed a couple more solo releases on Motown labels but none scored. Williams co-wrote Little Stevie Wonder's first record, "Thank You for Loving Me"; "Oh Little Boy What You Do to Me," the flip of Mary Wells' "My Guy"; an early Eddie Holland single, "It Cleopatra Took a Chance"; and "Mojo Hannah," recorded first by Henry Lumpkin, then Marvin Gaye (outside of Motown it's been remade by Tami Lynn, the Ideals, the Neville Brothers, and others).
His relationship with Berry Gordy was one of mutual respect, but stormy. He never conformed to Gordy's way of doing things, and the four years he spent at Motown weren't consecutive months. When Williams got under Gordy's skin, Gordy fired him; Williams would leave for a few months and produce a hit for someone on another label, and Gordywould invite him back. Williams was still associating with Motown when he masterminded "Shake a Tail Feather" for the Five Dutones and "Twine Time" for Alvin Cash & the Crawlers, on George Leaner's Onederful Records in Chicago. Williams cut a lot of tracks for the Contours; by his estimate he supervised at least two albums' worth of material on the wild, raucous, dancing group, but few were released. During this time Williams co-wrote "Girls Are Getting Prettier," a non-hit for Edwin Starr on Ric Tic Records. At one point, Williams was Starr's road manager.
By 1965, Williams left Motown for good to sign with Chicago's Chess Records and had a string of R&B releases including "The Stroke," "Girdle Up," "Humpin' Bumpin' & Thumpin'," and "Cadillac Jack." His legend grew. A nefarious character but a good entertainer, Williams wore lavender suits, and continued to entertain crowds at bucket-of-blood-type establishments. He produced and wrote for more acts than he remembers, including "The Funky Judge" by Bull & the Matadors on Toddlin' Town Records. A 18-month stint with Ike Turner led to Williams' hitting rock bottom; after the experience he returned to Chicago a full-blown street junkie and was on the verge of self-destruction for years. His biggest period as an artist came around 1960 when Fortune released the LP Jail Bait. He contributed to many sessions including Parliament, Jesse James, Funkadelic, the Red Hot Chili Peppers, the Spinners, Trey Lewd (George Clinton's son), and Amos Milburn. He produced tracks for Mary Wells when she left Motown for 20th Century Fox Records.
Williams now lives in Queens, NY, and is back active in the business of music. He performs at much better venues then he did during his Jail Bait years, and still dazzles audiences with his swagger and loud, pimpish wardrobe. He released more albums in the '90s than he did during the first 40 years of his career, including Silky and Directly from the Streets. The Black Godfather and Fat Back & Corn Liquor followed in 2000. He paired with the New Orleans Hellhounds for 2008's Can You Deal with It? on Bloodshot Records. For 2010's That's All I Need, also on Bloodshot Records, Williams worked with Detroit musicians, including members of the Dirtbombs, the Witches and the Volebeats as well as the Funk Brothers' Dennis Coffey.
Tracks:01. Surfin' In Country Hell
02. Alleluia/Proud Mary
03. I Can Tell
04. Car With The Star
05. She's Allright
06. I Wanna Be Your Favorite Pair Of Pajamas
07. Jail Bait
08. Agile, Mobile, Hostile
09. Tell Me Why
10. Ride, Sally, Ride (aka "Mustang Sally")
11. Let Me Put It In (Your Pussy Is Gut)
[URL=http://www.filesonic.com/file/V7G1bGg/1999_-_Hot_As_Hell.zip]http://www.filesonic.com/file/V7G1bGg/1999_-_Hot_As_Hell.zip[/URL]
Sunday, January 15, 2012
the Scientists - yet another from down under
THE SCIENTISTS
ok so this is what trouser press has to say bout the Scientists ( sort of wish i could take credit for all this but to tell you the truth... you'd think w/a band like the scientists that influenced so many bands and are defiantly a big part of garage and punk history, you could find info on them .... hell no .... so i hadda piece together what i could w/the best info and the most links to get you even more info on other bands and the splinters that came from the split of the scientists - so stop moanin' and just enjoy the ride! ..lol)
SCIENTISTS
Scientists EP (Aus. White Rider) 1979
The Scientists (Aus. YPRX) 1981
Blood Red River EP (UK Au-go-go) 1983
This Heart Doesn't Run on Blood, This Heart Doesn't Run on Love EP (UK Au-go-go) 1984
You Get What You Deserve (UK Karbon) 1985
Rubber Never Sleeps (Aus. Au-go-go) 1985
Heading for a Trauma (UK Au-go-go) 1985
Demolition Derby (Bel. Soundwork) 1985
Atom Bomb Baby (UK Au-go-go) 1985
Weird Love (Big Time) 1986
The Human Jukebox (UK Karbon) 1987
The Sweet Corn Sessions EP (Aus. Timberyard) 1989
A Pox on You EP (Sp. Munster) 1989
Pissed on Another Planet EP (Aus. Timberyard) 1990
KIM SALMON AND THE SURREALISTS
Hit Me with the Surreal Feel (Aus. Black Eye) 1988
Just Because You Can't See It ... Doesn't Mean It Isn't There (Aus. Black Eye) 1989
INTERSTELLAR VILLAINS
Right Out in the Lobster Quadrille EP (Aus. Timberyard) 1989
Perth, Australia; May 1978. An unrecorded band named the Invaders (which included bassist Boris Sujdovic, guitarist Rod Radalj, and guitarist/lead vocalist Kim Salmon) joins forces with drummer James Baker, changes their name to the Scientists and releases "Frantic Romantic," a bright little pop single. A four-track EP and a delightfully gritty LP of hard pop follow. But music life in Perth (on the far west coast of Australia, 2,500 miles of outback away from anyplace else) becomes frustrating. Baker leaves for Sydney where he meets up with fellow Perth renegade Dave Faulkner (who had been in a band named the Gurus and was then in an unnamed ensemble with fellow Perth-escapee Radalj). Baker joins the new Faulkner/Radalj group and they name it Le Hoodoo Gurus.
