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Sunday, July 16, 2017

The Shoes - 1975 - One In Versailles

The Shoes - 1975 - One In Versailles [LP Remastered 2013]
In WAV - Scans are included

Dance In Your Sleep
Do I Get So Shy
Un Dans Versailles
Something I Can't See
Eggroll Rock
Song For Her
One Night
No, I Don't
The Sun
One In Versailles

Only 300 copies were made of this 12" vinyl album of classic early SHOES music when it was first released in 1975. With Gary studying at the University of Illinois extension in Versailles, France, John and Jeff recruited drummer Barry Shumaker to surprise him with this new batch of Shoes songs.

Friday, July 14, 2017

The JENKINSES - "Langered"

"Langered" is the sophomore E.P by Brussels' Glam trash rock'n'rollers The JENKINSES. The quartet is currently featuring James Neligan, probably the best rock'n'roll guitar slinger in town: Lead Vocals and Guitar; Juliette Drumel, his female alter ego and sweetheart: Guitar and backing vocal; Vinnie "The Enforcer" D'Aguanno: Bass and Daniel Wang: Drums and Production

The band has considerably improved since their first E.P released in 2014 and "Langered" displays great vocals, driving guitars and an ever pulsating rhythm section. James is telling the viewers of this blog everything they ever wanted to know but were afraid to ask. 

3 Down
A song about labour relations. First verse covers the atavistic teenage slacker instinct to lie down on the job and stick it in your employer’s face ‘cos they’re only looking to exploit you anyway. Second verse specifically deals with a job I had at a well known multinational that was downsizing. The chorus concerns that sinking feeling you get 3 hours into your shift when you realize with horror that the day’s not even half done yet.

No Shame
I wrote this one originally in about 2007 for the band I was in at the time. It’s about owning who you are and making no apologies for it, even while knowing you have no place in a globalized society where freedom to consume is passed off as freedom. Yes, the « Dreaming of Babylon » line is a Richard Brautigan reference. Great novella whose protagonist feels detached from the world he inhabits and takes refuge in his daydreams. I can relate. I love the interplay between the 2 guitars on this one, it reminds me a little of the MC5, though we weren’t consciously aiming for that.

Cheesy Speech
Also written about 10 years ago, but it didn’t reach its full potential until I brought it to the Jenkinses. A cowpunkish track with a fatalistic streak, but that’s where I was at at the time. Thematically it’s about people of standing who think it entitles them to tell you what’s best for you, as if they would know. A vainglorious, grandstanding pompous fuck who tries to manipulate your emotions in an unsubtle way, not realizing that being lower down on the socio-economic food-chain doesn’t automatically make you stupid.

That Was My House
I co-wrote this one with my good friend Gyle Waddy. I put music to his lyrics, which I guess are about nostalgically yearning for another time and place that hindsight has colored pretty for you and that your current circumstances don’t seem to compare too favorably to. I think we’ve all been there. Musically it’s a faster one. Can’t really say we were trying to channel anything, but you’ll hear echoes of some of our classic influences - Gun Club, Ramones, Buzzcocks, NY Dolls etc. Btw, Gyle also co-wrote the song Muddy Waters on our first e.p.

Such A Clown
Another « nostalgic yearning » song, but in the context of a long-lost relationship rather than a place you used to live. Again, I wrote it a while back, probably 2008. It’s bittersweet but rocking. I’m quite proud of this one. Play it loud with the windows wide open !

Purchase a digital copy here :

For a physical copy, send a mail to the band :

Sunday, July 9, 2017

Lazy Cowgirls - How It Looks - How It Is-Third Time's The Charm
In WAV - Scans are included

1 How It Looks - How It Is
2 Sex Kittens Compare Scratches
3 Cheap Shit
4 One On The List
5 The Long Goodbye
6 When It All Come Down
7 D.I.E. In Indiana
8 Alienation Maybe
9 I've Had Enough Of It
10 Danille 2:23
11 Teenage Frankenstein
12 How Long
Third Time's The Charm (Remix)
13 Losin' My Mind
14 Meat Shop
15 Dye'n In Red
16 Alot To Learn
17 Reborn

Vocalist Pat Todd, guitarist D.D. Weekday, and bassist Keith Telligman left their hometown of Vincennes, Indiana in 1981 to move to California, hoping to get a rock band off the ground. In 1983, they finally settled on fellow Indiana refugee Allen Clark as a drummer, and began hitting the L.A. club circuit as The Lazy Cowgirls. The band got a deal with Restless Records but their self-titled debut LP didn't quite reflect the band's powerhouse live show, and they were soon dropped from the label. After two years of local shows and occasional touring, Bomp Records came to the rescue by releasing the band's second long-player, Tapping The Source, which came much closer in capturing the fire of their live show on plastic. The following year, the newly-founded indie label Sympathy For The Record Industry opened for business with Radio Cowgirl, a souvenir of the band's high-octane live set at KCSB-FM in Santa Barbara.

