Tokyo Electron - AZ 238 (FDH Records / Certified PR Records, 2009)

Oh me, oh my, definitively Tokyo Electron grew up like giants. As most of you enjoyed the two 7" that I posted on the old Down and Roll, you could totally understand what I'm talking about after listening to AZ 238 (2009), the swan song of these Arizona guys—with Ryan Rousseau focused on Earthmen & Strangers and his solo career the project seems to be finished. After they had become a quartet, the songs grew sounding more thickness and complexes, but they still sound in a Tokyo Electron-style. Is just they moved a step forward from their desert garage-punk—in their own words. As former releases, the LP was limited to a very few copies, in this case they were 500 in green-marveled red vinyl.

Chris Isaak - Gone Ridin' (Warner Bros., 1985) (Promo single)

Like this guy. A lot. Because Chris Isaak is a nice guy. Beyond his resemblance to Elvis and the old heroes of Sun Records and the rockabilly golden age, Isaak has showed himself as a skillful songwriter, an emotional performer, and a charismatic frontman. And almost thirty years after his debut LP, the guy is still in business and beatin' us with notable records. Isaak's first solo album was called Silvertone (1985), also the name of his backin'-band. The album had passed almost unnoticed until "Gone Ridin'" and "Livin' for Your Lover" were featured in the Blue Velvet soundtrack in 1986. It's funny, because "Gone Ridin'"—a vibrant rockabilly tune driven by the silky voice of Mr. Lonely Heart—was featured also in American Flyer (1985); even Warner released a promo single—the today's one—with no success. So thank you with all my heart for your contribution to the Isaak's success, Mr. Lynch.

El Aviador Dro y sus Obreros Especializados - La Chica de Plexiglás / La Visión (Movieplay, 1983) (Munster Records reissue, 2005)

Servando Carballar, the man behind El Aviador Dro y sus Obreros Especializados (a.k.a. Aviador Dro), was a clever clairvoyant. He was one of the Spanish synth-pop ground-makers: in 1979, when the punk was barely grounded in Spain, he founded Aviador Dro—a Devo/Kraftwerk-influenced band—having a notorious success in the punk/new wave Spanish scene—known as La Movida. Their debut 7" was "La chica de plexiglás" ("Plexiglas Girl") b/w "Láser" (1980), a masterpiece which have become a classic of the incipient Spanish independent records. One year later appeared "La visión" ("The View") b/w "HAL 9000" (1981), another visionary two-song 7". After that, they founded their own record label—D.R.O., or Discos Radiactivos Organizados, "Organized Radioactive Records"—releasing their third 7", Nuclear, sí ("Nuclear, yes", 1982). Moviplay, their former label, released in 1983 the two first 7" in one 12" including two extra songs ("Vano temporal" and "Gestalt"). And 22 years after that, Munster Records reissued the 12" in a double 7" format, in blue vinyl. Enjoy!

Dex Romweber Duo - The Wind Did Move b/w Last Kind Word Blues (Third Man Records, 2009)

Dex Romweber is one of the big names in the U.S. underground/roots scene. He founded along with Crow Smith the epic Flat Duo Jets, probably one of the most notorious guitar/drum dui in the recent history of psycho-punk-blues —it is well-known that Jack White was heavily-influenced by this band when he founded the White Stripes with his false sister Meg White. We could say that Dex came full circle when he formed Dex Romweber Duo with his sister Sara Romweber —and this time is a real sister. They have released a couple of highly recommended LP's and one 12" from the Live at Third Man Records series. Among other releases, we can found this 7" from Third Man Blue Series: "The Wind Did Move" b/w "Last Kind Word Blues" (2009), the last one featuring Jack White himself. It is kinda odd that the former disciple have become the patron, don't you think? It's a curious thing the success.

Die Rötzz - Tugboat 45 (Die Slaughterhaus Records, 2005)

Die Rötzz is one of these bands with a gift: they are really capable of composing songs which will immediatly grasp in your head. It's a shame that this awesome band has so little references released; just a bunch of 7'' and a home-made compilation tape. Tugboat 45 (2005) is their second EP, released by Die Slaughterhaus Records, a record label which is quality guarantee. The artifact contains four punches right-to-your-nose, really catchy and addictive. And the funny thing is that there are no secrets, the songs are really simple and flourish-free. They are "just" great. Dammit, I need more!

