R@M0#E$ – Pleasant Dreams [1981] / Subterranean Jungle [1983] ViNyL RiPs!!!

 
“I’m gonna brag about it
I’m not gonna stay in school
I’m gonna rob and steal
Gonna break every rule
I’m a time bomb, baby
Yeah, Yeah!”
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Another pair of my favorite Ramones slabs. “Pleasant Dreams” their 6th studio album produced by Graham Gouldman [member of 10CC, man who wrote “For Your Love”, “Heart Full Of Soul” and “Evil Hearted You” for The Yardbirds] is a 60’s influenced power pop gem with handfull of classics as ”We Want The Airwaves”, ”All’s Quiet On The Eastern Front”, ”The KKK Took My Baby Away”, ”Don’t Go”, ”You Sound Like You’re Sick”, ”She’s A Sensation”, ”7-11”, ”Sitting In My Room”… From my point of view one of their best, better than ”End Of The Centery”.  On ”Subterranean Jungle” their 7th Lp, Ramones turned back to their punk rock roots and sound from “Rocket To Russia” era. Interesting is that on this album Walter Lure played most of guitars so the style on some tunes as ‘Somebody Like Me” or ”Time Bomb” reminds on The Heartbreakers. Album feature fine covers of ”Little Bit O’ Soul” [The Music Explosion], ”Time Has Come Today” [The Chambers Brothers] and ”I Need Your Love”[The Boyfriends], plus killer originals as “Outsider”, ”Somebody Like Me”, “Psycho Therapy”, “Time Bomb”, “Everytime I Eat Vegetables…”. Vinyl rips by Mr.Eliminator, in <360> binaural Surfadelic sound!

“Sitting in my room
Record player on
Sitting in my room
Humming a sickening tune
Sitting in my room
Something to do soon”

 

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R@M0#E$ – 1st / Leave Home [Vinyl Rip!]

 

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!

 

 

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Everyone’s accusing me

 

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THE REAL KIDS – Grown Up Wrong

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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!

 

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(((o)))

 

THE REAL KIDS – No Place Fast [1981/82]/ Hit You Hard [1983]

 

More ace power pop/punk by these Boston rockers. “No Place Fast” is actually “Outta Place” 1982.lp on Star Club records + “Taxi Boys” mini lp issued on Bomp rec in 1981. With slightly different lineup John Felice put out some pretty solid power popsters as ‘Can’t Talk To That Girl’, ‘No Place Fast’, ‘Senselass’, ‘ Outta Place’, ‘What’s It To You’, ‘ Bad To Worse’, ‘Everybody’s Girl’

”Hit You Hard” is 1983. lp on New Rose records, featuring another version of ‘She’ and superfine slices of power pop like ‘Hit You Hard’, ‘Now You Know’, ‘Where I Wanna Be’, ‘Right When It’s Right’, ‘She’s A Mess’… produced by Andy Paley [of Paley Brothers].

 

 

THE REAL KIDS – st [1977] + ’74/’77 Demos!

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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!!!

 

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!!! BUZZCOCKS !!!

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“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…”
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(((o)))

 

 

 

 

 

 

THE BOYS – st [1977]

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“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]

 

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”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.”

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(((o)))

 

Songs The RAMONES Taught Us

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”The Ramones never shied away from a good cover tune, and their tastes were generally confined to ’60s radio pop, girl group, surf, and a touch of psychedelic garage rock. They even went so far as to record an entire album of covers with 1993’s lighthearted Acid Eaters, a set of covers that leaned heavily on masters of psychedelic garage like Love, the Seeds, and the Troggs as well as early-’60s surf classics from the Beach Boys and Jan & Dean. The Ramones: Heard Them Here First is an easy mark, collecting the original versions later recorded by a band whose members wore their influences proudly on their sleeves and were drawn more to genre-defining classics than obscure rarities. The collection is thorough, moving in chronological order from Chris Montez’s “Let’s Dance” (covered on the Ramones’ 1976 debut album) through to Louis Armstrong’s “What a Wonderful World” and the Stooges’ “1969” as covered by Joey Ramone on his posthumous 2002 album, Don’t Worry About Me. Ace did their homework, too, because not even a cover of 1910 Fruitgum Company’s goofy bubblegum hit “Indian Giver” from a late-’80s 12″ B-side was lost in the shuffle. The only covers that aren’t from the golden age of late-’50s and 1960s teen pop and surf are Motörhead’s tribute to the band “R.A.M.O.N.E.S.” and Tom Waits’ wistful Peter Pan tale “I Don’t Wanna Grow Up” from his 1992 masterpiece, Bone Machine. There’s nothing revelatory about the collection, but these classic tracks make sense together as much as they did when covered in a sped-up punked-out fashion by the Ramones, who were a classic band in their own right.” [Fred Thomas]

24 trax comp with originals covered by Ramones + 9 more trax added by Surfadelic for complete overview of bros’ 60’s & 70’s r’n’r favs. Take It As It Comes, Dig!!!