Following yet another bout of long touring, the band cut the near-definitive How It Looks -- How It Is in 1990, but years of hard work with little commercial reward began to take their toll, and at the end of 1991 Telligman and Clark quit the group. The Cowgirls' rhythm section became something of a revolving door for the next few years.

Friday, July 7, 2017

Chain and the Gang - Best of Crime Rock

Chain and the Gang is an american band hailing from Washington, D.C. and formed in 2009. Currently, the band is featuring Francy Z. Graham: Guitar; Anna Nasty: Bass and vocals; Mark Cisneros: Drums and keys and is led by musician /writer/ talk show host Ian Svenonius

The man is well known since he was the driving force behind the bands NATION OF ULYSSES formed in 1988 and THE MAKE-UP formed in 1995. 

Chain and the Gang deals in the self-called genre "Crime Rock" that blends together rock' n' roll, blues, funk/punk and gospel music of the late ‘50s /early ‘60s. 

The band's fifth and latest offering, released by INTHERED Records is aptly entitled "Best Of Crime Rock" and sees the band revisiting/re-recording some of their best tracks of past releases along with some brand new ones (the organ driven “Logic of the Night” and surf-power pop “Come Over”). Their previous recordings were primitively lo-fi to the max but this one benefits from a better production and sees the band at their most rocking.  

Chain and the Gang perfectly understood that in rock'n'roll "less is more". The songs are stripped down to the bone and build on guitar, bass and drums (and sometimes a cheesy organ) but this is exactly what gives those reworked songs their power and their strength. 

Several of the new versions on "Best of Crime Rock " are quite dramatic changes from the original ones so it could be a bit destabilizing at first listen but very soon you will come to the conclusion that this new record greatly improves upon its original material.

A must for any fan and the best place to start for the uninitiated. Highly recommended!

Purchase it here:

Sunday, July 2, 2017

The MEOWS - All you can eat

The MEOWS - All you can eat
In WAV - Scans are included

1 Shake
2 Tired Of Being Alone
3 In My Bones
4 Sugar Woman
5 Bar Ramon
6 Good Thing
7 Who's To Blame
8 Talk Too Loud
9 No, No, No
10 Hurting Me
11 Try My Love
12 One More Dance

Thee best garage/rock'n'roll band in Spain. This CD kicks ass from start to finish!
The cover is ugly but the music is highly recommended!!!

Saturday, June 24, 2017

Thee Wylde Oscars - Rosalita

Out of Melbourne, Australia comes the amazing band Thee Wylde Oscars. The quartet is featuring Jay Wylde - Rockin' the vox, sweet guitar licks and wailin' blues harp. Roger Wylde- Tickling the ivory, secondary crooning. Monk Wylde- Laying down the low-end groove, vocal gyrations. George Wylde- Bringing the Mersey beat back. These guys describe themselves as playing "MotherFrigginRocknRoll". 

They have very recently released their sophomore full length “Rosalita” or “Tales of Treachery & The Nefarious Deeds of The Scurrilous Resurrection Men” depending if you purchase the CD or the vinyl! If you are into Pretty Things, early Rolling Stones, The Sonics, delivered with loads of Stax soul in the voice, this is going to be right up your alley.

This blog had a very interesting chat with Jay Wylde:

1) Jay, you are no newcomer to the Rock’n’roll scene. Personally I first discovered you in 1992 with the release of one of the best records of the decade, The Hoods – Gangsters and Morticians. After that I kinda lost your track till you resurfaced in 2010 in Australia, fronting Thee Wylde Oscars. Can you tell the viewers of this blog your full story and in particular what happened for you between those 2 seminal bands?

I quit The Hoods in the mid-90’s after several singles, an LP, an EP and a tour, I felt we had gone as far as we could. They were great guys, but I wanted to do something new - something harder  - a more MC5, Radio Birdman, mid-70’s punk vibe. I wasn’t bored with the 60’s sound, but I wanted to expand and broaden it.

