Red Hot rockabilly action recorded live at the Agoura Cleveland, March 25th 1978. Link & Robert walk through the bunch of rock’n’roll covers of classics like Mystery Train, The Way I Walk, Red Hot, My Baby Left Me, Lonesome Train, Summertime Blues, Twenty Flight Rock, Rumble… Say… Dig!!!
A re-post of first two albums ripped from original vinyl [1st] and real cool UK ’87 reissue of ”Leave Home” on Mau Mau Records [division of Demon Records]. Well, I’ve recently found a rip of 180gr Rhino reissue from 2011. and it sounds pretty lame and shitty, so I decided to post it with my old rip for you to compare. And remember: 180g DOESN’T MEAN GOOD SOUND QUALITY ! Also, you can compare difference between ”It’s Alive” [80s German reissue] and [Audio Fidelity] 2009. reissue. I think it’s better option to go for some 80’s reissues than for nowadays hipsters vinyl. You must choose brothers and sisters, you must choose. And yeah, by the way ”Leave Home” is on the Top10 list of my alltime favorite rock’n’roll records, next to New York Dolls, Stooges, Sonics, MC5, T.Rex, Flamin’ Groovies, The Clash etc… Supercool <360> Vinyl rip by Surfadelic. Check it out!
Bo Diddley not only is one of the key architects of Rock & Roll, in my eyes he’s also one of the founding fathers of Funk. No one played a guitar that percussively as Bo did back in the ’50s.
This great CD – which also features fantastic liner notes and images of LP cover art – brings together some of the funkiest tracks Bo recorded between 1970 and 1973.
From the masterpiece ‘Black Gladiator’ (1970) come “Elephant Man”, “Black Soul”, “Funky Fly”, “I Don’t Like You” and “Shut Up Woman”.
From ‘Another Dimension’ (1971) – the ill-fated ‘covers’-album – come two Creedence Clearwater Revival updates, but it’s Bo’s self-written funk gems “Pollution” and “Go for Broke” that really put the swing in that LP.
Next up is Diddley’s best-loved funk album, ‘Where It All Began’ (1972). A non-stop, no-filler, all-killer album, it’s only due to time shortage that it isn’t available in its entirety here. The hilarious “Hey Jerome” is fantastic, with another highly infectious ‘ad lib’ from Bo, as is the hardrocking funk opus “Bo Diddley-Itis”. “Infatuation” is a nice, soulful ballad, while “Take It All Off” is more straight-up boogie funk.
From ‘Big Bad Bo’ (1973), Bo’s last album for Chess, come three more sweaty workouts: “Bite You”, “Hit or Miss” and the headbobbing, horn heavy “Stop the Pusher”.
This is GOLD. [soulmakossa]
Real COOL comp. of trax taken from Bo’s four funk albums released in the early 70’s. Although you can dig entire lp’s in the Bo Diddley section of this blog, this is superfine overview of his funky stuff.
[And remember: Fuck! Richie Unterberger and his reviews]
“No I don’t wanna love you Cause I know how you are That’s why I’ve been staying away from you That’s why I haven’t called you
Cause I know you could possess my body I know you could make me scrawl I know could have me shaking I know you could have me climbing walls
That’s why I don’t wanna love you…”
”Some of the heaviest funk you’ll ever find in one tiny package all courtesy of the mighty Betty Davis! Betty’s work of the 70s is beyond compare fuzzed-out, tripped-up, drum-heavy funk that’s been the stuff of legend for years, and which is the kind of music you could play for just about anyone, and have them say “DANG, what the hell is that!?!” This tasty little set brings together best tracks from Betty’s 3 albums of the mid 70s, Betty Davis, Nasty Gal, and They Say I’m Different, done with a focus on the hardest-hitting tracks from each set, and put together with a real ear for the kind of tunes that still burn mightily after all these years.”
