“Houston’s Born Liars’ debut is a guitar lover’s dream, six-stringers Jimmy Sanchez and Geoffrey Muller way up in the mix and mugging for the camera, chopping, chording, and flailing their merry way through 11 sweaty tracks like the bastard love children of Wilko Johnson, Johnny Thunders, and Link Wray. Speaking of Johnson, they turn in an oily, righteous cover of Dr. Feelgood’s “She Does It Right.” “Finger Poppin” and “Room to Move” amount to what some may view as battles of one-upmanship, but the results are liberating to say the least, chunky, determined, fully formed, and slashing, burning, and scorching anything in their way. If the Born Liars don’t inspire you to smoke, drink, and hunt for the truth, check that you’re not wearing slippers and smoking a pipe.” [Otto Luck]
“The High Beams give us an abrasive half-hour blast of no-nonsense, crunchy, seedy, Heartbreakers-inspired thuggery, all lashing and crackling rock n roll. For those not in the know, this band contains MATT MAYO of the late great MULLENS. While ex-band mates The Sunday Drunks seem to go down a more Stonesy / Stooges sludgy sideroad, The High Beams floor it recklessly along some central highway out of nowheresville and hit the amphetamine addled alleyways rushing around amongst the dust and dirt of big city shitsville. From “Look At Her Run’s” soundtracking, a gas guzzling, tarmac-eating journey, through “Defend Me” (choice lines: “She loves to be with the boys in the band, loves to give them a helping hand, she’s giving the singer a great big thrill ‘cos his drummer passed out on a handful of pills”) and “Nothing Good”, through to the howling, pounding comedown paranoia of the title track, complete with a tidy little stop/start guitar line, and “Living To Die”. While none of them are devoid of melody, far from it, with the insistent, nagging melody of “Tell Somebody”, only at the end does Mr. Mayo reveal more of a pure pop edge, with “Rocking Horses”. I admit at first I thought “Oh here we go again” but for no-frills, no holds barred rock n roll, I haven’t heard much better recently. Top one here chaps.”
“Do what I please gonna spread the disease Because I wanna…”
…And they did!
With the explosive mix of 60’s garage riffs of the The Kinks and Sonics + 70’s punk rock fury (and the help from God), five elegant but crazy arrogantswedes managed to conquire the world. This, their 2nd Lp from 2000. sparks the new garage revival wave for a 21st century. “Veni Vidi Vicious” was kinda like a garage punk hit album with killer singles and videos as Hate To Say I Told You So, Die, All Right! and Main Offender that jammed the rock’n’roll media.
“They looked like the Rolling Stones and sounded like The Stooges. They were gonna do what they wanted because they could, and damned if I didn’t immediately feel that. They were jerking around on my TV screen, heads floating in front of alert signs, looking very dirty-clean and dumb-smart, the epitome of cool.”
“Singer Pelle Almqvist‘s guttural scream shot spit through the fourth wall, which is truly the essence of the band. The Hives have often been called (by both critics and themselves) one of the greatest live rock bands in the history of amplifiers. That energy spewed onto every second of Veni Vidi Vicious.
The album heralded a more sophisticated, cleaner level of production. The band reportedly called the sound “a velvet glove with brass knuckles.” It’s 12 tracks came in at a quick 27 minutes. Two of the songs cleared three minutes, which is more than The Hives’ bright burning freight-train of a debut. It had catchy choruses, but it was still punk through and through. I’d never been to a bar, but listening to this album, I could taste beer splatter and sweat mixing in the air.” [Kat Bein]
And now, for this special occasion you can enjoy Surfadelic LP rip from limited edition white vinyl!
“Confucius says: Ah…The Hives. The future is theirs… should they want it.”
Two of the very best garage punk albums from the beginning of 21st century. On their 5th and 6th Lp [2002/03], North-West surfers change their style to a harder rockin’ power pop sound influenced by the 60’s acts as Small Faces, The Who, Paul Revere & The Raiders, The Sonics and 70’s bands like Cheap Trick, Elvis Costello or Ramones. Non stop guitars/organ driven rockin’ action with tunes like She Moves Me, Making The Rounds, Dreaming In Stereo, My Love Ain’t Free, Every Girl In Town or r’n’r radio hits as I Am Your Radio, Kill MyTelephone, I Wanna Be Your Addiction, He’ll Be Around from “The Set-Up” lp. Already have posted this stuff before but hey… This is A MUST !!!
