25 February 2017

700 MILES Dirtbomb 1994






Discogs


Tracklist  

1 Drift 4:30
2 Hurt You 3:39
3 Unnatural 3:35
4 Wire 4:21
5 Eventide 3:01
6 Storm 4:00
7 Shame 5:52
8 Wet 3:45
9 Greedy (Eyes Ain't Working) 4:35
10 Rock Is Cool 6:23
11 Prayer 1:12
12 For Mema 4:02


THE AFGHAN WHIGS Gentlemen 1993

by request
 
 

 Tracklist 

1 If I Were Going 3:05
2 Gentlemen 3:54
3 Be Sweet 3:37
4 Debonair 4:15
5 When We Two Parted 5:47
6 Fountain And Fairfax 4:21
7 What Jail Is Like 3:30
8 My Curse 5:45
9 Now You Know 4:10
10 I Keep Coming Back 4:52
11 Brother Woodrow / Closing Prayer 5:40
 

23 February 2017

ABLE Prestigeless Lovesounds 1996


 
by request


Tracklist  

1 I Was So In Love (And Now I Don´t Know Why) 4:01
2 Her Place Is My Place 4:22
3 Ugly Glasses 2:51
4 Split 4:45
5 What´s The Use 4:01
6 It´s Getting Late 2:31
7 Plain Life 4:21
8 It Might Hurt But It Won´t Get Me Down 3:27
9 Brian, No 3:46
10 Grampa 2:38
11 April Sky 1:38
12 And A Way To End This Life 5:35
13 Hidden Track


THE SIMPLE ONES

1995

1996
 
 

AllMusic Review by  

The Simple Ones (bassist Jim McDermott, drummer Roy Berry, and guitarist/singer Jared McStay) had humble beginnings in the band's home of Memphis, TN. Their debut full-length, Worth the Weight, was released in 1995. After the short instrumental first track, "Hubba Hubba," the sly coolness of "Rift City" and "The Wrath of God" introduce the listener to the Simple Ones and their reserved and relaxed variety of mid-'90s southern indie rock. Taking some obvious cues from fellow Memphis band the Grifters (Tripp Lamkins of the Grifters makes an appearance on the disc), Worth the Weight was a debut that showcased the band's confident and unpolished sound. The distortion and fuzzy sounds are slightly cleaner than the Grifters, but the focused and playful attitude hidden behind the sound is easily comparable to the Grifters. The pace finally slows down on the sixth song, "Left in Space." The song features modest acoustic guitar at the beginning, with more instruments being added to the mix throughout. The song is followed by the distorted instrumental "Disco Infernal." The disc hits its stride on tracks 11 and 12 with the songs "Ms. Ogyny" and "T-Shirt (Hell on Wheels)." The band's calm yet rollicking musical demeanor is seemingly effortlessly executed, which is admirable. The catchy "Toothpaste" was previously a single on Shangri-La Records. The disc comes to a close with the inventive and chaotic "Clearly, Hebert." The album was recorded at Easley Studios in Memphis, in addition to other locations. 

Worth The Wait

Tracklist

1 Hubba Hubba
2 Rift City
3 The Wrath Of God
4 Drunken Kiss
5 Pen
6 Left In Space
7 Disco Infernal
8 On My Nerves
9 Watch This Sucker (Come On, Let's Go!)
10 Jim's Total Hell
11 Ms. Oygyny
12 T-Shirt (Hell On Wheels)
13 Pleasure Finger
14 Toothpaste
15 Chains, California, USA
16 Clearly, Herbert

Two Cups For A Tale

Tracklist

1 Forget You
2 Minutes To Play
3 We Are ...
4 Nathan Bedford, What Has Become Of Your Tan?
5 Dealing For Now!
6 Heavy-Lidded
7 Three Point Two Percent Sorry
8 Star Machine
9 Speak In Tongues
10 They're Everywhere
11 Testosterone
12 Found The Answer
13 Archipelago
14 Sick And Tired

 

TRADEMARK OF QUALITY™ Various Artists

by request
 
 

Tracklist

1 Lux* Intro 0:34
2 The Cramps Confessions Of A Psychocat 2:59
3 The Flaming Lips She Don't Use Jelly (Demo) 3:26
4 Babes In Toyland Dialogue/ Sweet '69 (Demo/Work In Progress) 4:04
5 Green Day 1000 Light Years Away (Live In Barcelona) 2:47
6 Mr. Bungle Dialogue/ Raping Your Mind 6:21
7 Filter (2) Hey Man, Nice Shot (Demo) 5:13
8 Grant Lee Buffalo Gold Chain Drag 2:17
9 Poster Children Dialogue/ 10 O'Clock Tigers 4:36
10 American Music Club Dialogue/ President's Test 4:54
11 Chance The Gardener Smoke (Demo) 3:11
12 Porno For Pyros Dialogue/Hey Baby (Land Of The New Rising Sun) (July 4th Post Barbecue Jam) 4:16
13 Mudhoney Welcome To Dawn Overture, Parts III & IV Of XVII (Goodbye Mo, Hello Lenny!)/ Dialogue 0:58
14 Wilco Passenger Side (Demo) 3:29
15 Throwing Muses Teller (Demo) 2:53
16 Lush Childcatcher 3:08
17 Bloodloss Face Down In Mud 3:49
18 Soul Coughing Budda Rhubarb Butter 3:29
19 Suddenly, Tammy* Beach Song 3:22
20 Saint Etienne Chock Stock (Live In Sheffield) 3:53
21 Red House Painters Summer Dress 2:50
22 No Artist Outro 0:36
 

