A comprehensive compilation of studio and live tracks by this band hailing from Vancouver, Canada, ‘Get It Straight’ highlights the evolution of Modernettes’ music from the short, anthemic punk nuggets of their first EP, ‘Teen City’, to the more ambitious rock of their ‘Viewed From the Bottom’ EP which was remixed for the occasion and included a cover version of The Velvet Underground’s ‘Femme Fatale’ convincingly sung by bassist Mary-Jo Kopechne as well as a brilliant jangle-pop number called ‘Rebel Kind’. [Popphil]
“1984 second album by the ultra-cult ’80s NY rocker Justin Trouble. Only once out of a hundred times is the “undiscovered gem” tag appropriate… and this is the one. A lost treasure of early ’80s New York, the perfect blend of Johnny Thunders’s deconstructed raunch ‘n’ roll, the Modern Lovers’ romance rock, Alex Chilton’s twisted productions, and some deranged paisley-pop from an unknown planet. Justin Love (Trouble), the best kept secret in rock ‘n’ roll!”
It’s a power pop hour at Surfadelic. Here you got collection of 70s/80s pop, punk and glam trax selected by ultra-famous outerspace/outta time D.J. Mr.Eliminator himself! Here are some of his alltime favorite tunes for rockin’ sunny afternoons so you better watch-out! Listen to the POP, feel the POWER! Ya gotta dig alright!
“Between the Lines” compiles, for the first time ever, all the original songs written by Groovies Cyril Jordan and Chris Wilson in the classic second version of the band. The Groovies gave themselves a major reboot in 1971 when a then 18-year-old Chris Wilson replaced Roy Loney as the band’s frontman and Cyril Jordan’s writing partner. This was the formation of the group that made that journey to England at the behest of UA, helping set the scene for punk and which, with a couple of line-up changes along the way, ended up signing to Sire Records and making three brilliant albums – Shake Some Action, Now, and Jumpin’ In The Night – before eventually running out of steam following Wilson’s departure in 1981. It’s the incarnation that headlined over the Ramones in London on July 4 1976 in London, but which then had to settle for being a massive influence on the nascent form of both power pop and all manner of ’60s influenced groups after the dictates of a post-punk world decide after the dictates of a post-punk world decided that their glorious rock’n’roll was not going to be the next big thing.”
From time to time I must put some Groovies stuff even know many of you already have loads of their outputs, but hey! they are my favs alright! Check this real cool newly remastered collection, best sounding Groovies stuff yet!
New York City band that had a mildly successful stint on that city’s club circuit (breaking into the legendary Max’s Kansas City in the early ’80s) and released one unheralded album on the independent Casino label. Songwriter and lead guitarist Justin Trouble had an affinity for ’50s rockabilly, but he also merged Clash-derived aggression and power pop hooks and harmonies on a record that, had it been picked up by a major label, might’ve rested comfortably alongside critic’s faves by the Dbs and the Shoes. Certainly songs like “Missile” and “Let’s Get Together” are as good as any power pop from that era. [Peter Kurtz]
A perfect mix of New York Dolls’ punkiness, psych pop ballads, Alex Chilton’s twisted rock ‘n’ roll, Big Star’s power pop, and The Byrds’ jangle on this 1982 ultra-cult classic. A perfect soundtrack for urban romances.
If you’re a fan of Johnny Thunders style punk rock rumble circa “So Alone”, this is fer ya. Check some favs down there and ya know… Dig!!!
“Back in 1979 when the original Mod revival took the Country by such storm there were a handful of Mod bands that stood out proud above the others. The Chords, Secret Affair, The Purple Hearts and Squire to name just a few. Hot on their heels were the Killermeters, not quite so well known but well accepted by the music press of the day. Full pages were written in Sounds and the NME and a minor hit was nicely tucked under their belts courtesy of RCA. Becoming the pride of the North the Killermeters stuck around for a number of years until they split in the early 80s. Like so many others the Killermeters started life as a punk band the “Killer Meters” as they were then, split in 1978, reforming in the October as the mod band The Killermeters, kicking back into life with a new song that said it all; “Back In Business”. During their time they were warned by John Peel that the Mod image would lead them down a blind alley but they were also raved about in Sounds by Gary Bushell, supported Secret Affair and the Undertones and finally went on tour with Eddie and the Hot Rods. Unfortunately the tour was to leave them badly in the red and as a result the Killermeters finally came to an end, coming back to life as Soldiers are Dreamers in 1981, taking their name from the Sassoon poem. This double album takes the listener through the legend that was the Killermeters. With tracks taken from various sources this is the definitive Killermeters recordings including demo versions of their better known tracks “Twisted Wheel” and “SX225”.