More of these NY cats wyld garage punk stuff in this killer collection of singles issued on Wicked Singles Records in 2006/7, Party Down, Winks & Blue Eyeshadow, Free Love and The Party Bag. ”It’a soul trash rock’n’roll deathbeam full of nitty-gritty dirty soul and proto-punk rock”. As my friend Garner said, they have that Detroit vibe alongside NY back alley feel. They’re dangerous, sexy and yeah… wicked !!! 13 furious trax all under 2 minutes. Dig!!!
Garage punk band from Brooklyn, NY, influenced by The Sonics, Stooges, MC5, New York Dolls, delivers frantic soulful rock’n’roll in the vein of The Gories, Oblivians, BellRays or The Dirtbombs. This is their debut slab. Taste the Ghetto Luv, Dig !!!
”For the dirty boys in the parking lot! This is no new sympathy records girlie cover music, this is pure ghetto trash! Wrecked rock ‘n’ roll that will win your cheap scenester soul in no time.”
”More mean rhythm, backbeat and style than a whole motorcycle gang, it’s been described as a kind of “DIRTBOMBS gone wild“ or “beer soaked inspired australian rock blasts inflected with dirty Detroit soul.“
“The three-piece half woman/half devil falls over the fourth dimension, like an English band from the 70s messing around with the Blues Explosion and MC5.” —ROLLING STONE (FRANCE)
“This band is a veritable army of rock’n roll ninja-drinking brown lickah, telling you the whole time that you don’t party nearly enough.” —HORIZONTAL ACTION (USA)
“CRAZY! Most-wild, mighty-swingin’ fuxx-guit-driven 3-piece blastin’ out a Crime-meets-Oblivians scree!” —Tim Warren, CRYPT RECORDS (USA)
“If the Bellrays are the female-fronted answer to the MC5, then think of the GHETTO WAYS as the Stooges. Jenna delivers the perfect mix of sex and soul…” —CARBON 14 (USA)”
The Black And Whites were created as a home recording project by Talbot Adams in New Orleans, LA in the late 1990’s. The project flourished as a band in Oxford, MS in the Mid 2000’s. They play Ramones/Devil Dogs, 70s/90s influenced garage-pop-punk with passion and energy. After three excellent 45s they released their sole Lp on Douchemaster Records. Fun tunes ’bout good girls, bad girls, multiple girls, bad expectations, broken hearts… Some said it was one of the best record to come out in 2008. Here you got it + 4 bonus singles trax. In Black & White, Dig!!!
”The Scat Rag Boosters are Montreal, Canada raunch trio without the bass but with a sound in the vicinity of the Gories, Oblivians and ’68 Comeback. Their lo-fi grind can’t conceal the raw punk energy and rock ‘n’ roll roots of their sound. Gritty growly guitars, moody harmonica, and Lightning Hopkins-style drums — finally, blues punk done right!”
”From the first track on, the Cripplers put forth honest, uncompromising, punked-out rock & roll. Imagine the New York Dolls doing street punk, if you would. Raucous, punchy, energetic, and muscular rock is here, with plenty of attitude for anyone, yet not overwhelming the record. Crank rock increased in popularity during the first few years after its popularization — as it were — by the New Bomb Turks and the Candy Snatchers. The Cripplers add to that legacy, with a stomping heartiness that would motivate any audience to bounce along.” [Jeremy Salmon]
Midwest garage punk gang formed in Columbia, Missouri, somehow similar in style with Devil Dogs but more trashy ‘n’ dirty. Check ’em out!
Straight out of the garage and into the rowdiest frat party in the free world come Detroit’s Lyle Sheraton & the Daylight Lovers. Taking the catchy power of the Devil Dogs and spicing it up with the soulful fuzz of the Oblivians, this irresistible album plays like the soundtrack to a lost classic B movie. Lyle Sheraton’s thoughtful twists on everyday lyrics and heartfelt, off-the-cuff vocal deliveries give an earnest feel to the songs, greatly assisted by some crunchy guitar production from none other than Jack Oblivian himself. Fifteen adrenaline-fueled songs (plus one slower, Motown-style gem, entitled “Now You’re Lonely”) grace this debut, mostly dealing with the single-man’s world. Songs such as “Cooking in the Kitchen” and the dating prowess of “That’s How Many Girls” are a perfect compliment to the record’s rowdy closer, “One Man Gang.” “Midnight Woman” is a welcome change-up, driven by a heavy Southern blues groove and reverb-drenched harmonica. The highlight has to be an up-tempo, playful number, in which Sheraton proudly exclaims that he doesn’t drink for any of the numerous reasons stated in the song, but instead drinks because he’s the “King of Useless Drinking.” Well-recorded by Jim Diamond, whose name has been involved in some of the finest underground rock from Detroit, this is an uplifting album from an uncompromisingly fun band. [Ian Trumbull]