 

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JAYNE/WAYNE COUNTY & THE ELECTRIC CHAIRS – Let Your Backbone Slip / Rock ‘n Roll Cleopatra [Transgender Punk Rock]

 

Jimi played guitar with rock and roll cool.
You wanna dirty sound you’ve got to treat your guitar cruel.
Manic depresssion’s gonna take you higher.
If you wanna make hot love you’ve gotta stand next to your fire.
[”Rock & Roll Resurrection” 1978]”

Jayne County was the John Waters of rock music, crafting blatantly offensive and goofy music that delivered mean-spirited entertainment and a hilarious freak show. Bragging up her own importance on virtually every other song, some of County’s best music can be found on this compilation. “Storm the Gates of Heaven” is one of the most silly, offensive, angry, and campy songs to grace the punk movement, delivering a disdain for Christianity with tongue firmly in cheek and middle finger proudly raised. Elsewhere she chastises those who won’t take her home (“Fuck Off”), celebrates the twisted men who go through her life (“Mean Muthafuckin’ Man”), and sings a tribute to filthy bathroom affairs (“Toilet Love”). Vile, nasty, and hilarious, County is obviously not for everyone. In fact, as the years go by, the audience who would enjoy her routine seems to get narrower and narrower. But this is a document of an important performance artist; in the ’70s her live shows couldn’t be touched for sheer energy and entertainment. And these songs were the backbone of those shows; even if they weren’t always good, they at least had the charismatic snarl of County delivering their hideous message. For anyone curious about the New York punk scene, this is high-priority stuff even if it contains some of the least-important music of the period. County, like many punk musicians, has overcome her talents to become a personality, and that personality is strong enough to make this a recommended collection. [Bradley Torreano]

”Rock me Jesus, roll me lord. Wash me in the blood of rock and roll”

 

”Jim was the master of show and tell.
You wanna go to heaven you gotta raise some hell.
The crystal ship is sinking. The ocean waves are rough.
If you wanna get down you’ve got to learn to get it up.”

 

Ambitious, eclectic, and absolutely contagious, Let Your Backbone Slip is the successor to the dynamite Rock ‘N Roll Cleopatra, a compilation that trawls a back catalog that too many people overlook — but which most would certainly enjoy. Image and reputation notwithstanding, Jayne County’s songwriting and performance evince an understanding of pop at its purest, one long series of electrifying jolts that evoke memories of a golden era as readily as they pinpoint the purpose of the modern age. That the modern age was usually too busy contemplating other charms at the time is its own problem. Chronologically, Let Your Backbone Slip opens by rounding up material from the first two Electric Chairs albums that was omitted from the earlier set; the avoidance of the group’s third LP, the sensational Things Your Mother Never Told You, meanwhile, is at least partially remedied by the inclusion of three tracks from a 1979 BBC session. In truth, the performances are nowhere near as great as the originals — “Berlin” is too fast, “Waiting for the Marines” is too straight — but they’re a fine inclusion regardless. The heart of Let Your Backbone Slip, however, delves into County’s 1980s material, a period that received precious little attention at the time and allowed two excellent albums, Betty Grable’s Legs and Private Oyster, to pass by unnoticed. Six tracks from the latter include the anthemic “Are You a Boy or Are You a Girl?,” the Cossack-themed “I Fell in Love With a Russian Soldier,” and the exquisite ’60s girl group pastiche “The Lady Dye Twist” (chorus: “I want a wedding just like Lady Diana”), all three of which insist that County’s grasp of rock & trash/kitsch & roll is as tight as it ever was at the height of her earlier, New York-centric fame. County’s true appeal, however, exceeds whatever parameters that description might lay out. Great pop music should be sexy, fun, moving, and motivating. From the deifying “Max’s” to the cruel “Bad in Bed,” from the mocking “Mr Normal” to the moving “Love Lives on Lies,” Let Your Backbone Slip is all four — and then some. [Dave Thompson]

 

”Speed demon, Hell is for heroes, I’m told
Speed demon, Lake of fire and brimestone
World War I, World War II,
World War III, that’s me and you

 

Collections of recordings from the first transsexual star of Punk rock which is definitively not for the faint of heart. Wayne started out doing impersonations of Cher, Dusty Springfield and Janis Joplin before finding his way with the Electric Chairs and spearheading the Punk movement of the mid-west. She shocked, she outraged, she pulled no punches. Her in-your-face attitude empowered her followers and helped usher the late ’70s Punk movement into the mainstream. These two comps feature 2 x 20 tracks from albums, singles and rare EP’s. Jayne/Wayne’s is one of the greatest unsung heroes of the early N.Y. punk scene. I’ve already posted his/hers entire catalogue but these are great best of collections, a MUST HAVE for punkers and other r’n’r’ faces. It’s a ”Transgender Rock ‘n Roll” alright! Dig!!!

 

”If you wanna rock and roll resurrection
you gotta have a rock and roll reformation.”

 

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GENERATION X – The Best Of [Glam Punk 1977-1981]

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”I’m not in love with television
I’m not in love with the radio
I’m not in love with the Kings Road
Because I’m in love with Cathy McGowan,
she said
Ready steady go, all things she said
Ready steady go, wasn’t it fabulous”

 

Do you remember Generation X ? Ya know late 70’s Top Of The Pops gigs with young [pre ‘Rebel Yell’ days] Billy Idol and songs like King Rocker, Wild Youth, Ready Steady Go and stuff. Well, those were the days you could meet The Strangles, The Jam, Buzzcock, Undertones, The Clash, The Rezillos and others new wave/punk groups performing their new singles and hits on TV . Cool days indeed. ”Generation X ain’t in the same league as the Clash or the Pistols but the group nevertheless kicked up a fair amount of dust and recorded some memorable singles and a classy debut album. They were, after all, the first of the punk bands to truly embrace the rock industry and all its trappings.” Here is a ’85 collection of these glam punksters best trax from their three LPs & singles + some bonus cuts. Running With The Boss Sound! Dig!!!

 

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