September 1981: Salmon also gives up on Perth and relocates to Sydney, where he and Sujdovic create a new Scientists with a manic swamp-grunge sound. Full of dirty feedback and great swaths of nod-out guitar, Blood Red River (one of several Scientists records to be issued by Au-go-go in the UK as well as in Australia) pays homage to Suicide with pounding basslines and echo-chamber-overkill vocals, while hinting at the hypnotic fusion of '60s hookah smoke and screechingly overheated guitar that bubbles through This Heart Doesn't Run on Blood and on into Weird Love to become the Scientists' sound. From screaming blues-rooted mania laid over repeating circles of bass and twists of cacophony lead guitar, through the frenetic Cramps-meet-Birthday Party dirges of the Belgian-only Demolition Derby, each release nudges the band's sound a step further through a path of deep, dark, nod-out blasts until 1984 when, ever in search of someplace else, the Scientists left Australia for London, where their story begins to fall apart.
Except for Atom Bomb Baby (a mighty collection of blistering rockers recorded in London in late '84) and the very Crampsy "You Only Live Twice" single (a cover of the James Bond theme), the next three Scientists releases are mostly archive material. You Get What You Deserve combines the seven-song Atom Bomb Baby and Demolition Derby with the B-side from "You Only Live Twice" as a bonus cut. Heading for a Trauma has four new songs but is otherwise a compilation of pre-Blood singles, a radio session and the Demolition Derby tracks (again). The tape-only Rubber Never Sleeps digs even further into the vaults to include live material from two of the Scientists' pre-Hoodoo Gurus lineups, as well as 1982-'83 live tracks.
Although the poundingly intense Weird Love (the only Scientists record released in the US) was — with the exception of the earlier "You Only Live Twice" — newly recorded in London (February 1986) with producer Richard Mazda, it again portrays the band's music as history by consisting entirely of old material, including such tracks as "Demolition Derby," "Atom Bomb Baby" and "Nitro" (originally on This Heart).
By The Human Jukebox, only guitarists Salmon and Tony Thewlis remained from the Australian band. A dreary album lacking the searing frenzy that gave the Scientists their impact, Jukebox's repetition comes off as industrial rather than mesmerizing; Salmon's vocals are flat and droney as if he'd taken lessons from a reject from Lou Reed High.
In 1989, the "Frantic Romantic" single and the 1979 EP recorded in Perth's Sweet Corn Studios were compiled and reissued as the Sweet Corn Sessions, a six-track EP. That same material was later reissued again with different artwork as Pissed on Another Planet, taking its name from one of the cuts.
Despite the Scientists' demise, the band's archives continue to be raided. In 1989, the Spanish fanzine La Herenica issued a four-track EP featuring alternate versions of "Swampland," "Nitro," "Solid Gold Hell" and "A Pox on You" along with its 72-page all-Scientists issue.
Since the Scientists, Salmon and his new band, the Surrealists, have been churning out wild and frenzied rock music: untamed, primal and filled with frenzy. Like the Scientists, the new group uses the mantra of repetition to suck listeners into its groove. Sometimes it's a nightmare; other times (as in Just Because's cover version of "Je t'Aime") it's just a wet dream. But the music is always imbued with a fine and tortured spirit. Alternately funky and bluesy/rootsy but always based on the scrapes and squeals and manipulations of hard, electric guitar, the records are, above all, rock'n'roll. (Not content to limit his creativity to just one group or perspective at a time, Salmon has more recently released a solo single, "Lightning Scary" that couples '60s AM radio-style pop with rap.)
Following the Scientists, Tony Thewlis assembled the Interstellar Villains, whose 12-inch EP (Right Out in the Lobster Quadrille) is a psychocandied fusion between pop and pound. More twisted than the mid-'80s paisley but not a self-indulgent space-rock ramble either, Lobster grafts American roots rock to British production styles, putting its pop proclivities across in a more cleanly textured surface than American garage bands working the same tradition, but with more guts than the glossier Brits.
