VIA GALEAZZO ALESSI 229 - 00176 ROMA - ITALY
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Both songs are taken from the sessions of the legendary split 1978 EP with Hitler SS! Yeah, you're understand well!! Two incredibly strong, demented, kick ass STUDIO tunes recorded in 1978!! GREAT AUDIO QUALITY!! These tracks will waste your brain and... pickpocket!! Yeah, 'cause if you don't try to get it soon, this record will be a collectable item as ALL the Tampax discography!
Rave Up records is proud to presents the new rock'n'roll sensation from Roma!
[read]Troppo, un 9, per dei coatti con un retroterra fatto di zero ideologia, pochi fronzoli e tanta cattiveria? Forse. Poi riascolti Toy Boy e capisci che il 9 ci sta tutto. Distorsione, velocità, rabbia, quel giusto equilibrio tra classe innata e tamarraggine: questo sono gli Alieni, band romana che forse nemmeno si rende conto di quanto è punk. Da secoli non sentivo cantare con una tale incazzatura. Gli Alieni suonano cose vicine al primo hc americano, ma senza aver studiato. Così, di pancia, sta qui la loro forza. Come belve in gabbia, pronte a sbranare il domatore. E questo disco, nella sua scorrettezza, ne sancisce la statura. Faranno sfracelli, se non cadranno nella tentazione di "evolvere". Avete presente il più cool dei gruppi indie del momento? Ecco, gli Alieni sono l'esatto contrario: sporchi, marci e imbecilli. Citazione colta fuori luogo, visto che qui di colto non c'è proprio nulla, solo istinto. Gran disco.
Le nuove creature infernali vomitate da Roma hanno un look volutamente esagerato e propongono un punk‘n‘roll “metallico” suonato con durezza granitica e velocità mozzafiato. Lerci, depravati e cattivissimi, gli Alieni picchiano come fabbri e hanno una cantante che sputa testi (in italiano) con tale acidità da rischiarci gola e tonsille. A seconda dei gusti e delle attitudini, la cosa più fantastica o più disgustosa del mondo; facile, per chi mi conosce un minimo, immaginare da che parte io stia.
BIZZARRO ITALIANO 1988-1999
FANZINE + DVD / 150 min. / Limited 500 copies / € 15 / Wholesale € 6,50
Per gli amanti del cinema underground italiano degli anni ’80 / ’90 è in uscita la prima storica antologia su DVD (curata dal regista Paolo Fazzini) che raccoglie i cortometraggi più rappresentativi di quel periodo. Prima dell’avvento delle tecnologie digitali, prima della diffusione capillare di internet, dei telefoni cellulari, dei plug-in per la post-produzione, della color correction, in Italia si agitavano in maniera disordinata e sotterranea appassionati di cinema che riuscivano a porre mano su mezzi di ripresa, accenderli e mettere in scena i deliri cinematografici che scorrevano nelle loro menti. Trash, horror, demenziali, provocatori, comici, i corti raccolti in questa antologia esplodono nuovamente in faccia allo spettatore dopo decenni di sepoltura forzata in bui scaffali, facendo emergere un cinema sommerso realizzato con la sfrontatezza di un’attitudine quasi anarcoide. [read] Pochissimi mezzi a disposizione, budget pressoché inesistenti, ma i film (ri)proposti oggi urlano originali idee e sorprendenti trovate di sapore profondamente analogico che è raro trovare nelle produzioni, seppure tecnicamente perfette, dei recenti giovani filmmaker. I registi coinvolti in questo primo volume sono Stefano "Zio Tolo" Barbieri, Paolo Fazzini, Nicola Lombardi, Marzano Bros., Latino Pellegrini, Giovanni Polesello, Maurizio Quarta, Max Della Mora.
The Hates has been called "Houston's first and last punk band", and with over thirty years of blood, sweat, and that familiar mohawk, those words may be more true than their author ever knew. From his very first live show in 1978, Christian Arnheiter has steered this legendary band through decades of disco, pop, new wave, hair bands, hip-hop, crossover country, and now the newest fad of tributebands to keep punk rock alive.In a time when many early eighties groups are getting back together to play reunion shows, the Hates have the distinction of being the oldest continuously performing unsigned punk band. And despite the love/hate relationship the local music scenehas had with punk rock over the years, the Bayou [read] City will always be their home. This anthology is the definitive selection of their early years,ALL STUDIO MATERIAL recorded between 1979-82. TEXAS PUNK LIVING LEGENDS!!!!
Vast Majority was a teenage punk band (16, 17 years old) formed in early 1979 in Houston, Texas. The original lineup was Merry Prankster (Chris Armeniades) on guitar, Damien Antisocial (John Svatek, RIP) on bass, Demon Alcohol (Billy Mandel) on drums, and Bergen Belsen (Scott Telles) on vocals. The band played with the main local punk bands of the period, such Really Red, Christian Oppression and the Guyana Boys Choir, later to become the Hates (right now, on Rave Up too!), AK-47, Legionaire's Disease, Huns and many more...The band goes to play their first and only studio session in 3/16/80. The result were three songs selected for “I Wanna Be a Number” EP, and other tracks later, released by EV [read] records on “Sacred Cattle” compilation in 1993 (“Poor Sid/Duke is Dead”) and more material that you can hear on this definitive anthology of one of the most incredibly Texas punk rock band ever! Their music? Mmmhhhh, tryin' toimagine the sixties female garage band, The Shaggs with The Urinals attitude!!!
