R@M0#E$ – !t’$ Al!^e [Vinyl Rip!]

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”This amphetamine-paced double-LP served as a Ramones career retrospective, smack at their peak, and shows the Queens crew almost stumbling across hardcore around the same time California was inventing it. Over four nights in 1977 at London’s Rainbow Theater, the punk pioneers blasted through 28 songs from their first three albums. (Thanks to their tidily short length, they squeezed in nearly all of ’em.) The final LP version came mostly from the last night, charged with an energy so electric that fans are said to have ripped seats from the floor and thrown them at the stage in enthusiasm. It’s no surprise, as the entire record pulses with American punk’s promise, a spittle-spewing Joey Ramone barely pausing between “Pinhead,” “Do You Wanna Dance?” and “Chain Saw.” He even barely pauses long enough to get out all the lyrics, the band buzzing away behind him like they’re in a machine shop. During post-production, the speed was something with which even the band itself struggled to keep up. In his book, Hey Ho, Let’s Go: The Story of the Ramones, Everett True writes that Dee Dee needed extra fuel to record bass overdubs: an extra-heavy helping of black coffee.” Arielle Castillo

 

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Ahh, sweet memories of teenage years. This was the first R@M0#E$ lp I’ve bought in ’84. while in highschool. It was a time when I was headbanging to the beat of The Clash, The Stranglers, Buzzcocks, Undertones, Blondie, Pistols, Dead Kennedys … It’s a West German issue that was most easier to find in Europe back then. I know you’re over stuffed with R@M0#E$ stuff but then again… they are my no.1 favorite band and this is one of the best live rock lps and Surfadelic vinyl rip is far superior to CD version you can find out there. So… 1-2-3-4 … Dig!!!

 

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JOHN DU CANN – The World’s Not Big Enough [1977. Glam/Power Pop]

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”The World’s Not Big Enough is the only solo album by John Du Cann, who was best known as guitarist and vocalist with Atomic Rooster and Hard Stuff in the 1970s. The album was recorded in 1977, but remained unreleased until 1992.”

”John Du Cann joined Atomic Rooster in 1970 after fronting The Attack, a now-legendary freakbeat band, and Andromeda, a heavy rock group. He was with Rooster for the hit singles “Tomorrow Night” and “Devil’s Answer”.  Du Cann subsequently joined Bullet  (with Rooster drummer Paul Hammond) and signed to Purple Records (they subsequently changed their name to Hard Stuff). He later played in Thin Lizzy (as a replacement for Gary Moore) until, in 1977, he recorded his first “solo” album.

For various reasons, this LP was shelved and it is only now getting its first official release. At this time, John was part of the same management stable as Status Quo and he enlisted the help of Francis Rossi, who produced and played on the album.  Also featured are keyboard player Andy Bown (ex-The Herd) and Angel Air stalwart John McCoy on bass (Gillan, Mammoth).

This CD release of “The World Is Not Big Enough” features an impressive collection of demos, singles and outtakes.”

”…three-minute punk-ish pop ditties that could just as easily been blaring out of speakers contemporaneous to anything by The Cars, Blondie or Cheap Trick. “Power Pop” …and much better than the rest, I think. Atomic Rooster fans…know that this is going to be great rock and roll but they would have never guessed at the form it would have taken. Status Quo fans will want to snap it up for the contributions from both Andy Bown and Francis Rossi. Everybody else, don’t be a dummy and get this thing as soon as you can!” Music America, (July 1999)

 

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BINGO! French Punk Exploitation 1978-1981/ PAINK – French Punk Anthems 1977-1982

 

”In the face of Plastic Bertrand’s huge success ‘Ça Plane Pour Moi’, big labels in France thought they understood how it worked. Very soon, music publishers and majors all wanted a punk hit. Barclay, RCA, Polydor… all of ’em wanted their own ‘Ça Plane Pour Moi’. Sure, most of these punk hoaxes are as lousy as it gets, but one must admit that some of these cuts managed to stand out and surprise.”

More French punk in these two Born Bad Records comps. While Bingo! is punk exploitation oriented collection with many tunes you could already hear on ”Je Suis Punk” lp [Bingo! has improved sound quality], Paink deals with more angry real punks. Anyways, both comps have great sound + Surfadelic bonus with Guilty Razors ’78. Ep, Warm Gun ’77. single and more punk surprises. And now en français: Vive Le Punk!

 

 

WHO’S A PUNK? / JE SUIS PUNK – The Very Best of British & European Punksploitation

 

 

”First came ‘Je Suis Punk”, a collection of unheard French Punk “punksploitation” obscurities (i.e. band’s who were created to – or changed their sound in order to cash in on the burgeoning “punk fad”), and now comes “Who’s A Punk?” – the British counterpart to those finicky Francs. LOADED with razor-sharp riffs and catchy as hell melodies designed to make you pogo your safety pins right off!”