The Scientists are an influential post-punk band from Perth, Australia, led by Kim Salmon, initially known as Exterminators and then Invaders.[1] The band had two primary incarnations: the Perth-based punk band of the late 1970s and the Sydney/London-based swamp rock band of the 1980s. The Scientists were much more influential than their minimal commercial success would indicate, lending their influence to artists such as Mudhoney and New York's downtown indie scene of the early 1990s.
perth 1978 - 1981 The Invaders became The Scientists in May 1978, when James Baker from The Victims replaced John Rowlings. Sujdovic left the band in August 1978. The songwriting partnership that ensued, with Baker writing lyrics which Salmon would put to music, naturally favoured a melodic pop infused style of punk.
The band started playing again in January 1979 with Dennis Byrne on bass. This lineup recorded the band's first single, "Frantic Romantic"/"Shake (Together Tonight)", released in June 1979 on the DNA label.
Radalj and Byrne left in April 1979, to be replaced by Ben Juniper (guitar) and Ian Sharples (bass). This lineup recorded the band's second release, The Scientists EP (released February 1980) and did two tours of Melbourne and Sydney, in December 1979 and February/March 1980. In Melbourne, the band appeared on pop TV show Countdown, performing "Last Night" from the EP.
Juniper left the band in May 1980 and Salmon, Baker and Sharples continued as a three-piece. The band broke up in January 1981 after recording their album, The Scientists (commonly referred to as The Pink Album), released in August 1981. In Sydney, Baker had joined Radalj to form Le Hoodoo Gurus with Dave Faulkner (ex-The Victims) and Kimble Rendall in January 1981.[2][3]
Salmon then formed Louie Louie with Kim Williams (bass) and Brett Rixon (drums), though this band broke up in August 1981.
Radalj and Byrne left in April 1979, to be replaced by Ben Juniper (guitar) and Ian Sharples (bass). This lineup recorded the band's second release, The Scientists EP (released February 1980) and did two tours of Melbourne and Sydney, in December 1979 and February/March 1980. In Melbourne, the band appeared on pop TV show Countdown, performing "Last Night" from the EP.
Juniper left the band in May 1980 and Salmon, Baker and Sharples continued as a three-piece. The band broke up in January 1981 after recording their album, The Scientists (commonly referred to as The Pink Album), released in August 1981. In Sydney, Baker had joined Radalj to form Le Hoodoo Gurus with Dave Faulkner (ex-The Victims) and Kimble Rendall in January 1981.[2][3]
Salmon then formed Louie Louie with Kim Williams (bass) and Brett Rixon (drums), though this band broke up in August 1981.
The band was signed by Au Go Go Records, who released "This Is My Happy Hour"/"Swampland" (December 1982), the influential Blood Red River mini-LP (September 1983) and "We Had Love"/"Clear Spot" (December 1983).
By the end of 1983, The Scientists were one of the most popular Australian independent bands. Deciding to move on to new horizons, they left Australia to move to London in March 1984. In October 1984, the band supported The Gun Club on their European tour. Meanwhile, Au Go Go had issued the mini-LP This Heart Doesn't Run on Blood, This Heart Doesn't Run on Love mini-album (September 1984). By this time, the band's music had left the Cramps-like sound behind, becoming much darker and harsher and coming more uniquely into their own.
The band released a 12" EP, Demolition Derby, in Belgium in February 1985, and their first full overseas album, You Get What You Deserve, in the UK in July 1985 on their manager's Karbon label, followed by the "You Only Live Twice/If It's The Last Thing I Do" 7" in September. Owing to contractual disputes with Au Go Go, different mixes of some tracks appeared in Australia as the mini-album Atom Bomb Baby, with the 7" "Atom Bomb Baby/Backwards Man" and a compilation LP Heading For A Trauma (comprising Demolition Derby with rare, radio and live tracks) being released with it in July 1985.
Brett Rixon left the band in February 1985 to be replaced by Phillip Hertz, who was replaced in December 1985 by Leanne Chock. The band got a new deal with Big Time Records, who asked them to do a best-of compilation to introduce them to the market. The band rerecorded 11 of their songs with producer Richard Mazda as Weird Love, released April 1986.
Sujdovic had to leave the UK after the recording owing to visa problems and was replaced by Rob Coyne of Silver Chapter. Coyne and Chock left in December 1986, Salmon shifted to bass and Nick Combe joined on drums. The Salmon/Thewlis/Combe lineup recorded the album Human Jukebox in December 1986.