Inspired by the British Invasion, 60’s garage bands, power pop, and their love of the New York Dolls, the Daughters formed in early 1980 on the North Shore of Boston, MA. As with many bands, it wasn’t long before they found themselves in need of a new member when drummer Bobby Morin (later of the Real Kids) left the band. So in May 1980, Dave Ives, Bill Doherty, and Joe Mazzari recruited Simon Ritt to fill the drum seat.Bill and Dave had been playing together since high school, as had Joe and Simon, and the band dedicated themselves to their music. When the band won studio time in a battle of the bands competition, they took advantage of this time [read] to record some original songs. These studio recordings ended up on self released cassettes that received airplay on Boston area radio stations. In January 1981, Dave who often sang lead and wrote many of the songs left the band to pursue other interests. Joe, Bill, and Simon continued on as a three piece, and at the end of the month played CBGB’s for the first time. The band continued to be
In the fall of 1977 at a John Cale concert at CBGB the opening band was the Mumps. Sitting in the front row was the president of their fan club, Bill Arning. He was 16. A couple of other teenagers named David Scharff and Phillip Shelley, who came in from the suburbs to see Cale, arrived early to get good seats. They sat at the table next to Bill, and ended up befriending him.A week or so later they saw each other again, this time at a Patti Smith poetry reading. Bill was accompanied by his friends Lori Reese and Michael Alago. They became fast friends. Soon they were planning what shows they would see, and when they would see [read] each other.Bill and David used some saved funds to sponsor rehearsals, second hand instruments were purchased for Phillip and the Girls, and they started takinglessons from the guys who rented them their rehearsal space. Songs started spilling forth - "The Quake" based on the religion of the Quaker school that Bill and Laura attended, "Captain Kelly" about a failed fire alarm, "Zero Cool" inspired by Roddy McDowell's catch phrase in the hipster cult film "The Cool Ones," "Realworldfun" about being submerged in the world of kitsch television reruns, "Channel 13" about the surreality of everyday life, "We're All Damaged" about exactly what it sounds like, and "Christmas Weather," about a real-life car accident that the band survived together on the way to Max's Kansas City.They played their first public set in the Gym at Friend's Seminary, the Quaker school on East 15th St. where Bill and Laura attended. They invited their scene friends The Blessed, a teenage punk band. The Blessed were young, loud, nasty, and fun...and they had a strong and growing following in the downtown NY music scene. The Blessed liked the Student Teachers set enough to invite them to play that (Easter) Sunday at Max's in one of the opening sets.If you want to know this exciting band, Rave Up/Backstreet is proud to offer you an album with great original 1978-80 studio recordings. Be fast, only 400 copies available!!!
The Suzanne was a punk band from Enschede which operated from 1976 to '78. Influenced by The Ramones, they called themselves to the song Suzanne by Leonard Cohen that was in their repertoire in a punk version. Characteristic of their performances was by playing tight succession of all the songs. They made an EP on the label '1000 Idiots' with six songs (in two versions, including New Disease sells 2000 copies in Europe) whose "Teenage Abortion" is the most famous song. They performed outside Enschede include in Paradiso and the Stokvis Halls in the schedule of Ultravox. Typical of the Suzanne was changing their names in Suzanne. Key member was Suzanne Ron da Costa, the only non-musician who is named [read] on the EPs. Singer of the band was Suzanne 'Fedde' van der Spoel, guitarist Suzanne 'Loek' Stolwijk, bassist Suzanne 'Dick' Pekelharing and drums Suzanne 'Klaas Sikkema.
SYNTHETIC SHADOWS RECORDS
Illogical Sound was born in Roma in 1981. The musicians were Luca Febbra (vocals, later in Liquid Eyes), Filippo Travaglio (guitar), Luigi Parravicini (bass, also in Liquid Eyes) and Andrea Filosa (drums). All of them (except the vocalist) went -one year later- in Illogico, a quite popular No-Wave band that recorded various demo tapes, recently re-released by Spittle records on CD. They played regulary in main 'alternative rock' club of the town such 'Tube' and 'Uonna Club'. At the end of 1981, with the support of Tonino Amendola on saxophone, the band changed his name as' Illogico '. Their sound, ispired by bands such Contorsions, DNA, Suicide, Pere Ubu with a strong 'punk attitude', is well documented in this amazing [read] anthology that contains studio material and a bunch of live tracks.
Finally on vinyl, the studio album sessions of one of the most important italian 'cult band' of the Eighties. The name of the band was ispired by the famous sci-fi novel of Louis Charbonneau.Liquid Eyes born in Roma in 1983, after the meeting between the singer/keyboardist Luca Febbraro (former Illogico) and the bassplayer Michael Held. After some concerts, the guys got in touch with the actress/peeformer/singer Patrizia Bettini. The new line up started to play many shows in theathers and rock venues all over Italy. In 1984 Michael come back to Germany and the band was contacted by a new bass player Domenico De Maria. After one year, a new bass player (from Illogico too) moved to play with the [read] Eyes, the well know Luigi Parravicini, 'til the final split-up of the band in 1992. Sythetic Shadows is proud to present to the world, one of the most exciting and charismatic electronic band from the italian Eighties. A magic moment of creativity and energy for the entire nation! Buy or Die!!!!