Various - The Munster Dance Hall Favorites Vol. 1 (Teenagers from Outer Space / Rocco, 1987)

Today I'm really proud of postin' for y'all this record: The Munster Dance Hall Favorites Vol. 1 (1987), a legendary one. A 7" which is a fuckin milestone of the Spanish underground rock; released by Teenages from Outer Space Records (the embryo of Munster Records) and compiled by the Munster Brothers—Íñigo and Gorka. The vinyl contains four songs with enough magnitude to be worth for entire Back from the Grave volumes: Surfin' Lungs ("The Munster Theme" in garage-surf style), the terrific Spacement 3 ("Take Me to the Other Side"), Sex Museum in their garage time ("You"), and the legendary los Enemigos ("Chicken All over"). Four bands that shook the underground scenes of Britain and Spain. They will rock you, that's guaranteed. Another magnificent record that Tony DevilDog brings to us. Thanks, bro!

Nobunny - Live at Third Man Records (Third Man Records, 2010)

What a curious thing is Music. Someone appears in your life coming out of the blue, nothing too original—as evokes a lot of different bands, but at the same time, with a distinct and unique sound. You inevitable get hooked on that sound, the guy becomes one of your favorites and you get crazy looking for his albums. Well, that guy is Nobunny, alias Justin Champlin. The first record I listened to was First Blood (2010); it was put in my hands by a record store owner—one of those guys which musical criteria you can trust blindly, and from the first time I played, I realized that I was in front of something fuckin’ great. Since then I've been looking for every single work he has released. My last acquisition was this Live at Third Man Records (2010), from the Live at Third Man series, recorded at Jack White's studios in Nashville, TN. It will bring to your ears this rock and roll, bubblegum punk, garage and lo-fi mixture which might remind you to millions of bands, but, to me is just Nobunny. And no one else.

Spizzenergi - Where's Captain Kirk? b/w Amnesia (Rough Trade, 1979)

In somewhere between the Buzzcoks and the Undertones there were Spizzenergi. They released only four 7" as Spizzenergi, but under different aliases—Athletico Spizz 80 or Spizzles—they came also a couple of LPs. "Where's Captain Kirk?" b/w "Amnesia" (1979) is, no doubt, the band's most famous and well-known 7". It's also one of my favorites all-time punk/new wave singles. Released by Rough Trade, the single came with a terrific pop-art cover. It's a shame that "Amnesia" was overshadowed by the tremendous success of the titular song, but it is also perfectly understandable: "Where's Captain Kirk?" is a classic, catchy song, which won the band their place in music history. The best Star Treck-related song ever written, John Peel dixit.

Sin City Six - Tonight Tonight b/w Tell It (Screaming Apple, 2000)

The last formation of Pleasure Fuckers—without lead singer Kike Turmix—and Lee Robinson—singer of the Fortunate Sons and former of the A-10—formed the Sin City Six in the last years of the past century. This terrific line-up released three singles and one LP, a killer record I never get tired of listen to—and which I posted in Down and Roll. After the LP Lee Robinson passed away and the Sin City Six released another good record—Home of the Brave (2003)—, but not as good as the first one. "Tonight Tonight" b/w "Tell It" (2000) was their third 7", which contains two songs included in their first LP, but different versions, recorded by Mikel Biffs (from Safety Pins). This record is the first contribution of our new member and collaborator Tony DevilDog. Thanks for the record, mate!

Los Saicos - Demolición b/w Lonely Star (DisPerú, 1965) (reissue from Demolición! The Complete Recordings, Munster Records, 2010)

No doubt, Los Saicos were one of the wildest bands from Latin America in the mid-sixties. What the hell, they were one of the wildest in the entire world! These Peruvian crazy guys are usually compared to The Sonics, because of their wild, crude music and attitude. But, if you ask me, I think that musically those bands are quite different: Los Saicos are more melodic and psychedelic than the Sonics, which means the formers were wilder, but the voice of Erwin Flores is ruder and more, much much more badass than Gerry Roslie's. "Demolición" b/w "Lonely Star" was their second 7", released in 1965 by DisPerú and reissued, as part of a boxset, by Munster Records in 2010. "Demolición" ("Demolition"), an instant hit, is probably the most badass-lyrics they ever wrote. That their gratuitous violence apologia in form of garage-like surf was released with no problems in 1965 at Peru is a remarkable fact, as remarkable as its success among the juveniles —"Let's wreck the train station / Demolish, demolish! / We like blowing up train stations / Yeah, yeah!". Really funny, isn't?