This lineup returned to Australia in April 1987 for the Human Jukebox tour. Salmon moved back to Perth with his wife Linda Fearon (co-writer of "Blood Red River") and son. Human Jukebox was released on Karbon in October 1987. The band toured Australia in November 1987, with a lineup of Salmon, Thewlis, Combe on drums and Brett Rixon rejoining on bass. Their last show was at the Shenton Park Hotel, Perth, Saturday 27 November 1987.
http://www.filesonic.com/file/IQxpvxl/Scientists_-_Pissed_on_Another_Planet.zip
ok so this is what trouser press has to say bout the Scientists ( sort of wish i could take credit for all this but to tell you the truth... you'd think w/a band like the scientists that influenced so many bands and are defiantly a big part of garage and punk history, you could find info on them .... hell no .... so i hadda piece together what i could w/the best info and the most links to get you even more info on other bands and the splinters that came from the split of the scientists - so stop moanin' and just enjoy the ride! ..lol)
SCIENTISTS
Scientists EP (Aus. White Rider) 1979
The Scientists (Aus. YPRX) 1981
Blood Red River EP (UK Au-go-go) 1983
This Heart Doesn't Run on Blood, This Heart Doesn't Run on Love EP (UK Au-go-go) 1984
You Get What You Deserve (UK Karbon) 1985
Rubber Never Sleeps (Aus. Au-go-go) 1985
Heading for a Trauma (UK Au-go-go) 1985
Demolition Derby (Bel. Soundwork) 1985
Atom Bomb Baby (UK Au-go-go) 1985
Weird Love (Big Time) 1986
The Human Jukebox (UK Karbon) 1987
The Sweet Corn Sessions EP (Aus. Timberyard) 1989
A Pox on You EP (Sp. Munster) 1989
Pissed on Another Planet EP (Aus. Timberyard) 1990
KIM SALMON AND THE SURREALISTS
Hit Me with the Surreal Feel (Aus. Black Eye) 1988
Just Because You Can't See It ... Doesn't Mean It Isn't There (Aus. Black Eye) 1989
INTERSTELLAR VILLAINS
Right Out in the Lobster Quadrille EP (Aus. Timberyard) 1989
Perth, Australia; May 1978. An unrecorded band named the Invaders (which included bassist Boris Sujdovic, guitarist Rod Radalj, and guitarist/lead vocalist Kim Salmon) joins forces with drummer James Baker, changes their name to the Scientists and releases "Frantic Romantic," a bright little pop single. A four-track EP and a delightfully gritty LP of hard pop follow. But music life in Perth (on the far west coast of Australia, 2,500 miles of outback away from anyplace else) becomes frustrating. Baker leaves for Sydney where he meets up with fellow Perth renegade Dave Faulkner (who had been in a band named the Gurus and was then in an unnamed ensemble with fellow Perth-escapee Radalj). Baker joins the new Faulkner/Radalj group and they name it Le Hoodoo Gurus.
September 1981: Salmon also gives up on Perth and relocates to Sydney, where he and Sujdovic create a new Scientists with a manic swamp-grunge sound. Full of dirty feedback and great swaths of nod-out guitar, Blood Red River (one of several Scientists records to be issued by Au-go-go in the UK as well as in Australia) pays homage to Suicide with pounding basslines and echo-chamber-overkill vocals, while hinting at the hypnotic fusion of '60s hookah smoke and screechingly overheated guitar that bubbles through This Heart Doesn't Run on Blood and on into Weird Love to become the Scientists' sound. From screaming blues-rooted mania laid over repeating circles of bass and twists of cacophony lead guitar, through the frenetic Cramps-meet-Birthday Party dirges of the Belgian-only Demolition Derby, each release nudges the band's sound a step further through a path of deep, dark, nod-out blasts until 1984 when, ever in search of someplace else, the Scientists left Australia for London, where their story begins to fall apart.
Except for Atom Bomb Baby (a mighty collection of blistering rockers recorded in London in late '84) and the very Crampsy "You Only Live Twice" single (a cover of the James Bond theme), the next three Scientists releases are mostly archive material. You Get What You Deserve combines the seven-song Atom Bomb Baby and Demolition Derby with the B-side from "You Only Live Twice" as a bonus cut. Heading for a Trauma has four new songs but is otherwise a compilation of pre-Blood singles, a radio session and the Demolition Derby tracks (again). The tape-only Rubber Never Sleeps digs even further into the vaults to include live material from two of the Scientists' pre-Hoodoo Gurus lineups, as well as 1982-'83 live tracks.
Although the poundingly intense Weird Love (the only Scientists record released in the US) was — with the exception of the earlier "You Only Live Twice" — newly recorded in London (February 1986) with producer Richard Mazda, it again portrays the band's music as history by consisting entirely of old material, including such tracks as "Demolition Derby," "Atom Bomb Baby" and "Nitro" (originally on This Heart).
By The Human Jukebox, only guitarists Salmon and Tony Thewlis remained from the Australian band. A dreary album lacking the searing frenzy that gave the Scientists their impact, Jukebox's repetition comes off as industrial rather than mesmerizing; Salmon's vocals are flat and droney as if he'd taken lessons from a reject from Lou Reed High.