Red Asphalt was a San Francisco musical group, which formed in 1978 and dissolved in 1982. Their first live performance took place at SF’s famous Deaf Club. They performed at venues such as Mabuhay Gardens, Sound of Music, On Broadway, Le Disque, The I-Beam, Elite Club and others. They released a 7′′ EP on Egg and Anvil in 1981 which included four tracks. They’re also heard on the compilation LP Live at Le Disque (Jump Records), and more recently, on the cd compilations “High Road to Obscurity, Vol.1 (Grand Theft Audio), and “Homework #2′′ (Hyped to Death). While the original group contained neither bass nor lead vocalist, the longest-lived and most-beloved lineup was that of: Ron Hanik – guitar, Ted [read] Johnson – drums, Scott Davey – synthesizers, Trina James – vocals, Bruno DeMartis – bass. Besides the above, Megan Mitchell sang with the band (she’s heard on the EP), and Andy Anders and LX Rudis played bass.Hanik, Johnson, Davey, DeMartis and Rudis all currently reside in San Francisco and continue tomake music.THIS IS THEIR 16-TRACK LEGENDARY ALBUM REMAINS UNRELEASED 'TIL NOW!!!! TOTALLY INSANE AND EXPERTIMENTAL PUNK IN THE BEST 'WAY' OF SAN FRANCISCO SCENE OF THE PERIOD!!!!
RAVE UP BOOKS
“Lo Stivale è marcio” affronta per la prima volta in modo approfondito gli eventi che vanno dal 1977 al 1980, anni di piombo, repressione e riflusso: un periodo analizzato sinora solo in brevi articoli o limitate e meno approfondite pubblicazioni. Lo fa recuperando l’approccio della stampa dell’epoca, ufficiale o 'fanzinara', analizzando a fondo le scene, intervistando in esclusiva i protagonisti di quegli anni furiosi, molti dei quali per la prima volta. Completano il lavoro, un breve excursus sull’approdo del punk nella TV di stato, sulla sua influenza nella moda, nel cinema e nei fumetti italiani, e un capitolo finale che analizza gli artisti che sono stati – volontariamente o meno – accomunati dall’industria discografica al genere, nel tentativo di vendere [read] qualche disco in più… Da Milano a Roma, da Vercelli a Pordenone,la storia rocambolesca di una moltitudine di bands divenute negli anni leggendarie: Tampax, HitlersSS, Elektroshock, Gaznevada, Decibel, Mittageisen etc... Un movimento pulviscolare e magmatico, costituito da poche decine di 'aficionados', che getta le basi per la nascita del rock indipendente italiano degli anni a venire. Il libro conterrà una compilation cd di rarità punk rock italiane 77-81 assolutamente inedite.
"Noi conquisteremo la Luna" ripropone tutti gli articoli, le recensioni e le interviste sul post-punk italiano firmati da Federico Guglielmi fra il 1980 e il 1985, con solo un minimo di editing per salvaguardare lo spirito entusiastico e naif dell'epoca. I testi, originariamente pubblicati in massima parte sul Mucchio Selvaggio, sono affiancati da copertine, locandine, fotografie e memorabilia rigorosamente anni '80.. Circa mezzo milione di caratteri e centinaia di immagini, il tutto impreziosito da un'impaginazione vintage di grande effetto. Il libro conterrà una compilation cd di rarità new wave italiane 79-84 assolutamente inedite.
STILL IN STOCK
Charlie ‘Ungry were performing in the UK during the late 70s and early 80s. The band’s music was based around the songwriting and musical arrangements of Tony Sando and Jeff Gibbs; the concept being to move away from the Wham Bam of some of the Heavy Metal bands around at the time. The songs and the Charlie ‘Ungry sound are what might be called Heavy Metal with sensitivity, a strange and unique combination for that era. Charlie ‘Ungry’s first single ‘House On Chester Road’ was released in the summer of ’78 and had limited success, reaching number 17 in the Independent Charts in the UK. This release created a tremendous interest in the band, its music and inimitable sound. The [read] single was lifted from an earlier demo tape recorded with the help of ‘Tubular Bells’ producer Tom Newman at Argonaut Studios in London. The recordings are all live in the studio with minimal overdubs and were completed in one day, warts and all! This album is a snapshot of that day in the summer of 1977 and the songs have been transferred with no re-mastering from a rather dusty original tape.
The Ride were a punk rock band from Milan strongly influenced by Nuns and ’77 US punk rock. Formed in early eighties, in the same period of italian ‘hardcore’ scene.The band recorded only one 12” in 1986 and two demos in 1985 and 1987. This anthology contains 14 killer studio tracks, one of the best examples of american ‘Killed by Death’punk rock style with great Italian lyrics!
Founded in 1983 in the North-East town of Verona, after the split of the punk band Eva Brown, by the collaboration between Mauro Marchesi (keyboards and electronics) and Joyello Triolo (vocals and guitar). Morrowyellow debut with an electronic sound experimentation supporting the fascination for the arts and oriental music . A study that will lead to collaborations with avant-garde theater and contemporary dance until in 1985, with the entry of Turkish Max (bass and guitar), they begin to feel a certain interest in live appearances.The band recorded a great demo ("My Colours") and few other material all included in this anthology. The group disbanded in late 1988, but their great music in still alive on the traces of this [read] wax!