Classic eponymus debut album for this power pop legends from Hollywood, California. First heard ’em on ”Giving It All”single included on ”From L.A. With Love” comp. recorded for Greg Shaw’s Bomp! Records in 1978. Apart from a couple of filler tracks, the first 20/20 LP was brilliant through and through — one of the top ten “powerpop” releases ever. That’s the best reason to get this. Songs like “Yellow Pills,” “Cheri,” “She’s An Obsession,” “Tell Me Why“ and most assuredly the album’s buried treasure “Jet Lag”will quickly turn your heart to ashes. ”Oh Cheri open up the door”… Dig!!!
This is one of my favorite compilation lp’s I bought in the early 90’s. It’s a collection of singles issued by famous BOMP records in 70’s & 80’s featuring classic Power Pop & Punk acts as Plimsouls, 20-20, Flamin’ Groovies, Shoes, Surf Trio, Barracudas, Stiv Bators, Jeff Dahl, DMZ, Sky Saxon & SS-20, Zeros and Iggy & The Stooges. The concept is: first side power pop, the other side – garage punk, just simple as that and pressed on blue translucent vinyl. Already have posted it on my old blog and here it comes again. Some KILLER STUFF indeed. Dig!!!
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 !!!
Most bands start out trying to bang their songs together in someone’s living room, but Shoes certainly made more of that experience than most people. Jeff Murphy, Gary Klebe, and John Murphy were three pop obsessives from Zion, IL, who bought a four-track, found a drummer (Skip Meyer), and started putting songs on tape in Murphy’s living room with all the care their primitive circumstances would allow. While the results were intended to be used only as a demo, Black Vinyl Shoes eventually attracted the attention of PVC Records, who gave the homemade set a nationwide release; the album’s positive press eventually earned the band a major-label deal. Like their contemporaries and kindred spirits the Scruffs, Shoes were one of the few interesting pop bands to emerge in the mid- to late ’70s who were very obviously not new wave; Shoes were pop classicists in the manner of the Beatles and the Raspberries, and if their low-tech recording setup dictated a leaner and more basic approach than the Fab Four, the thick guitar lines, smooth backing harmonies, and trickier-than-they-sound melodic structures made it clear their back-to-basic style was a nod to past rock glories as much as a call to jangly arms. But Shoes also had their own set of quirks to bring to the table (again like the Scruffs, Shoes had an unusual perspective on the male/female relationship), and there’s an understated, off-kilter wit to songs like “Tragedy,” “Do You Wanna Get Lucky?,” and “Capital Gains” that’s as delicious as the band’s rich, satisfying songcraft. Black Vinyl Shoes is an album whose somewhat primitive production actually works in its favor; with 15 tunes to record and only four tracks on hand, Shoes made a record that was about melodies, hooks, and harmonies, and the result was an album that helped kick start the ’80s pop revival — and still sounds fine almost a quarter of a century later. [Mark Deming]
The first of Shoes’ three Elektra albums, Present Tense is almost a happy accident in ways not that the band hadn’t already shown its particular approach beautifully with earlier efforts, but at a time when major labels were trying to figure out what punk and new wave could provide, Shoes just found a perfect balance. Recorded in England and co-produced by the band, Present Tense didn’t end up sounding like a Cheap Trick clone, had a winsome, cool air thanks to the brilliant harmonies that distinguished the group from the Knack, and in the end traded off power and wistfulness in equal measure. The harmonies in particular are just lovely — as distinct and band-defining as those of the Beach Boys — on songs like “Too Late,” “Three Times,” and “Your Very Eyes.” Gary Klebe and Jeff Murphy have enough crunch and sting in their guitars to add some downright swagger to things — check out the glammish kick of “Hangin’ Around With You” and the combination soar and snarl of “Now and Then” while keeping an eye on economy throughout. The fragile acoustic lead on “Every Girl” provides an especially striking dimension to the song. The punch of Skip Meyer’s drums adds further heft, John Murphy’s bass also can cut through the mix — the introduction to “In My Arms Again” and “I Don’t Miss You” in particular showcases both nicely. Much of the sound of the album finds a sound that could easily be called timeless — it’s inspired by the past but sets a template that so many groups would follow in the future. [Ned Raggett]
First two and best albums of american power pop icons the Shoes. It’s a power pop wet dream, a must for new wave popsters!
SURFADELIC 