In 1989, the "Frantic Romantic" single and the 1979 EP recorded in Perth's Sweet Corn Studios were compiled and reissued as the Sweet Corn Sessions, a six-track EP. That same material was later reissued again with different artwork as Pissed on Another Planet, taking its name from one of the cuts.
Despite the Scientists' demise, the band's archives continue to be raided. In 1989, the Spanish fanzine La Herenica issued a four-track EP featuring alternate versions of "Swampland," "Nitro," "Solid Gold Hell" and "A Pox on You" along with its 72-page all-Scientists issue.
Since the Scientists, Salmon and his new band, the Surrealists, have been churning out wild and frenzied rock music: untamed, primal and filled with frenzy. Like the Scientists, the new group uses the mantra of repetition to suck listeners into its groove. Sometimes it's a nightmare; other times (as in Just Because's cover version of "Je t'Aime") it's just a wet dream. But the music is always imbued with a fine and tortured spirit. Alternately funky and bluesy/rootsy but always based on the scrapes and squeals and manipulations of hard, electric guitar, the records are, above all, rock'n'roll. (Not content to limit his creativity to just one group or perspective at a time, Salmon has more recently released a solo single, "Lightning Scary" that couples '60s AM radio-style pop with rap.)
Following the Scientists, Tony Thewlis assembled the Interstellar Villains, whose 12-inch EP (Right Out in the Lobster Quadrille) is a psychocandied fusion between pop and pound. More twisted than the mid-'80s paisley but not a self-indulgent space-rock ramble either, Lobster grafts American roots rock to British production styles, putting its pop proclivities across in a more cleanly textured surface than American garage bands working the same tradition, but with more guts than the glossier Brits.
The Scientists are an influential post-punk band from Perth, Australia, led by Kim Salmon, initially known as Exterminators and then Invaders.[1] The band had two primary incarnations: the Perth-based punk band of the late 1970s and the Sydney/London-based swamp rock band of the 1980s. The Scientists were much more influential than their minimal commercial success would indicate, lending their influence to artists such as Mudhoney and New York's downtown indie scene of the early 1990s.
perth 1978 - 1981 The Invaders became The Scientists in May 1978, when James Baker from The Victims replaced John Rowlings. Sujdovic left the band in August 1978. The songwriting partnership that ensued, with Baker writing lyrics which Salmon would put to music, naturally favoured a melodic pop infused style of punk.
The band started playing again in January 1979 with Dennis Byrne on bass. This lineup recorded the band's first single, "Frantic Romantic"/"Shake (Together Tonight)", released in June 1979 on the DNA label.
Radalj and Byrne left in April 1979, to be replaced by Ben Juniper (guitar) and Ian Sharples (bass). This lineup recorded the band's second release, The Scientists EP (released February 1980) and did two tours of Melbourne and Sydney, in December 1979 and February/March 1980. In Melbourne, the band appeared on pop TV show Countdown, performing "Last Night" from the EP.
Juniper left the band in May 1980 and Salmon, Baker and Sharples continued as a three-piece. The band broke up in January 1981 after recording their album, The Scientists (commonly referred to as The Pink Album), released in August 1981. In Sydney, Baker had joined Radalj to form Le Hoodoo Gurus with Dave Faulkner (ex-The Victims) and Kimble Rendall in January 1981.[2][3]
Salmon then formed Louie Louie with Kim Williams (bass) and Brett Rixon (drums), though this band broke up in August 1981.
Radalj and Byrne left in April 1979, to be replaced by Ben Juniper (guitar) and Ian Sharples (bass). This lineup recorded the band's second release, The Scientists EP (released February 1980) and did two tours of Melbourne and Sydney, in December 1979 and February/March 1980. In Melbourne, the band appeared on pop TV show Countdown, performing "Last Night" from the EP.
Juniper left the band in May 1980 and Salmon, Baker and Sharples continued as a three-piece. The band broke up in January 1981 after recording their album, The Scientists (commonly referred to as The Pink Album), released in August 1981. In Sydney, Baker had joined Radalj to form Le Hoodoo Gurus with Dave Faulkner (ex-The Victims) and Kimble Rendall in January 1981.[2][3]
Salmon then formed Louie Louie with Kim Williams (bass) and Brett Rixon (drums), though this band broke up in August 1981.
In September 1981, Salmon and Boris Sujdovic (ex Rockets) reformed the band, with Brett Rixon on drums and Tony Thewlis (ex Helicopters) on guitar, and prepared to move to Sydney. For this version of the band, the musical direction of the band turned more towards psychedelic-tinged rock'n'roll that became better known as grunge, which would later explode in Seattle, as well as incorporating the influence of bands such as The Cramps, Suicide, The Stooges and Captain Beefheart.
The band was signed by Au Go Go Records, who released "This Is My Happy Hour"/"Swampland" (December 1982), the influential Blood Red River mini-LP (September 1983) and "We Had Love"/"Clear Spot" (December 1983).