The Aus Decline, came from the town of Pavia in 1981, and were part of the big italian new wave scene of early eighties. Their sound is a great example of crude and intense after-punk with dark suggestions.The band was compiled in ‘First Relation, the holy grail of the Italian wave and post-punk scene of early Eighties including Lisfrank, FAR, Dark Tales and many more.Twenty years later, the band released a cd with the big part of their music production "Retrospective 1981-84", an anthology that received great reviews on the main music magazines and blog. This album on vinyl contains the best tracks of that CD and some unreleased amazing stuff taken from ‘Radio X’ demo, recorded in 1981.One [read] of the best italian new wave band ever…now on Synthetic Shadows!!
Gina Harlow and the Cutthroats were icons in the hey-day of Punk and New Wave, in New York City. Their shows at Max’s Kansas City, CBGB’s, Trax, Heat, Hurrah’s, and The Mudd Club were legendary. They shared the bill with The Heartbreakers at Max’s Kansas City, at SNAFU’s they shared the bill with the Johnny Average Band featuring Mick Ronson, they headlined the Beacon Theatre to a sold out audience, and performed at the original Copacabana several times. Gina Harlow & the Cutthroats - Live on Stage hit the stands as Billboard magazine’s “Recommended LP’s” when it debuted in 1978. The record was recorded in 1978 at Max’s Kansas City (the legendary New York City Punk/Rock club). The band consisted [read] of Gina Harlow: Bass and Vocals; Jesse Davis: Guitar and Vocals; and Nick Fuse: Drums. It was released with no overdubs, preserving the raw and live sound of a new group in its infancy; this is a recording of the groups’ fourth gig. The group was a classic in the Punk Rock genre all songs are original and reflect the social climate of the 70’s. Performing high-energy rock, the musical theme was a reflection of the era, served up with social, political and religious satire, it was a highly visual stage show with lots of interaction between Gina and Jesse. The group disbanded in the 1980, Gina Harlow continued to perform in New York, until 1985. Then, she disappeared... it was reported that she lived in an undisclosed location, with wild and savage head-hunters, until 2011, when Elvis is came to her in a dream... Well, she answered his call and she’s back, watch out, she’s wild.“Gina Harlow and the Cutthroats lived in New York City during the seventies and eighties, we were described as New Wave, Nuevo Wavo, Punk, Kamikaze Rock... we were just writing songs and singing about what we saw, experienced, or believed in... We definitely wanted to shock and awake our audience, that’s why the nude photo of me on the cover. Watch and Listen!“ Gina Harlow
Inspired by the ‘77 Punk pages of Creem and Rolling Stone magazines, four suburban Detroit high school journalism classmates fashioned themselves into a band. Only one actually knew how to play guitar. Like that ever mattered. Luke Mucus & The Phlegm were born out of boredom, a taste for the absurd, and a compulsion to take class-clowning to new sonic levels (and depths). Eric Winer (Luke Mucus), Dave Perry (Runny Buttz), Howard “Pork” Iwrey, and Cliff Iwrey (Mitch Wretched) plied their love of Classic/Progressive/Singer-Songwriter Rock into the brave new world of Punk. Their first performance was their chanted anthem “Do Something Gross,” over a cart-tape loop of the riff from KISS’ “Detroit Rock City,” with canned crowd cheering in the [read] background. Recorded for Winer’s school radio station’s comedy show on WBHS, it seemed like a complete one-off. Friend-of-friend, Kevin Chudler (Sweet Lew Putrid) happened to be hanging out in the studio, and Winer immediately recruited Chudler on guitar. LMP unleashed a few of their original-songs live at the now infamous “West Bloomfield High Gong Show,” and proceeded to continue their rants, even after the plug had been pulled on them for exceeding their five-minute limit. Seems they had a lot of NOTHING that demanded to be heard. Being heard meant a real demo, so LMP set up in Winer’s parents’ living room. The WBHS mono mixing board and a tape deck were hooked up to somehow and somewhat capture the madness. The vocal mic was plugged directly into the board so as not to allow for the vocals to be heard live. Song keys-be-damned. The tape, called “Body Functions” landed LMP their first gigs, booked through local punk impresarios, Sureshot Productions. Winer’s younger friend, Randy “Yid” Sosin, had been hip to the whole deal. Sold on the concept, he drove with Winer to borrow his friend David Hirsch’s drum kit and became Luke Mucus & The Phlegm’s drummer on the spot. Hirsch years later became Dick Clark’s replacement on American Bandstand (YouTube Search: Dick Clark toasting Randy Sosin’s marriage in a priceless sendup). LMP was now starting to take legitimate shape. Perry switched from drums to his real instrument, guitar. Cliff Iwrey disappeared into the abyss of suburbia. Basement practices started in earnest, and by Fall ‘78, at the ages of 16 -18, LUKE MUCUS & THE PHLEGM started playing the Detroit punk clubs Bookie’s, Lili’s, The New (Old) Miami, Nunzio’s, The Red Carpet, etc. These were The Motor City’s versions of CBGBs and Max’s Kansas City. Remember, Detroit was still about 5th largest metro area in the country then, and half of the male inhabitants between 15 and 30 wanted to be Iggy Pop. A large audience, and at the same time, a lot of competition. Therein lies the rub. Combining the anarchist rantings of The Sex Pistols, the industrial chugging of The Stooges, the body-surfing-on-speed of The Ramones, the Vaudeville showmanship of Alice Cooper, and the nod/wink social commentary of Frank Zappa, LUKE MUCUS & THE PHLEGM offered a unique entrée in Detroit’s booming punk buffet. In fact, LMP’s first gig at Bookie’s on Sept. 8, 1978 was two months to the day before The Police played the same venue for their Detroit debut. The Police already had an A & M recording deal and the hit single “Roxanne” on their hands, but why quibble over details? Neither LMP, nor the crowd knew what to expect that first show, but LMP won over most of the bewildered witnesses, including headliners The Mutants and TuTu & The Pirates with their over-the-top assault. LMP felt they were in their element, as they marveled over TuTu’s guitar that was made out of a toilet seat. Tasteful, indeed. But “getting” LMP was not an acquired taste. You either got it or you didn’t. And if you got it, YOU LOVED IT AND COULDN’T GET ENOUGH. One guy who got it at that first gig was Wayne “Burrito” Lax, who, as luck would have it, was there with a friend who knew the band. Two weeks later “Burrito,” with his bass guitar in tow, and an unyielding Rock & Roll soul, would meet up with Winer at Michigan State University. The band needed a bass player, and “Burrito” was in. Luke Mucus & The Phlegm played for two, curiously magical years before morphing into the poppier/New Wave outfit, Luke Warm (see also on Rave Up Records). The ’79 basement studio recording of Luke Mucus & The Phlegm’s “Live At Yid’s” along with various other live performances are presented now for the first time to the public on Rave Up Records, in their remastered, but un-edited versions. “Luke Mucus & The Phlegm attacked Punk as only suburban, Midwestern teen smart-asses could… like they were the only band in the world.” – Chuck Eddy, Rock Critic- Creem, Rolling Stone, Spin, EW, etc.