The Mono Men - Burning Bush b/w Rat Fink/Don't Tread on Me (Estrus, 1989) (Estrus Records reissue, 1995)

Let's go today with the (reissue of the) 7" debut of one of the most beloved and important bands of American rock & roll underground scene: the almighty Mono Men! Not exactly a garage band, their music is a crude rock and roll soaked in garage revival love, drenched in punk attitude and seasoned with early-nineties alt-rock rawness. Their debut single "Burning Bush" b/w "Rat Fink" (1989) is a terrific, mythical record; two songs which are the perfect example of what I tried to describe to you. This is the 1995 reissue made by Estrus Records, which also released the original reference. That means we can enjoy one extra track on side B, spliced to the Nomads' "Rat Fink": "Don't Tread on Me".

The Midwest Vikings - Vamos Tokyo (Trippin' Elephant Records, 2005)

Alex Hernández sent to the Club this CD-single of the Japanese band The Midnight Vikings. Never heard about them until this record came to me. The band was founded by Hang Ten (drums), Lacoste (guitar, vocals) —both of them former members of The Michele Gun Elephant—, Arnold (guitar), and Toroy (double bass). As far as I know Vamos Tokyo! (2005) is their only release. "Vamos Tokyo!" resembles a Dropkick-Murphys-going-into-psychobilly-tune, "Let's Kick Go-Go Blue and Red Boys" starts with some cool spaghetti western arrangements and "You'll Never Walk Alone" is a hooligan-like cover of the broadway musical Carousel. No fuckin' idea about what they are singing about, but it looks like some kinda hooligan sport club or something. Nothing special, if you ask me about, but it worth listening to and is cool enough to be here. Thanks to Alex!

Larsen - ¡No! (a.k.a. Frontera francesa) (1983) (Radikal 1977 Records reissue, 2006)

From the myriad of bands influenced by Dead Kennedys that crowded Spain during the early eighties, Larsen are, no doubt about it, one of my favorites. ¡No!, also known as Frontera francesa (1983) was their debut, a four-song 12" EP. "Frontera francesa" ("French Border") is about an old incident —which still happens, from time to time— between Spanish and French farmers. The Spanish fruit trucks were burnt and tore down by some French farmers at the border, because of cheaper Spanish fruit would ruin them, they though. The Spanish media treated that like a national scandal and an unforgettable offense, so everybody was really pissed off with our neighbors. You know, that sort of nationalist shit. So, you can see, this record was about giving the finger to the Frenchies. But, hey, French brothers, if you understood the Spanish lyrics, you'd really realize that this is just a stupid lyric among other three stupid lyrics ("Throwing up Blood", "Born from a Punk's Puke", and "Fight against Techno"), just punk junk made by punk teenager shitheads, so no hard feelings!

Hoss - A Nice Quiet Chat b/w Where Have All the Good Times Gone? (Bang!, 2004)

After God disbanded —a key band of Aussie rock—, their members didn't stay standing, waitin' for somethig. Tim Hemensley joined Powder Monkeys and the magnificent Bored!, Sean Greenway founded the terrific the Yes-Men and Joel Silbersher, the guy of the day, came along with the Seminal Rat Michael Webber to found Hoss. They released several LPs and singles and had stable line-up since the mid-nineties: Silbersher (vox, guitar), Scott Bailey (bass), Jimmy Sfetsos (guitar) and Dean Muller (drums) —I'm still looking for any record of this band; if you had one, please, share! The band is actually inactive, like fallow land, just joining several times by year to play exclusive shows at Tote Hotel. In 2004 they recorded these two songs that Bang! Records released in exclusive as a 7": "A Nice Quiet Chat" b/w "Where Have All the Good Times Gone?" —this last one a nice Kinks cover.

Tokyo Sex Destruction - Black Noise Is the New Sound! (BCore, 2004)

Between the MC5 and the (International) Noise Conspiracy they are the Barcelona-based band Tokyo Sex Destruction. I mean, they were when Black Noise Is the New Sound! (2004), their second LP,  was released, because since then their music is under a continuous evolving, going far, far away from its first influences. In his subsequent albums, 5th Avenue South (2005) and The Neighborhood (2009), the psychedelic and soul components have grown, resulting in more complex and polyhedral songs. But we are in the past now, when Tokyo Sex Destruction were a highly-politicized garage-punk-soul machine. You can feel it in these eleven blasts the band shot restless. The CD includes stereo and mono mixes, the last ones just for you purist sixties lover! By the way, "ソウル・ミュージック・パーティ" seems to mean "Soul Music Party".