”Absolutely scorching compilations of what is known, alternately, as either “fake punk” or “punksploitation;” in other words, the short-lived practice of putting together a group of seasoned session musicians and asking them to produce a loud and crude punk single in order to quickly cash in on the punk “fad” that was peaking in the late 70s. You would think that this would be a recipe for disaster, but in practice it’s actually great. To me, it’s the best of both worlds; you have people who are seasoned veterans at writing and arranging songs, but you’re asking them to do something very immediate, loose, and off the cuff. So, what you end up with is very well-written and well-arranged songs that are kind of deliberately stupid. What could be better? If you have a Crass tattoo or something I could see finding this whole scene kind of offensive, but if you like a lot of those early British punk groups who were actually around before punk but adopted the look in order to ride the wave of punk’s popularity–bands like the Boys, Slaughter and the Dogs, the Vibrators, maybe even the UK Subs and Cock Sparrer–then you will absolutely love this compilation… there isn’t a dud on it.”

Vinyl rip of these two great unofficial comps with rare UK & French late 70’s early 80’s punk/new wave exploitation gems. Fake punk rules! Do you feel lucky, well, do ya, punk?

WHAT IT IS! Funky Soul And Rare Grooves [1967-1977]

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”Too many reissue compilations are content to merely slice ‘n’ dice familiar catalog choices in not particularly original ways. But this four-disc, 91-track trove of obscure ’70s R&B and funk from Warner-distributed labels great and small argues there’s still treasure to be gleaned from studio vaults–a five-hour groove-fest that’s as interested in shaking booty as in opening ears. Even the genre’s groundbreaking usual suspects (Wilson Pickett, the Bar-Kays, Curtis Mayfield, Earth, Wind & Fire, et al) are represented by selections that aren’t immediately familiar, while Queen of Soul Aretha Franklin serves up a radically different, previously unreleased take of “Rock Steady.” Still other stars contribute their sonic touches to some of the lesser-known cuts, as witnessed by the patent trippiness of Sly Stone alter-egos 6ix and Stanga on “I’m Just Like You” and “Little Sister,” respectively; the stark, party-not-so-hearty contrast of the Mayfield-written-and-produced “Hard Times” by Baby Huey & Baby Sisters; and the Meters’ version of “Tampin’,” released under the moniker of the Rhine Oaks.

Sequenced in rough chronological order, it’s a savvy window into a musical evolution as well, with the rhythmic guitars, organ swells, and horn flourishes of traditional ’60s R&B giving way to sinewy synths and increasingly chunky bass lines as the decade grooves on. While savvy hip-hoppers will note that many of the rarities here have already been repurposed by shrewd mixers, it’s a revelation to hear them in their original form. A compelling deconstruction of an often clichéd and too-narrowly-defined genre, this is an anthology that showcases music that has influenced such contemporary artists as Tupac, the Beastie Boys, Snoop Dogg, and Kanye West, annotated by many of the original musicians who set the dance floor in motion.” — Jerry McCulley

 

 

”This is a pretty sick compilation. It’s funkin’ awesome. You will be funkin’ all night to it. Alright no more shtick. Get it, if you love funk.”

”I am 1% cooler for having listened to this.”

”Quite possibly the finest compendium of funk one could possibly lay their ears on. Takes a while to get through and digest, but is high on accessibility and nearly perfect in quality and diversity (big names as well as guys I’ve never heard of before). Mark this one as essential.”

 ”Pimpin, Simply pimpin.”
”Basically the Nuggets of R&B, except it consistently beats its mainstream competition.  If you’re into the style, this is essential.  A good number of these are instrumentals, but that’s not a bad thing.”
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Funky Surfadelic, Dig!!!

JEAN-CLAUDE PELLETIER – Streaking! [1974. Euro Funk/Lounge]

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Streakers! Streaking! Streak!

Continuing the story of 70’s Euro funk, here’s superfine ’74 ”streaking” funky slab by French composer, arranger and conductor Jean-Claude Pelletier and his orchestra. You could hear ”Special Streaking” on Funky Flea comp., and now you can taste entire lp of cool funky instro/lounge dedicated to runnin’ nude maniacs. Hello Streakers!

FUNKY FLEA vol.1 [Rare 60’s & 70’s Euro Lounge]

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Interesting non official, custom made compilation [by Space Debris] of rare 60’s & 70’s lounge, latino & funky grooves by Euro acts as Chakachas, Chicken Curry & His Pop Percussion Orchestra, 101 Strings, Chocolat’s, Nico Gomez, André Brasseur, Brasil Tropical Sound, Francis Lai, Jean-Claude Pelletier, The Chinese Fighters, The Manzanilla Sound… Sound check by Surfadelic. Cool & Sexy, Dig!