Ground Zero was more than a band; it was a group of outcast musicians and visual artists hailing from Ohio, Maine, West Virginia, Rhode Island, Massachusetts, and places in between. In 1978, in the dirty bowels of Boston’s South End, this group of renegades rented some of the run-down and abandoned industrial loft spaces on Thayer Street and began an alternative art movement that would challenge the established art and music “culture” of the city. 24 Thayer St. (The Star Systems Loft) became the birthplace of Ground Zero, a group of musicians, film makers, photographers, xerographers, artists, and videographers who decided to join skills to produce an anarchic, movable musical and visual feast combining post-war angst, deconstructed 60s pop with [read] Dada and existential influences. Ground Zero soon hosted all-night, illegal concert/events at the loft performing with alternative and punk groups from Boston and New York such as James White and the Contortions, Le Peste, Bound & Gagged, The Girls, Mission of Burma, Ragged Rite, and The Stains. Utilizing screens, projectors, TV monitors, and musical equipment, GZ provided a total immersive experience. Combining video, film, photography, xerography, and music, they were one of the first punk/art groups to combine all of these diverse elements into their live performances and led the way in transforming the Boston art and music scene in the late 70s and early 80s. The musicians, Duane Huntington (Synths), Geoff Alderman (Bass and Lyricon), Mark Olin (Vocals), Steve Founds (Drums) and Michael Slygh (Guitar and Vocals), were the “live” embodiment of the imagery provided by Phil Hopper (Film), Sherry Edwards (Video and Graphics), and Marie Favorito (Photo and Lighting). The group recorded a 45 rpm, “Ground Zero”, in 1979 and a follow-up 33 rpm, 7” EP, “Born to be Bombed”, in 1980. A rarely seen, full length video/film project, entitled “Televoid”, was produced in 1980 and can still be found on YouTube. With the Cold War and Atomic Fever raging and Ronald Reagan kicking mental patients into the streets of Amerika for the sake of the wealthy, these children of the 50s and 60s screamed into the face of the unrelenting insanity. It wasn’t always pretty and some of us burned out all too quickly, but it was a sensational and always intense fight. The more things change, the more they stay the same... Half Life Lives! Rave Up records is now proud to produce the anthology of one of the best american underground bands ever: Ground Zero!