By the end of 1983, The Scientists were one of the most popular Australian independent bands. Deciding to move on to new horizons, they left Australia to move to London in March 1984. In October 1984, the band supported The Gun Club on their European tour. Meanwhile, Au Go Go had issued the mini-LP This Heart Doesn't Run on Blood, This Heart Doesn't Run on Love mini-album (September 1984). By this time, the band's music had left the Cramps-like sound behind, becoming much darker and harsher and coming more uniquely into their own.
The band released a 12" EP, Demolition Derby, in Belgium in February 1985, and their first full overseas album, You Get What You Deserve, in the UK in July 1985 on their manager's Karbon label, followed by the "You Only Live Twice/If It's The Last Thing I Do" 7" in September. Owing to contractual disputes with Au Go Go, different mixes of some tracks appeared in Australia as the mini-album Atom Bomb Baby, with the 7" "Atom Bomb Baby/Backwards Man" and a compilation LP Heading For A Trauma (comprising Demolition Derby with rare, radio and live tracks) being released with it in July 1985.
Brett Rixon left the band in February 1985 to be replaced by Phillip Hertz, who was replaced in December 1985 by Leanne Chock. The band got a new deal with Big Time Records, who asked them to do a best-of compilation to introduce them to the market. The band rerecorded 11 of their songs with producer Richard Mazda as Weird Love, released April 1986.
Sujdovic had to leave the UK after the recording owing to visa problems and was replaced by Rob Coyne of Silver Chapter. Coyne and Chock left in December 1986, Salmon shifted to bass and Nick Combe joined on drums. The Salmon/Thewlis/Combe lineup recorded the album Human Jukebox in December 1986.
This lineup returned to Australia in April 1987 for the Human Jukebox tour. Salmon moved back to Perth with his wife Linda Fearon (co-writer of "Blood Red River") and son. Human Jukebox was released on Karbon in October 1987. The band toured Australia in November 1987, with a lineup of Salmon, Thewlis, Combe on drums and Brett Rixon rejoining on bass. Their last show was at the Shenton Park Hotel, Perth, Saturday 27 November 1987.
play list / track list is:
frantic romantic
shake together tonight
pissed on planet
last night
it's for real
bet ya lyin'
larry
teenage dreamer
that girl
she said she loves me
shadows of the night
high noon
girl
lookin' for you
walk the plank
frantic romantic
shake together tonight
pissed on planet
last night
it's for real
bet ya lyin'
larry
teenage dreamer
that girl
she said she loves me
shadows of the night
high noon
girl
lookin' for you
walk the plank
Kim
Salmon's Scientists were certainly ahead of their time in 1979 when
recording this collection, which contains their classic "Frantic
Romantic" (if one can imagine the singing in an Australian accent, one
can understand that this is a classic punk stuff). Though the Scientists
were never so obsessed with the genre, their sound was a hybrid of the
Seeds' hard psychedelia, Big Star, and the Stooges -- and this made them
stand out from the rest. While the Saints would popularize this power
pop sound, the Scientists' relative obscurity could be attributed to the
wanton guitar fury and swampy rhythmic styling that made them a little
less accessible. However, Salmon may be post-punk royalty in his home
country as well as in the stable of Sub Pop, which signed the group for
its back catalog in the early '90s -- and which should demonstrate to
some the vitality of this antipodean group.
http://www.filesonic.com/file/IQxpvxl/Scientists_-_Pissed_on_Another_Planet.zip
podcast and playlist for jan. 14th/15th 2012 episode#111 of punks and other dv8's / garage thang - revenge of garage thang
so it ended up bein' 56 and a 1/2 tracks for this weekend's show - hope you enjoyed and thanks for tunin' inhipbone slim, huntington cads, james black and the contortions, jesus and marychain, los protones, man or astro man? mc5, mick colins, mike ness, the morlocks, the obits, pagans, plan 9, polecats, ramones, siouxsie and the banshees, socical distortion, the sting rays, the stooges, t-rex, telekrimen, thee headcoats, the undertakers, the v.i.p.'s, above, bauhaus, black rebel motorcycle club, the bon, booker t and the mg's, bumblebeez 81, bush tetras, casanova, crimson shadows, dave parisite, the DB's death from above 1979, destroy all monsters, flipper, gene vincent, gerry grabahan, gravestone four, greg obivian, guana batz, the gun club, the hawaiians, the hexxer, hipbone slim and knee trmblers, the humans, infolatis, jailbrids, los derrumbes, los steaks, lyres, makers, muslims, mustangs, nick cave and the bd seeds, and only 1/2 of a oblivian's track sorry bout that there just wasn't anymore time to do the full track and i just didn't wanna cut off... - shrug -
so it ended up bein' 56 and a 1/2 tracks for this weekend's show - hope you enjoyed and thanks for tunin'in
Shoutcast: http://yp.shoutcast.com/sbin/tunein-station.pls?id=1378277
Archive Feeds: http://feeds.feedburner.com/punksandotherdv8s
now the way i see it is that the shoutcast shows up on your desktop and is a steamplayer and the archive feed is a stream that is saved to your computers music player's library .... so it's up to you on which one you want - one to just listen to for now and one for you to keep and listen to a few different times
Saturdays 11pm-1am Eastern - Tune in via: Website: http://www.radio23.org/ Twitter: https://twitter.com/#!/nixknocks
Saints be alive / be told
The Saints are a rock band, formed in Brisbane, Australia in 1974. They are considered to be one of the first and most influential punk groups.