 

Cerebros Exprimidos (as Squeezed Brains) - Another Day (Sympathy for the Record Industry, 1990)

Sqeezed Brains was the war name of our beloved Cerebros Exprimidos beyond the Spanish borders. Another Day was a three-song EP released by Sympathy for the Record Industry (nicknamed as "Simpatía por la Industria Discográfica", in Spanish) in 1990, the very year the band from Mallorca started their relationship with Munster Records releasing Más suicidios. The side A is for "Another Day", a punk rock blast with the band's name stamped on it, is sang in English, which only happened in their overseas releases —like Kill the Pope was going to be, but finally wouldn't. The side B is quite cinematographic, with "Gritos en la noche", the Spanish tittle of the first Jess Franco's movie, and the instro "Heater O'Rourke's Nightmare", dedicated to Poltergeist's child actress. And it's curious that the O'Rourke's sister Tammy acted in Pennies from Heaven, and the F.U.'s had a song of the same title which Squeezed Brains covered in Bonzomanía (1991). The loose ends close themselves!

The Left Banke - Walk away Renee b/w I Haven't Got The Nerve (Smash, 1966)

If you read my old blog, you'll probably remember the awesome records the Misterioso Sr. X shared with us. Now he has his own blog, the highly recommended El chico pasa y pilla, which was a direct inspiration for this new blog, by the way. And to contribute to this new project, he has sent us a psychedelic pop gem. The Left Banke's "Walk away Renee" b/w "I Haven't Got the Nerve" (1966) has all what is wanted in a pop nugget: great vocal harmonies, catchy organ lines, and baroque string arrangements.

Guilt Party - Bassement Church (Bummer Tapes, 2012)

If you remember the Bullshit Compilation I posted a few months ago in the old Down 'n' Roll, you'll probably recall Guilt Party. These guys, along with Secret Prostitutes, were the best of the 7", in my opinion. And to say "were", in past tense, is talking properly, 'cause after two demos these hardcore rats disbanded. Bassement Church (2012) was the first of them, a 4-song tape that will make you feel in the right mood to put your cap on, take your skateboard table, and go to the ramp while listening to Concentration Summer Camps, Minor Threat or the first Suicidal Tendencies' in your old Walkman.

Desechables - Buen ser-vicio (1985) (Munster Records reissue, 2002)

They were called the Spanish Cramps, but they did succeed first nor in Spain, but on the other side of the border: in France, after they played at Rock de Lyon in 1983. Definitively, the Barcelona-based band Desechables wasn't the typical Spanish band. After their first 7", the guitar player Miguel died trying to hold up a jewelry store carrying a fake gun. Bad luck; the owner had a real one. Desechables disbanded, but the success of Golpe tras Golpe (1984) —a kind of posthumous LP made of live recordings— encouraged the band mates to look for a new axeman. The good feelings with, nor just one, but two new guitar players led the band to record their second album in concert, again, during a show at Rock-Ola —a mythical concert place located in Madrid. Buen ser-vicio (1985) was born, with a killer cover, by the way: a photo of Tere Desechable herself, who by then was eighteen years old, in a lustful pose serving us her own tits on a plate. The sound of the record is not the best in the world (hey, this is Spain in the early eighties), but we don't want a clearly, vivid sound. This is Cramps-like shit, and what we want is dirty and raw sound.

Otis Redding - Hard to Handle b/w Amen (ATCO, 1968)

I have to admit it, "Hard to Handle" is a song the Black Crowes taught me. It's not unusual that the first cover I listen, that'll be my favorite. But sometimes... it's just not in that way. Dear friends and subscribers, Otis Redding was the man. Crap, he IS still the man. Originals or covers, it doesn't matter, this man appropriated every song he put his hands on. Listen to his "(I Can't Get No) Satisfaction" cover and dare to say me no —by the way, when the cover came up there were a lot of jokes about who was covering who, and we are talkin' about the fuckin' Stones in their most glorious era! So, screw the Crowes, guys, this is the real material! This one was one of the multiple posthumous recordings that appeared after Redding's death in 1967. "Hard to Handle" b/w "Amen" was released in June 1968 and reached the #51 in pop US charts. Don't forget to listen "Amen" too; if you think that sacred music is boring, just look what a real good performer could do with it. Awesome.