”In the late ‘60’s and ‘70’s, Betty Davis strutted hard and fast – in her I. Miller shoes – through the exotic world of black rock and electric jazz. A talented, sexually assertive woman in the bigoted, male-dominated world of music, Betty gleefully recounted torrid, tempestuous tales over a funky beat, decades before the likes of Kelis, Macy Gray and Missy Elliot were doing it. Oh, and she also married Miles Davis. Go on, move it girl!”
Boston’s proto-punk/power pop rockers the Real Kids have been lionized as legendary through the years that have passed since their short, original run. The few studio recordings they released officially during their lifespan contain great, hook-ridden songs but don’t hint at the true ferocity that fans who caught them “back in the day” swear to. Luckily, Norton Records has blessed the world with Grown Up Wrong, and this incredible live document confirms that every bit of ancient hyperbole about the Kids was true. The tracks are culled from a live radio broadcast, unreleased soundboard tapes, and the band’s two tracks from the seminal Live at the Rat compilation; the Real Kids prove to be just as sweaty and explosive as rumored, far more visceral than their studio recordings ever suggested. For fans of high-velocity, no-nonsense rock & roll, this is the Real Kids record to start with. They may be a bit sloppy and over-amphetamined, but it’s exactly as they were meant to be heard, with full-tilt Rickenbacker riffing and energy that leaks out of the speakers and into the listener. The best cuts are aggressive, sneering put-downs to old girlfriends who, whether they realize it or not, screwed up by walking away; “Bad to Worse,” “Hit You Hard,” and the perfect breakup anthem, “All Kindsa Girls,” are all rousing pep talks for anyone who suffers from a broken heart. Also exceptional is a moving read of “Common at Noon,” a tough but mournful lament over lost love and the passage of time itself (“This ain’t my town/It ain’t like it used to be/When you were still hanging around”). Covers of Eddie Cochran, the Rolling Stones, and Mitch Ryder tunes are tributes to heroes at hypersonic speeds performed at a time when simply showing respect for the roots of rock was a rebellious act. The WCMF broadcast has the best fidelity and focus, though the audience reaction on the club cuts is infectious and enviable. The Real Kids might have burned out too fast, but the scorch can still be felt all these years later, and Grown Up Wrong will assure any true rocker of this remarkable band’s raw brilliance. ~ Fred Beldin
This really is a superb collection of live recordings from Boston’s legendary Real Kids. Straight ahead, high energy, no B.S. rock and roll in the fine tradition of the Ramones, Iggy, Dolls and the MC5 (as the MC mentions in his intro) with the melodic quality of the Beatles and Kinks thrown in for good measure. Do The Boob!
American punk/power pop rock’n’roll band from Boston, Massachusetts formed as The Kids in 1972 by John Felice after he left The Modern Lovers. They played 50’s & 60’s/Groovies/ Stooges/ VU/ Dolls influenced raw garage pop punk. In 1977. Red Star Records issued The Real Kids classic debut slab with twelve raw rockin’ tunes, 9 originals as ‘All Kindsa Girls’, ‘Solid Gold (Thru And Thru)’,,’Better Be Good’, ‘She’s Alright’, ‘My Baby’s Book’, ‘Do The Boob’, ‘Raggae Raggae’… and fine covers of Buddy Holly, Eddie Cochran and Huey “Piano” Smith songs. This here is a vinyl rip of their debut lp plus newly found rippin’ proto-punk 1974/’77 demo tapes of their first recordings. ‘Like their name, these guys were for real’. Dig!!!