By 1975, contemporaneously with Ramones on the other side of the world, The Saints were employing the fast tempos, slurred vocals and buzzsaw guitar that characterised early punk rock. With the release of their first single "(I'm) Stranded", they beat on to vinyl a host of more widely-known punk acts like Sex Pistols, Buzzcocks and The Clash. In June 1976, with bass player Kym Bradshaw, The Saints recorded their debut single "(I'm) Stranded" (B-side "No Time").
The single was originally released in September 1976 on the band's own Fatal Records label, with an initial pressing of 500 copies. In the UK, where the single was available at the time only on import, Sounds magazine declared it "single of this and every week" and the band was signed to a three-album contract with EMI. Their first LP, also called "(I'm) Stranded", was released in February 1977.In mid 1977 the band moved to the UK, where it became apparent that they and their label had different ideas as to how they should be marketed. EMI planned to sell The Saints as a typical punk band, complete with ripped clothes and spiky hair. The Saints insisted on maintaining a more downbeat image.Nevertheless one single "This Perfect Day", showed potential of a commercial breakthrough when it made number 34 in the UK; further movement up the charts was frustrated by EMI's failure to press enough copies of the record to satisfy demand. The single was recorded in London, May 1977 (A-side "This Perfect Day") and in Sydney, April 1977 (B-side "L.I.E.S") and released in July 1977 on Harvest (UK) and EMI (Australia).
The original members of the band were schoolmates Chris Bailey (vocals, later guitar), Ed Kuepper (guitar) and Ivor Hay (drums). Their musical inspiration came from sources as diverse as 1950s rock 'n' roll such as Little Richard and Elvis Presley and 1960s proto-punk bands like The Stooges and MC5. The founding members of the band, other than Chris Bailey, left during the 1970s. During the 1980s, The Saints progressively adopted a more mainstream, classic rock style and they achieved increasing commercial success in Australia.
the Saints - I'm Stranded was recorded in December 1976 and released in February 1977 on EMI.
Track Listing:
1. (I'm) Stranded
2. One Way Street
3. Wild About You
4. Messin' With The Kid
5. Erotic Neurotic
6. No Time
7. Kissin' Cousins
8. Story Of Love
9. Demolition Girl
10. Night In Venice
http://www.filesonic.com/file/cusc19P/The_Saints_-_(I'm)_Stranded.zip
VBR ~288K/s 44100Hz Joint Stereo
Saturday, January 14, 2012
Stiff Records is a record label created in London in 1976 by Dave Robinson and Andrew Jakeman (aka Jake Riviera) and active until 1985. The label signed pub rock acts and marketed them as punk and new wave, including Nick Lowe, Wreckless Eric, Elvis Costello and Ian Dury. The marketing and advertising was often provocative and witty. Stiff billed itself as "The World's Most Flexible Record Label". Other slogans were "We Came. We Saw. We Left.", "If It Ain't Stiff, It Ain't Worth A Fuck" and "When You Kill Time, You Murder Success" (printed on promotional wall clocks). On the label of the Stiff sampler compilation "Heroes & Cowards" was printed "In '78 everyone born in '45 will be 33-1/3". A very early Stiff sampler album, "A Bunch Of Stiff Records" (released in 1977), introduced the slogan "If They're Dead, We'll Sign Them" and "Undertakers To The Industry".Stiff also produced eccentric but highly effective promotional campaigns, such as the three package tours in 1977 (Live Stiffs), 1978 (Be Stiff) and 1980 (Son Of Stiff), Elvis Costello's "busking outside CBS Records" arrest and the at least 29 different wallpaper sleeves printed for Ian Dury's second album, "Do It Yourself", with associated unscheduled makeovers of unsuspecting record shops. Barney Bubbles was responsible for much of the graphic art associated with the early Stiff releases.The first tour, known as the Live Stiffs Tour or 5 Live Stiffs (October 3 to November 5, 1977), comprised five bands: Elvis Costello And The Attractions, Ian Dury And The Blockheads, Wreckless Eric And The New Rockets, Nick Lowe's Last Chicken In The Shop and Larry Wallis's Psychedelic Rowdies. Having signed all the named artists as individuals, bands had to be formed in order to tour: these were largely based on the session musicians used for the artists' solo records. There were 18 musicians on the tour, several doubling up, e.g. Dury playing drums for Wreckless, whilst the last two "bands" had the same line-up (Nick Lowe, Larry Wallis, Dave Edmunds, Terry Williams, Pete Thomas and Penny Tobin). The