HOUNDOG self titled 1999

by request
 

Artist Biography by

Houndog is the duo of Mike Halby, who has played with Canned Heat and John Mayall's Bluesbreakers, and David Hidalgo, of Los Lobos. Their self-titled 1999 debut album, recorded in Halby's home studio, is not so much swamp-blues as murk-blues. The basic, at times lo-fi production and gutbucket songs give this a foggy mystery, akin to another of Hidalgo's side projects, the Latin Playboys. Halby has a voice so low it sometimes sounds like a 45 RPM single playing at 33 RPM, and his convincingly throaty style can recall, though it does not imitate, vintage Chess greats like Muddy and the Wolf. This is probably too arty for some straight blues fans, but Houndog succeeds at twisting electric blues into some interesting new directions while maintaining a lot of grit and funk. 

Tracklist

1 No Chance 4:22
2 I Brought The Rain 3:33
3 I'll Change My Style 3:51
4 Downtime 3:36
5 Lonely Dying Love 3:48
6 Eddie's Gone 4:12
7 All Fired Up, All Shook Down 5:32
8 Somebody (Stop The Bleedin') 5:14
9 Killin' Me 5:22


21 February 2017

CHRISTMAS Vortex 1993

by request


Artist Biography by

Throughout their career, Christmas was largely misunderstood; their surreal, sarcastic sense of humor was overlooked by critics who largely didn't get the joke, and poor distribution and promotion of their first two albums kept most potential fans from even discovering them. As a final cosmic joke, their third and best album didn't even get released until well after the group had broken up and re-formed as the equally satirical cocktail lounge hipsters Combustible Edison.
Christmas was formed in Boston in 1983 by Connecticut natives Michael Cudahy (guitar, vocals) and Liz Cox (drums, vocals). Hooking up with bassist Dan Salzmann, the new trio gigged around the Cambridge and Allston club scenes before a friend, Uzi member Phil Milstein, recommended the band to the tiny indie Iridescence Records. The label released the trio's debut single, "The Ballad of the Invisible Girl" backed with "Wilhelm Reich," in 1984. The single led to the trio's appearance on the legendary Massachusetts post-punk compilation Bands That Could Be God, with two new tracks ("One Hundred Million Flowers" and "My Little Book of Lies") alongside efforts by their scene contemporaries Busted Statues, Salem 66, Beanbag, Moving Targets, Sorry, the Outpatients, and Dinosaur Jr. precursors Deep Wound. Somewhat surprisingly, out of all of those worthy bands, Christmas was the only group who wound up with a major-label deal. Big Time Records, a former Australian indie that became RCA Records' alternative subsidiary, signed Christmas in 1985 and released their first album, In Excelsior Dayglo, in 1986. A surprisingly low-key and largely acoustic record with a folk-rock influence that had not been apparent on the trio's earlier recordings, the album emphasized the funnier songs in their repertoire, including the surreal concert favorite "Fish Eye Sandwich."
Unfortunately, like nearly every release on Big Time, In Excelsior Dayglo was hopelessly under-promoted and disappeared almost immediately upon release. Christmas spent some time extricating themselves from the label and suffered a further setback when Salzmann left the group. The remaining twosome drafted Cudahy's brother Nicholas as their new bassist and signed with IRS Records. Their second album, 1989's Ultraprophets of Thee Psykick Revolution, was released to reviews ranging from uncomprehending to downright hostile, but time has shown it to be a more varied and engaging album than the debut, with a sharply satirical wit and much catchier melodies. Unfortunately, it didn't sell very well either, and IRS dropped the group shortly after its release.
The Cudahy brothers and Cox moved from Boston to Las Vegas in late 1989, where the trio discovered the underground cocktail culture that inspired Combustible Edison. However, that innovation didn't happen overnight; after moving back to Boston, Nicholas Cudahy left the band and was replaced by James McNew. The new trio played a few gigs and recorded their third and best album, the mature but still skewed Vortex, in early 1991. No label seemed to be interested in the tapes, however, and when McNew was offered the job of bassist in Yo La Tengo, he took it. Fed up, Cudahy and Cox dissolved Christmas and, with Nicholas Cudahy back in the fold, formed the lounge put-on Combustible Edison. When Yo La Tengo signed with Matador Records in 1993, McNew persuaded labelhead Gerard Cosloy (an old Boston scene buddy who had compiled Bands That Could Be God) to finally release Vortex.

Tracklist

1 Superheroes 3:31
2 Painted Savages 2:55
3 Medicine 3:31
4 Revolutions Per Minute 3:24
5 Jupiter, Florida 4:23
6 Almighty 3:31
7 Iron Anniversary 3:33
8 Sweet House 2:44
9 My Earthly Aim 3:14
10 I Want More 3:41
11 Hand 3:35
12 God Bless The Fireman 3:06

DRUNKEN BOAT Dressy Hat 1995

by request


Tracklist

1 Food Eating Grin 2:36
2 Fight? 3:55
3 Neighborhood 4:53
4 Post Punk 3:00
5 Apple Wine 3:26
6 Glued 3:53
7 I Love You 4:35
8 Before You Sleep 3:31
9 Circus 1:20
10 Bad Time 4:18
11 Angry 2:16
12 Uncle Knuckle 10:57