Thee Spivs - It's True b/w Taped up (Almost Ready Records, 2011)

You fall in love with someone, with something. You know, that sometimes happened, and as the Who sang, "you can't explain". You just let it be. Why this particular song, why this very band, why this specific record? Who cares? The thing is that you just love it. And that's how I felt in love with Thee Spivs. Since the first time I listened one of their songs. It was "I Don't Wanna It", and thank to Goddess the day my mate Critical + posted it in his Rock 'n' Roll Saved My Soul. Since then, I became a fan. The "It's True" b/w "Taped up" 7" (2011) contains another two catchy, terrific songs to add to their own list of catchy and terrific songs. Their mixture of punk '77, new wave, power pop and ramonesque sound is not new. Not even original. But they're fuckin' good. Why they? I just... can't explain. Let's enjoy; the new three-chord wonders are here!

Paul Revere & the Raiders feat. Mark Lindsay - Just Like Me b/w Kicks (Columbia, undated)

You guys probably know who are Paul Revere & The Raiders, not in vain they were one of the most successful American garage bands in the mid sixties. It's a pity that their joke costumes and appearances at Dick Clark's Where the Action It's could erode their wildness and rawness. Ok, they weren't the Troggs nor the Sonics, but give 'em a little respect: this band was in the place when the Animals collides with  the Kinks —in fact, the former band rejected "Kicks", and then the song was offered to the Raiders. The both "Just like Me" (November 1965) and "Kicks" (February 1966) hit the US pop charts, reaching #11 and #4, respectively. This 7" is one of those Columbia double A-side reissues that includes two hits by the price of one —by the way, I couldn't date the record, if somebody knows the release date, please talk!

Solomon Burke - Maggie's Farm b/w Tonight's the Night (Atlantic, 1965)

When I start bothering my wife about what Bob Dylan did, what Bob Dylan means... —you know the kind of crap I'm talking about—, she always cut the conversation with this conclusive assertion: "I always like more the covers other musicians do than his originals". Crap, folks, that kind of categorical shit always drive me crazy! I do love Dylan! But regarding the cover I'm presenting you today, I just can say yeah. Because the Solomon Burke's cover of "Maggie's Farm" blew my mind the same instant those horns star blowin'. Back in 1965 Dylan was turning over the electrical sound that would make him a living legend. And "Maggie's Farm" was the first single that came out from Bringing It All Back Home, so, it was kinda the song which started all! And this very same year, the Reverend Burke came out with this catchy cover that will made you jump from your coach and start dancing in front of your stereo. And if you just wanna chill out and start wooing your couple, friend, pet or whatever, turn over onto "Tonight's the Night" and light some candles. It'll work, that's guaranteed.

Black Lips - Party at Rob's House (Rob's House Records, 2006)

Before they signed with the super-terrific-cool-Vice Records label and started to succeed, Black Lips had left us the 7" vinyl Party at Rob's House EP (2.006). One more for the count of live records we can found along the band's discography —their first release on Vice was precisely a live record: Los valientes del mundo nuevo (2.007). The sound is noisy, fuzzy and scrappy, and that's one of the main reasons I love them. It is remarkable that Party at Rob's House contains the first recorded version of their future hit "Oh Katrina!", plus a crazy cover of Link Wray's "Five & Ten" and "Sea of Blasphemy", hit that opened their third (and best) record: Let It Bloom (2.005).

Siouxsie and the Banshees - Mittageisen b/w Love in a Void (Polydor, 1979)

Founded by Susan Janet Ballion (a.k.a. Siouxsie Sioux) and Steven John Bailey (alias Steven Severin, in homage to "Venus in Furs" by you-know-who), Siouxsie and the Banshees has been one of the most important post-punk/pre-Goth rock bands. They started in the middle of the English punk rock scene (vg. they first drummer was Sid Vicious) but they quickly evolved towards these dark sounds that influenced the future generations of the Goth rock bands (vg. Robert Smith was one of the band's guitarist). "Mittageisen" b/w "Love in a Void" (1.979) is they fourth single, and contains two non-LP tracks. The front cover is the John Heartfield's photo-collage Hurrah, die Butter ist Alle! ("Hurray, no more butter is left!"), which shows a family at a diner table eating metal pieces, an acerbic turnaround of the words of Luftwaffe Major and later Nazi Minister Hermann Göring: "Iron has always made a nation strong, butter and lard have only made the people fat". Turning back to the Banshees, "Mittageisen" is the German version of "Metal Postcard (Mittageisen)", included in the band's first LP The Scream (1.978). The song is an ominous post-punk theme, driven by the martial rhythm and the fine bass line of Mr. Severin. "Love in a Void" is a little more punk rock-esque with its noteworthy bass line (again) and the kickin'-ass guitars.