In 1980, Detroit’s LUKE MUCUS & THE PHLEGM morphed into the more user-friendly LUKE WARM. Catching the New Wave/Power Pop bug, LUKE WARM discovered their strengths as songwriters, and grew from delivering raw, entertaining absurdities, to still quirky, but catchier, polished gems. Their classic lineup of “Luke” - Eric Winer (vocals/lyrics), “Runny” - Dave Perry (lead guitar), “Sweet Lew” - Kevin Chudler (rhythm guitar), Randy “Yid” Sosin (drums), and “Burrito” - Wayne Lax (bass), had forged a unique sound for two years, and were now ready to build on their momentum. Current, but somehow from a different head than their contemporaries, Luke Warm was on a mission to share their inside-jokes with a larger audience. With Rock Radio playing The [read] Knack (led by ex-Detroiter Doug Fieger) and The Romantics (also from Detroit), there was optimism throughout The Motor City that a number of bands might bust out of The Rust Belt to make it big. Luke Warm went to work: writing, practicing, recording, and gigging. Following the sage advice of their first manager to “write hits,” and with a booking agent on board, LW moved well past just getting paid gas & beer money. Headlining a incendiary string of shows at Angie’s in Farmington, just outside of Detroit, LW developed an avid fan base that would follow them throughout their ’80-’82 shows in Detroit, Ann Arbor, and Lansing, Michigan. And The Luke Warm Show was just that: A SHOW. Neither classically, nor remedially trained as a singer, Luke delivered songs like a riffing stand-up comic on a fiery roll. Whether clad in leather shorts and a referee shirt, or sporting a suave white dinner jacket, Luke presented a variety of personas and characters, aiming to simultaneously enlighten, enrage, and entertain. Like the leader of a Punk Rat Pack, Luke sang, danced, and wise-guyed his way to rousing applause no matter the venue. Perry, rail-thin and feather-haired, played the heartthrob playboy with wicked, melodic, and bluesy leads that were not standard one-string punk-power-drills to the brain. As the band’s musical director, Perry was part partner and part foil to Luke’s antics with his backing and answer vocals. A star in his own right. Chudler solidly kept it driving on rhythm guitar. Understated, yet always with subversive swagger and deadpan humor. While not the biggest member of the group, Chudler was undoubtedly the toughest. He always had every one’s back, on stage and off. And when Chudler stepped off, versatile guitarist/singer Steve Tarnowsky stepped in, and brought his smooth musicianship and versatility to the band. Hands down the coolest guy in Luke Warm without trying, was Randy Sosin. Sosin’s quirky, syncopated, and lyrical drumming kept the set in a variety of motions… whimsical, dramatic, chaotic… all while staying true to the heart of every song. Though the youngest member, the band looked to Sosin for keeping them tuned into new music, fashion, and clubs. And then there was Burrito on bass. The show within the show. Stalking the stage with a demonstrative style fit for an arena headliner, Burrito lived and died the band, the set, every song, every note. Chugging with Chudler and Sosin, Burrito’s emotions and sheer joy gave Luke a foil and ally on the right as Perry soared on the left. Burrito once celebrated the end of a show by not-so-faux-slamming the mic stand down on Luke’s head, as Luke lie exhausted on the ground. What’s a little blood? It was great theater. Notoriety came when Luke Warm’s “Jesus Chrysler,” single, a poke-in-the-eye to the failing auto giant, was released b/w “Why Don’t You Like Me?” (a thinly veiled answer song to The Romantics (“What I Like About You”). Continued gigging, radio airplay, interviews and a Detroit Free Press article (about a Chrysler executive who got in trouble for buying 10 records and passing them around the office), gave Luke Warm the motivation that they were now on the right track. And, if fate smiled on their burgeoning talents, that they might also have been on the fast-track. Time, of course is relative… and you can now follow Luke Warm’s tracks now on RAVE UP! “What can I say about Luke Warm that hasn’t already been said in therapy by anyone who ever attended one of their shows.” Howard Kramer, Curatorial Director Rock & Roll Hall Of Fame Cleveland (Former Manager of Luke Warm). LONG LIVE LUKE WARM!
Deca's is a project of Federico De Caroli's, started in the early Eighties. He moved from the spacey and melodic style influenced by Jarre, Tangerine Dream, Kraftwerk, Cosmic Couriers to experimental sound, involving elements of industrial, noise, "musique concrete" and even Dark Ambient. His extensive discography ( vinyls, tapes and cd’s ) is the representation of his creative genius that makes Deca one of most interesting musicians in the world of electronic music. "Modulectron" is an anthology of unreleased material recorded between 1984-1986, a small jewel of Italian electronic music of the ‘golden age’. As he says: “The artistic soul of a musician never dies, it hardly loses its spirit, actually, it is quite the contrary, and it can only [read] grow with time: you can find new forms of inspiration, try new musical routes, mix new and old sounds together. The tracks of ‘Modulectron’ still feature the sound of my first pioneering tape recordings of 25 years ago”. Order this record right now!!! Only 400 copies available!!!
System 56 was a band from Cleveland, Ohio, formed by Steve Simenic, in 1981-82. The group drew much of its early inspiration from artists such as Ultravox, BeBop Deluxe, Simple Minds, Gary Numan and the Cars, featuring a stripped-down type of aesthetic, which blended edgy guitar riffs against a minimal synth backdrop, and fueled by a driving rhythm section. The band was committed primarily to crafting and recording their music in a small home studio setting, and in early 1982, released their first single – Metro- Metro b/w In the Old World. Two live gigs followed, when shortly thereafter, the band had an internal split, leaving Vince Scafiti and Steve Simenic to carry on by themselves, in the interim.Later, that [read] same year, another release followed - Beyond the Parade - a 6-song EP, which garnered some critical acclaim, as well as both college and commercial support, on local Cleveland airwaves. As the group had been reduced to just a two-piece, there were no live performances, with the band choosing instead, to continue to recruit replacement members, and move forward with additional recording projects.In 1983, synthesist Paul Teagle joined the band, shortly after which, they released their second single – Life on a Cool Curve b/w The Other Side of Science. The resulting music was both more accessible, as well as more layered and nuanced, further embellishing its minimal sophistication, with guest saxophonist, Phil Capone, providing a smoky ambiance on the more ethereal b-side. The single garnered extensive airplay on Cleveland airwaves, as well as a number of underground stations outside the local area, while positive reviews continued to roll in. As 1984 arrived, the band added a new bass player, Tom Lash, to its lineup, and restored the group to its original form. While the band continued to focus on recording and releasing its third single – A Man Needs a Motor b/w Shapes of Things – they now began rehearsing for some live performances. With the new single getting strong local airplay, the band made its Cleveland debut on September 28th at the Phantasy Theater, playing to a sellout 1000-seat venue. A second synth player, Dennis Richie, also augmented the live lineup. Two more shows followed later in that year, at the Phantasy Niteclub, and shortly thereafter, the group dissolved.