original idea was that the running order would rotate each night, but Dury and Costello were clearly the strongest acts. Costello played mostly new material and covers, rather than numbers from his recently released album "My Aim Is True", so the gigs usually ended with most of the artists on stage performing Dury's "Sex & Drugs & Rock & Roll". A live album "Live Stiffs Live" and video of the tour were produced, but the tour only covered the UK.After the departure of Riviera in early 1978, Robinson arranged a second tour, the Be Stiff or the Be Stiff Route 78 Tour (October–November 1978) again comprising five acts: Wreckless Eric, Lene Lovich, Jona Lewie, Mickey Jupp and Rachel Sweet. The UK tour was undertaken by train and then continued on to the U.S., without Jupp, who was afraid of flying. The artists contributed to an EP with covers of the Devo song and 1978 Stiff single "Be Stiff". The 12" EP was released in 1979 with the sleevenotes: "Many of these versions may bear no resemblance to the original Devo title. We hold no responsibility for any uptight people." The final tour, the Son Of Stiff Tour 1980 comprised Ten Pole Tudor, Any Trouble, Dirty Looks, Joe "King" Carrasco And The Crowns and The Equators. This was a Europe wide tour, undertaken by bus. The tour led to a 12" EP "The Son Of Stiff Tour 1980" (SON 1) and a short movie directed by Jeff Baynes. The movie has not been released for sale, but was shown on BBC4 in September 2006.The label was reactivated in 2007. Stiff became responsible for breaking one of the UK's hottest new indie acts The Enemy. It then released a string of acclaimed albums of new work from acts associated with Stiff Records, such as Wreckless Eric, Henry Priestman, Any Trouble and Chris Difford. Other brand new acts signed to the label included The Tranzmitors and Eskimo Disco. Swedish designer Tobbe Stuhre was appointed official Stiff Records designer.
this is a double album (2CD) with 45 Stiff singles, released in 1997 on Universal Music International & MCA Records.
Track Listing:
1. Ian Dury & The Blockheads - Hit Me With Your Rhythm Stick
2. Elvis Costello - Watching The Detectives
3. Madness - One Step Beyond
4. Kirsty MacColl - They Don't Know
5. Wreckless Eric - Whole Wide World
6. Jona Lewie - You'll Always Find Me In The Kitchen At Parties
7. The Adverts - One Chord Wonders
8. The Members - Solitary Confinement
9. Pink Fairies - Between The Lines
10. The Yachts - Suffice To Say
11. Billy Bremner - Loud Music In Cars
12. Dave Stewart & Barbara Gaskin - It's My Party
13. John Otway - Green, Green Grass Of Home
14. Motorhead - White Line Fever
15. Graham Parker & The Rumour - Mercury Poisoning
16. Larry Wallis - Police Car
17. Nick Lowe - So It Goes
18. Richard Hell - (I Belong To The) Blank Generation
19. The Pogues - Dark Streets Of London
20. Tenpole Tudor - Swords Of A Thousand Men
21. Department S - Is Vic There?
22. The Damned - New Rose
23. Lene Lovich - Lucky Number
24. Elvis Costello - Alison
25. Madness - My Girl
26. The Pogues Featuring Kirsty MacColl - Fairytale Of New York
27. Jona Lewie - Stop The Cavalry
28. Furniture - Brilliant Mind
29. Theatre Of Hate - Do You Believe In The Westworld
30. Kirsty MacColl - A New England
31. Yello - I Love You
32. Department S - Going Left Right
33. Tracey Ullman - Breakaway
34. Rachel Sweet - B-A-B-Y
35. The Untouchables - Free Yourself
36. Jane Aire & The Belvederes - Yankee Wheels
37. Dave Stewart & Colin Blunstone - What Becomes Of The Broken Hearted
38. The Belle Stars - Sign Of The Times
39. Nick Lowe - Heart Of The City
40. Lene Lovich - I Think We're Alone Now
41. Tenpole Tudor - Wunderbar
42. Devo - Jocko Homo
43. King Kurt - Destination Zululand
44. The Damned - Neat Neat Neat
45. Ian Dury & The Blockheads - Sex & Drugs & Rock & Roll
<a href='http://www.filesonic.com/file/FFdm9I6/A_Hard_Nights_Day_A_History_Of_Stiff_Records.zip'>http://www.filesonic.com/file/FFdm9I6/A_Hard_Nights_Day_A_History_Of_Stiff_Records.zip</a>
VBR ~255K/s 44100Hz Joint Stereo
A year later, in early 1976, Hell quit The Heartbreakers and started Richard Hell & The Voidoids with Robert Quine (guitar), Ivan Julian (guitar) and Marc Bell (drums). The band released two albums, though the second, "Destiny Street", was a less successful line-up that retained only Quine from the original group and suffered from Hell's distractions, narcotics especially, during recording, as he himself has described. Besides Hell and Quine, the line-up on "Destiny Street" was Naux (Juan Maciel) on guitar and Fred Maher on drums.
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