MACONDO – Macondo [1972]

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”Discovered and produced by Sergio Mendes, Macondo was one of the more interesting, and frustrating groups to fuse Latin music, heavy rock, and funk in the wake of Santana’s huge early-’70s success. Though the band featured several able instrumentalists (particularly bassist Ron Chretin) and loads of raw energy, no one in the group was a particularly good vocalist and the unit’s songwriting was often amateurish. Consequently, none of the tracks here live up to the promise of their great introductions, grooves, and instrumental passages. Leader Max Uballez has a nice knack for melody and loads of interesting musical concepts, but the songs usually seem to be cramming in too many ideas at once. Perhaps sensing that they rocked but didn’t have anything close to a hit, on side two the group (or perhaps Mendes) decided to include Macondo’s very own “Oye Como Va” (a full two years after Abraxas) in the form of “Cayuco,” a similar Tito Puente composition. The tune sounds a bit out of place considering not a word of Spanish is sung on the entire first side of the record. Also, the arrangement is laughably Santana-esque, right down to Albert Hernandez’s lead guitar playing (which, unfortunately contains none of Carlos Santana’s virtuosity). In the end Macondo, though strictly B-list, is an enjoyable listen, as the band is so obviously having the time of their lives. Not as tight, dark, or pop-savvy as Santana or Mandrill, the group still had an appealing acid rock stoner vibe that conjures up images of a hard-partying Latin Foghat. Not exactly a lost classic, Macondo is certainly an obscurity worth looking out for and highly recommended to fans of the genre.” [Pemberton Roach, All Music Guide]

Cool rare latin-funk slab with touches of Santana and Funkadelic. Street fighting Hard-funk, Dig!!!

 

FUNKADELIC – Motor City Madness [Psych/Funk 1970-1976]

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”If you will suck my soul, I will lick your funky emotions…”

Motor City Madness is a compilation featuring songs recorded for Westbound Records during the band’s career with that label from 1968 to 1976.”

”Ah, yes. Funkadelic who do it all here. They rocked, they funked, they rhythmed & a few other things too. Eddie Hazel is a forgotten legend on lead guitar (“Maggot Brain”) & Bootsy Collins a well remembered bassist. There are only two songs here that got chart action & neither of the two were actually on the traditional Pop Singles chart. But Funkadelic was not about hits. There were about funk, partying &, in general, to use one of our more recent phrases: shock & awe. The two songs that actually charted were “A Joyful Process” which went to #38 on the Black Singles chart & “Get Off Your A** and Jam” which went to #14 on the Club Play chart. Some of the better known songs included in this collection are: “Free Your Mind and Your A** Will Follow”, “Standing on the Verge of Getting It On”, “Funky Dollar Bill”, “Cosmic Slop”, “Loose Booty”, “I Got a Thing, You Got a Thing, Everybody’s Got a Thing”, “Music For My Mother”, ”I Wanna Know If It’s Good To You”, ”I’ll Bet You”, ”You And Your Folks”, ”Mommy, What’s A Funkadelic”
This is a great collection of Funkadelic with George Clinton at the helm, sailing into waters that few groups dared to venture into. Get this and get your freak on, you freakazoids. Sure, there’s some songs missing as always on any compilation. Solution; Get all their freaking music, you maggot brain.” [amazon reviews]

 

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”Freedom is free of the need to be free,
so free your mind, and your ass will follow:
The kingdom of heaven is within…”

 

”Eeny, meeny, miney mo, catch a junkie by the toe.
If he hollers, let him go. If he don’t, do the loose booty…”

Funkadelic

Funkadelic meets Surfadelic… Detroit acid funketeers best collection after superfine singles comp. ”Music for Your Mother.” Here you got wyld bunch of acid rockers from their best period ’70-’76. Two and a half hours of Funkadelic music + Surfadelic bonus cuts. GET OFF YOUR ASS AND JAM!

 

HOWLIN’ WOLF – Message To The Young [1971] / The Back Door Wolf [1973]

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”1971 marked the release of Howlin Wolf‘s second experimental offering, ”Message To The Young” . Oft-considered his second attempt (after the ”Howlin Wolf Album” he famously shunned) at offering the masses a psychedelic record, the sound on the record ranges from acid-rock, to blues, to funk, and back again. The title track on Message To The Young is exactly what the title suggests; Wolf s attempt at reaching the youth of the era in a beautiful spoken word ballad which can easily be summed up in two words Be Yourself . Originally released on the newly formed Chess Grt label, a subsidiary of legendary imprint Chess Records.” [Amazon Editorial Review]

 

 

Another overlooked gems, this time from Howlin’ blues legend 70s rumble. ”Message To The Young” is a cool funky-blues slab in style of Muddy Waters ”After The Rain” or “Electric Mud” albums [but not so heavy], made for the new generation rockers of early 70s. You can hear influences of early Funkadelic, late period Jimmy Hendrix and even ”Beggars Banquet”/”Let it Bleed” era Stones.

The Back Door Wolf is pretty solid, straight blues effort marked Howlin’ Wolf’s return to his well known ground. Check it out!