“For kids in the 1960s, the moment of inspiration was when they heard The Beatles for the first time,” Jacket Weather frontman Timothy Gassen says. “For me, when I heard Kraftwerk’s ‘Computer Love’ for the first time in 1981,I was hooked on making pop sounds with synths.” Gassen formed the pioneering minimalist-electro-wave act Jacket Weather in 1982, mixing dual Casiotone keyboards, real bass and drums — with the desolate imagery of the Arizona desert. “I loved the contrast of the synths with human percussion and the sensual backdrop of the desert,” Gassen adds. “We thought the tension of my cold, distant vocals and synths with the bombastic rock rhythm section made our sound unique.” Described in their day as a [read] cross between Joy Division and Young Marble Giants, with some Wall Of Voodoo mixed in, Jacket Weather etched their own minimalist sound. Staccato, expressionistic vocals accent the snake-like mingling of the Casiotones, while a steady dance pulse backs the eerie mixture. Equally enraptured with Euro-synth, English post-punk and Los Angeles punk-wave, Jacket Weather found inspiration from such opposites as Our Daughter’s Wedding to the Suburban Lawns for their Casiotone symphonies. The band recorded a cassette album in 1982, released a six-song vinyl EP in 1983 (titled “When Shadows Move”) and also recorded a complete album that remained unreleased — until now. Original session producer Gassen (who has gone on to a career in indie rock and film) recently found all the master tapes — from early demos, to the EP tapes, to the unreleased album — and re-mastered and assembled them all into the collection that has been unheard for 30 years. It’s the dark and mysterious (Casio) tones of Jacket Weather that finally take center stage, three decades since they first drifted through the Arizona night.
Hailing from the ashes of Phoenix legends of THE RED SQUARES, after their disbanding in the winter of 1983, Sonic Mike Stephens (lead vocals and guitar) and the other guitarist and keyboard player Roger Lee Chavous decided to start another band. They met bass player Walter Charchuck, and than started kicking around a crazy idea of combing Country with Synth/Punk material using a shitty drum machine. Greg David, the drummer, combined both drum machine and electronic drums. The plan was to dress like a new age cowboys, as all of them were from Arizona. Unlike some of the local Rock groups, NUVO WEST took a decidedly different approach to their style of playing. Art galleries like the Awun House, hosted [read] basement parties with the band that people were taking notice of. Opening for everyone from the Del Fuegos to buddies Rank N File, Nuvo worked their tails off. Enter buddy/studio wiz, Fred North. Using Sonic Mike’s practice studio, Fred set up his TASCAM 4 track and recorded the now sought after “Scary” EP. Included on the record were original songs written by Fred with a very heavy western influence, aka “Apache” and originals written by Sonic and Wally. Debuting the EP at a trendy “Alternative” club in Scottsdale, the band combined fence post props with several TVs playing homemade videos, including violent car crashes and porn. The audience loved it. The EP sold well locally, and the boys went out to tour in a limited fashion. In 1984, the band recorded their biggest album to date, “Twankin”, a word the band loved. Gone “were the keys/synth, and the look turned to jeans, large cowboy hats and nudie shirts. Released on cassette, “Twankin” out sold the previous EP twice over.
Punk Rock hit Phoenix, Arizona in a slow and violent way. The dirt brain mentality of "rock" fans in the area showed resistance to any new musical group that didn't conform to the model. Finally, after a Ramones show in town, four young guys decided starting to play punk rock: The Names were born! The band and headed into the studio. Songs like 'Young Romantics', 'Love/Hate', and the anthem 'I Don't Like Radio' gathered the band airplay on the AM radio station K-15. Bands such as the Rubber City Rebels, the Gears and many others came through the area and The Names opened for most of them. The last show of the band was on New Years 1980. The next [read] day, the band became Red Squares, that recorded the amazing 7” 'Modern Roll/Time Change' (see American Lost Punk Rock Nuggets # 25). All studio tracks + 4 live cuts!
The Streetkidz were a bunch of NYC rockers that released only one rare EP in 1981 with three tracks (Go To School / Easy Way Out / In The IRA) on their own label (CK). Their sound is a mix of punk and hard rock in the same vein of many NYC band of the period.The MC5, Stooges, NY Dolls, and the punk explosion of the mid to late 1970s were the main inluences of the band that was quite popular at Max's Kansas City and CBGB. This anthology contains ALL STUDIO MATERIAL, and it will be a 'must' for every fan of Dictators and original NYC punk rock! Dig it fast!!!!
The band were formed around march 1982 in Stanley County Durham, England, following the meeting of Trevor Johnson and Michael Harper, with the inclusion of Neil Sharkey on drums and Andrew Bell on bass (later replaced by Bruce Robinson). After many shows with local punk bands, the band went into Guardian studios to record their first demo on 4th may,songs recorded were ‘Fresh Air', 'Vengeance’ and 'Youthanasia'. Following a couple of gigs the band returned to the studio on 6th december and recorded their 2nd demo which included ‘Not so Brave’ ‘Tap Dance’ and ‘Face of the West’. In the same month, a local label produced the e.p ‘Rock n Dole’, which featured TASK FORCE 'Fresh Air' and three other [read] local bands: Obnoxious Tartus, Decade Waltz’ and Hot Banana. The band split-up in 1984.