“Feeling like I’m almost sixteen again Layin’ ’round doing nothing like all my friends Play it cool don’t get angry count up to ten Just like I was sixteen again”
Legendary 70’s pop punkers from Bolton , UK famous for their fast & melodic gems like Orgasm Addict, What Do I Get?, Ever Fallen In Love?, Lipstick, Fast Cars, I Don’t Mind, Sixteen Again… One of the first punk groups to establish an independent record label [four-track EP “Spiral Scratch”]. In ’78/’79 they produced three classic LPs ‘Another Music in a Different Kitchen’, ‘Love Bites’, ‘A Different Kind of Tension’ and one of the best singles collections ever: ‘Singles Goung Steady’. ‘Product’ is a ’89 collection of all of their 70’s albums plus ’81 mini lp and some live stuff. R.I.P. Pete Shelley, thank you for the music…
“Feeling rather strange when you’re sixteen again Things don’t seem the same the past is so plain This future is our future this time’s not a game This time you’re sixteen again…”
“Although they were swiftly overtaken by the emergence of a custom-crafted power pop movement, for much of 1977-1978 the Boys reigned supreme in the bright and breezy bubble punk stakes, simply churning out a succession of two-to-three-minute gems that flooded not only their albums and singles, but also the realms of the alter-ego Yobs. Patently influenced by the Ramones but readily avoiding the most obvious traps by virtue of their own understanding of what made a pop song tick, the Boys’ first two singles, “I Don’t Care” and “The First Time,” remain period classics, while their debut album, September 1977’s The Boys, went on to nibble the U.K. Top 50 at a time when such glories were still a rare achievement. Tightly scything guitars, sharply embroidered keyboards, and Kid Reid’s contagiously imploring vocals dominate the proceedings, a relentlessly crisp buzzsaw whine that is as melodic as it is fast and as irresistibly singalong as it is either. Time, the enemy of so many punk-era artifacts, hasn’t dented the album’s pleasures; indeed, it might even have heightened them, as a direct line of descent to the modern likes of Green Day is revealed in living neon.” [Dave Thompson]
”The Boys debut album is one of the great overlooked records of the UK punk scene. Fourteen tracks of exciting, high-energy rock ‘n’ roll, in a touch over 28 minutes, of a rare quality that rivals even the mighty Ramones early albums. Punk Rock heaven.”
”Track after track bear witness to the amazing energy, sense of melody and creativeness of The Boys, arguably the best melodic punk band alongside The Buzzcocks.”
“What to buy after you got the SEX PISTOLS, CLASH, RAMONES, BUZZCOCKS, DAMNED & GENERATION X albums? THE BOYS, baby!!!!! You only need to know 2 chords to make a killer riff and the BOYS prove that left and right on their debut. Super cool ’77 punk. Don’t miss out.”
Aloha from hell!!! Here we go again with another Surfadelic vinyl rip. This time it’s a 79′ comeback lp for ”The King of GROWLING guitar”. After his successful collaboration with R-billy hero Robert Gordon, Link is more than eager to put his solo album, a R’n’R revival slab with mostly vocal numbers and few instro cuts, re-recordings of his 60’s tunes ”Snag” and ”Rawhide”, and one new, super cool ”Peter Gun” rip off called ”Switchblade”. There are fine rockin’ covers of ”Fever” and Dylan’s ”It’s All Over Now Baby Blue” and rumblin’ originals ”Good Good Lovin”’, ” Just That Kind” and ”Wild Party”. Produced by Richard Gottehrer [Blondie, Richard Hell, Go-Go’s…], mastered by Greg Calbi [Ramones, DMZ, Television, Iggy Pop…]. And… ya know… Vinyl Rip by Mr.Eliminator. Dig!!!
”I’m a streetwalking cheetah with a heart full of napalm I’m a runaway son of the nuclear A-bomb…”
”Raw Power outtakes. Contains previously unreleased tracks, mixes and takes. The recording session these outtakes come from is disputed.
Multiple conspiracy theories exist as to who, where and why this bootleg was generated.”
Whoa kiddos! This is probably the best set of ”Raw Power” mixes & outtakes I heard lately. Released in 2013. on limited edition vinyl with perfect sound quality and Spanish titles, has cool mixes of Search And Destroy (Busque Y Destruyase), Gimme Danger (Gimme Peligro), Penetracion, Raw Power (Potencia En Bruto), Death Trip (Muerte Viaje), some instro versions and one rare cut Doojiman (Hombre De Negro). Must have for fans and other punks. Dig!!!
[Special thanx to jpstooges for vinyl rip!]
”Look out honey, ’cause I’m using technology Ain’t got time to make no apology…”