What drives my love for the music of the 1950’s through 1970’s is the the punk attitude; it is the thread that binds all and is the common element. Truthfully I really don’t find all that much difference between Little Richard and the MC5. The instrumentation, yes, but the rebellion and the primitive drive is the same to me. It shows more interest in rocking the audience than in technically fuck-all brilliance. To me style trumps substance all the time. I’d much rather hear Johnny Thunders fuck up a lead than hear Joe Satriani play “dwiddle, dwiddle”. It’s great when you get a guy like Jimmy Page being able to do both.

Mike Stax and John Chilson from The Hoods joined me at a later point as soon as I found a couple of guitar players to form The Evil Eyes. It was everything I dug at the time and was a fine band. Hard wall-of-sound dual guitars, a mixture of 70’s Detroit rock and energy with a 60’s garage punk feel. The Evil Eyes released a single and toured, but the band was too unstable, breaking up after only a 1 year.

I found myself wanting to keep with the current sound I was in so I started Mach Five (which became Mach Five Overdrive). I got Xavier Anaya from the Hoods to join, as well as drummer Baba Chenelle (of the Zeros). The lasted about 5 years with a rotating group of drummers, guitarists and bass players (including Hector Penalosa of the Zeros and Dave James of the SuperBees at one time). We released 2 singles (once as Mach 5, and then as Mach 5 Overdrive).

After the band broke up, I felt I needed a lifestyle change and I moved to Melbourne, Australia with my wife in 2000. Melbourne has a thriving music scene, and I was keen to start fresh. I had been asked to start a group with some guys from Shutdown 66. That group was The Cheapshots (2000-2003). We played 60’s Garage and R'n'B, a lot like what I was doing with my first band, The Trebels (1981-1990). I also started a 1977 punk influenced band fronted by my wife, Mirella Doll, called The Devil Dolls, which became my main band. I didn’t want to be a frontman/singer for once and became a rhythm guitar player.

After a couple of records and the birth of a baby, The Devil Dolls called it quits. In 2009 I got the itch to start a band again and formed Thee Wylde Oscars. No real intention to start something, but found some guys who really wanted to play - and they dug the 60’s garage stuff - and we hit it off. I drew off of set-lists from previous bands and started to write in earnest. We released a couple of records and did a tour of Germany and Spain. In 2012, our bass player lost his Australian visa and had to move back to Japan and the guitarist moved back to Perth, Australia. I found some new guys to form the nucleus of the reformed group (with the addition of a piano/keyboardist and me as a lead guitarist) and decided to go back to where I started from as a base to build on; 50’s and 60’s R&B - which is where we are now...

2) One thing that got me puzzled : why are the CD versions and the vinyl versions of Thee Wylde Oscars releases so different? (Different sleeve, different tracklisting, different name of the release, different songs) Is this the band’s choice or the record company’s choice?

It was the choice of the Labels to do different versions on the first LP and CD. The labels wanted different songs from the ones we recorded. In the end, I liked doing it that way because we always had more songs than for one release, and I liked the way there used to be different versions of a band’s albums in different countries. We decided to do the same for these releases.

3) About the latest release, “Tales of Treachery & The Nefarious Deeds of The Scurrilous Resurrection Men” (vinyl) or “Rosalita” (CD), what can you tell about the recording process? Was this a live in the studio recording or a track by track recording with lots of overdubs?

We recorded the whole thing live, except for the vocals. What you hear is basically what came out as we recorded the thing - mistakes and all.  I like to keep it fresh in the recording studio, with few takes - two at most, if possible. Too many takes and a band can sound stiff - you start playing it safe.  It’s better without the safety net - and cheaper!  I’m not too fussed with getting it perfect, just as long as you get the feel. The raw instrument tracks were done in about 8 hours and did the vocals later. I had only been playing lead guitar for about 6 months at that point and didn’t want to lose focus with having to sing and all.

4) To what kind of music did you listen to as a teenager and does it still influence your today work? What was your favorite band as a teenager? Name 3 bands that you consider still have a influence on your own work today.

When I was in my early teens I was into heavier bands like Led Zeppelin, Black Sabbath, Blue Oyster Cult and 60’s bands like the Doors. Led Zeppelin led me to the Yardbirds, which led me to the Animals, which really opened up my world to other bands of that era and is the reason I learned to play a blues harp - and I was the odd kid at my school - the one that liked Manfred Mann more than Foreigner. Punk bands like The Ramones, The Jam and Devo was also a huge influence on me.