Mario Micheli (bass, vocals and littering), Tony Samuels (drums) and Johnny Spark (known outside of Detroit music circles as John Micheli, guitars, vocals and attitude) were The Projections, a punk / powerpop / detroit / garage band formed in Detroit in the early 80s. In March of 1982, the band recorded their 7" 'Hyperactive/Individual', a solid punk wave two sider now really collectable. This EP contains their original recordings, the re-mastered 2009 versions and one great unreleased original tune!
Disillusionment with the "mellow 70's" was turning to rage as the US waged a proxy war in Central America, and San Francisco ignited into fiery riots after the assassination of its mayor and first openly gay city council member. The Saucers reflected these times with caustic humor and impassioned social commentary. In 1980, the band after the departure of first keyboard player, Joey Michaels, renamed themselves The Allies, adding dynamic lead guitarist Craig Magee, formerly with Dyan Diamond (Runaways). With the addition of Magee, the band pivoted from the Saucers' Farfisa-dominated garage punk to a more muscular, guitar-driven sound. Local music producer and KALX engineer Terry Hammer worked behind the scenes to get both bands into the studio, with varied [read] results, on display here. He also recorded a number of live shows for the two groups, and it's mostly thanks to his efforts that this music survives today. After the definitive split of the band, the drummer Jake Smith went on to join hardcore punk band Crucifix, played in an early version of Faith No More. "Pretty Cool. I like the lyrics. I really like that song 'Piggy's Jukebox'. It was tough in those days to stand out and do something different.... had some real power.". HENRY ROLLINS (KCRW FM - L.A.) on "The Saucers/The Allies" vinyl lp - on Rave-Up records.
Guitarists Mike Enright and Byron Stevens met drummer Curt Gary at the University of Cincinnati in the early ‘70s. By 1975 they were jamming together, abusing controlled substances, and listening closely to Lee Perry, Pere Ubu, and the singles coming out of New York and London. A visit to a Bloomington, Indiana, basement to see MX-80 Sound was pivotal, as were debut LPs from The Ramones and The Patti Smith Group. In the winter of 1976, local guerilla art collective We're Just Like You put on a show at the university and needed a band. With the addition of Mike’s high-school friend Bob Cotter on bass and a few weeks of rehearsals, Mike, Curt, and Byron formed Ed Davis, a [read] name chosen because it meant nothing and revealed nothing. The group stayed together after the show and slowly built a following in Cincinnati clubs, eventually playing a series of legendary parties in their downtown loft. In '78 the band cut a single, played on WAIF-FM, opened for The Patti Smith Group at Bogart's, and lost guitarist Byron, who moved to NYC. Ed soldiered on for another year with new vocalist and pianist Fran Slater; bassist Bob switched to guitar; and Mike picked up the bass. Their last show, at the 5th Street loft backed by the Shake It label’s legendary The Customs, was in June of 1979.
Finally one of the legends of the early S.Francisco punk music are on vinyl. These amazing tracks were in fact recorded in 1980 but they never saw the light! Now, after 30 years, Rave Up records discovered these pioneers of Art Punk music. The band was really popular in the Bay Area and opened for many important bands such Black Flag, The Lewd, The Mentors, Los Lobos, Red Hot Chili Peppers ecc... This album is ESSENTIAL for every fan of bands such Devo, Pere Ubu, Screamers, Von Lmo ecc… So, grab this incredible Lp, all recorded in studio right now! No filler! 100% American genius! Art cover designed by Winston Smith!
Philadelphia’s punk rock finest band! Started in 1977, the band was really popular at the ‘The Hot Club’, one of the main punk venues in USA. They had a punk ethos, but laced with a potent pop mentality and a big sense of pure theatricality that reminded one of suck disparate outfits as Sparks, The Weirdos, Lance Loud’s Mumps and The Dickies, not to mention The Monkees! Unfortunately the band recorded only one acetate and few studio tracks that you can find in this anthology that contains the best production of their unlucky career!!! Pure US punk genius, grab this!!!
The Dawgs were born in Beverly, Massachusetts, (just north of Boston) in the late 1970's. Ispired by sixties garage bands and local idols Real Kids, the band recorded a killer three-song EP on Greenline Records in 1979. After this ‘classic’ 7”, the band released a first full album on Star-Rythm Records and one anthology on New Rose Records. Now, finally in 2009, this amazing band is still available on Lp with the best selection ever that includes lotsa of great unreleased studio stuff + their immortal hits!!!! Absolutely a must for every Boston rock’n’roll fan!!!!! Be fast, this record burns!!!!
Finally available the definitve anthology of Minnesota's Misanthropes! The band released four great and rare singles on the cult label Break'er Records between 1978-81. Some of these tracks appeared on various 'Killed by Death' and 'Hyped by Death' compilations during these last years. Their crude and weird music is a mix of influences that reminds The Gizmos, Residents and... Frank Zappa! Absolutely non conventional sound! The album includes also many unreleased tracks. All studio material!!! Be fast, buy it right now... this is a pure touch of genius!!
Amazing glam punk rock from New Orleans. These bands played a great mix of NY Dolls/Heartbreakers style rock'n'roll. 1976/77 studio and live tracks. Vintage photos and liner notes written by the bassplayer Brad Orgeron.
New Jersey pycho punkers on acid! Obnoxious and insane studio and live material recorded in 1978/79. You can hear their terrific sound on various volumes of the well know "Killed by Death" serie. Vintage photos and liner notes written by the lead singer "Major" Matt Grim.