When I joined the Trebels (and became part of the San Diego Mod scene) I was introduced to an even more broad spectrum of music from the post-war blues to East LA Chicano rock to obscure British R&B. Bands like The Crawdaddys playing really cool stuff live - and good! It was a great time and it felt like we were a part of something bigger than ourselves. We were purposefully blocking out the commercial shit music that was coming out in the 80's. I will always consider Bo Diddley and Chuck Berry a constant influence. Same with the Animals, Larry  Williams, Johnny Guitar Watson, Little Richard, Gene Vincent, Arthur Alexander, Elvis, Buck Owens, Johnny Cash...It’s hard to nail down because I dig a lot of stuff.

5) Are you the main composer in the band or is everybody involved in one way or another? 

 I write most of the material, mainly because I enjoy doing it. The other guys help with the arrangement at times, but it’s not their thing. If they (or I) got ideas it’s gotta go through the band grinder. We’ll usually play it, and if it sounds like something could come out of it we’ll push it further. Some stuff ends up being good, most doesn’t.

6) Do you have a video on youtube featuring a track from the latest release?   

We are actually in the process of doing a video for “Rosalita” right now. It’s gonna be in the style of a silent movie, kinda like the style of Georges Méliès, if we can pull it off. We will probably shoot another at the same time, it's DIY filming at it's best.

7) What can concert goers expect at a  Wylde Oscars gig? Are you playing any famous cover songs? 

You can expect a lot of jumping around, pounding, screaming and sweating - and that’s the audience!  We put alot into getting people dancing. We don’t do “the hits”, you know, the songs we’ve all heard a zillion times and I refuse to play  "Johnny be Good".  We try to do more obscure numbers. Often we do three 1-hour sets...which is a bit of material. More familiar stuff is: “I can Tell”, “Can’t Judge a Book”, “Hey Mama, Keep your big mouth Shut” by Bo Diddley; “Justine” and “Farmer John” by Don & Dewey, “Big Bad Wolf” and “Lookin’ Back” by Johnny Guitar Watson, “Talkin’ Bout You” and “Nadine” by Chuck Berry.

8) When you perform with Thee Wylde Oscars, does it happen that you play an impromptu version of a song from one of your previous bands? 

Thee Wylde Oscars used to do “It’s Inside”, a Hoods song (but never recorded with them). But that’s about it. I’m not too nostalgic when it comes to my music. We’ve got plenty of stuff in our current catalogue to keep us busy, and I’m always in the process of writing new material.

9) What are the plans for 2017 as far as Thee Wylde Oscars are concerned? Are you guys coming to Europe soon?

We’d love to do another European tour! We’d be looking at 2018 or so, although playing the SXSW has been on my “must do” list. US doesn’t pay that well unfortunately, so it’s a toss up. Last time we played Europe we had a GREAT booking agency (Muttis), and we made out alright. They were so cool. Frankly, it really comes down to money, and whether we lose a little or lose a lot - and I’m quite cheap!  Got any ideas ? We’re welcome to advice about where and when and who.

10) Anything you would like to say to the viewers of this blog?

Keep on a rockin’! AND Thanks Eric for your interest in the band. G’day Mate!

Purchase it here:
or here:

For a physical copy of the vinyl record

For a physical copy of the CD

Sunday, June 18, 2017

Prix - Historix

Prix - Historix
In FLAC -Scans are included

2.She Might Look My Way
3.Love You Tonight
4.Love You All Day Long
6.Every Time I Close My Eyes
7.Take Me Home & Make Me Like It
8.Run Run Runaway
9.Follow You
10.Free Again
11.All Of The Time
12.Love You Tonight (Saturday's Gone) (Alt. version)
13.Love You All Day Long (Alt. version)
14.Everytime I Close My Eyes (Alt. version)
15.Ordinary Life (Bonus Track)

Prix are a legendary lost band, a power pop supergroup of sorts that fell into the cracks between album rock and the emerging new wave in the mid-'70s. Fronted by Jon Tiven and Tommy Hoehn, the band was mostly a studio-based project featuring other Memphis popsters such as bassist Rick Clark, and featuring contributions and productions by former Big Star co-leaders Chris Bell and Alex Chilton, and studio mavericks Jim Dickinson and Richard Rosebrough.

Special Thanks to JPaul for this power popping contribution