The Stranglers - Black And White

Having exhausted their large original repertoire of songs, the Stranglers offered their own more European view of the world in the light of their touring far afield and a totally new set of songs,.. Split into Black and white sides songs no longer had a punky speed but were driven by a more controlled anger and power. The sound and lyrics were still abrasive allied to catchy hooky tunes but were already heading towards the refinement of The Raven and beyond. Black and White and its release has all the Stranglers traits around it. Run in with journalists and provocative lyrics and advertising. For the Stranglers in terms of support you were either for or against . It was black & White.

01. Tank (2:57)

02. Nice 'n sleazy (3:12)

03. Outside Tokyo (2:08)

04. Hey! (Rise of the robots) (2:15)

05. Sweden (All quiet on the eastern front) (2:50)

06. Toiler on the sea (5:25)

07. Curfew (3:15)

08. Threatened (3:34)

09. In the shadows (4:35)

10. Do you wanna (2:28)

11. Death and night and blood (Yukio) (2:49)

12. Enough time (4:18)

13. Mean to me [*] (1:55)

14. Walk on by [*] (6:22)

15. Shut up [*] (1:07)

16. Sveridge [*] (2:49)

17. Old codger [*] (2:49)

18. Tits [*] (5:25)

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PIL - Metal Box

As the board of EMI, TV-booting lorry drivers and Mirror journalists knew, in the seventies John Lydon and the Sex Pistols were a threat to the very fabric of society. Now, with eyebrow-raising developments like this, their power as Wreckers Of Civilisation may have ebbed somewhat. This isn’t the case, though, with PiL’s totemic Metal Box, which showed Lydon plumbing freezing new depths, cut off from all human warmth in the drug-disordered company of Year Zero-minded former Clash guitarist Keith Levene and low frequency bassist Jah Wobble. Contained on three 12” singles housed in a film canister was some of the strangest dance music ever, evoking frigid nihilism yet sounding angrily alive. The songs were constructed from jams; Levene’s nerve-scraping guitar playing and Wobble’s speaker-busting dubular basslines, plus the tense contributions of a variety of drummers and Rotten wailing his psychoses, make for a powerful chemistry. In ten-minute opener Albatross the singer declares independence from what went before (“Still the spirit of ’68” – this was Hawkwind/Can fan Lydon talking), while on the fearsome skank Swan Lake (aka Death Disco) he sings to his terminally ill mother. This formation of the group would end the following year (Wobble and Levene would both take PiL tapes and release them themselves). But cold and unyielding Metal Box – arguably the sonic equivalent of this - remains a challenge and an enigma to be savoured. - Ian Harrison

01- "Albatross"

02- "Memories"

03- "Swan Lake"

04- "Poptones"

05- "Careering"

06- "No Birds"

07- "Graveyard"

08- "The Suit"

09- "Bad Baby"

10- "Socialist"

11- "Chant"

12- "Radio 4"

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Swell Maps - A Trip To Marineville

Noisy and experimental, Britain's Swell Maps experienced little commercial success during the course of their chaotic career, but in hindsight they stand as one of the pivotal acts of the new wave: not only was the group an acknowledged inspiration to the likes of Sonic Youth and Pavement, but their alumni – most notably brothers Nikki Sudden and Epic Soundtracks – continued on as key players in the underground music community.

Although Sudden (vocals/guitar) and Soundtracks (piano/drums) formed the first incarnation of the Swell Maps as far back as 1972, the group did not begin to truly take shape until 1976, when the siblings enlisted bassist Jowe Head and guitarist Richard Earl. In the spirit of punk's "do-it-yourself" mentality, they formed their own label, Rather Records, and issued their debut single – the brief, jarring "Read About Seymour" – in the early weeks of 1978. Local media support soon won the group a distribution pact with – but they did not resurface until over a year later with the single "Dresden Style".

In mid-1979, the Swell Maps released their full-length debut "A Trip To Marineville", a crazy quilt of punk energy and Krautrock-influenced clatter. After the release of the speaker-shredding single "Let's Build A Car," the group recorded one final studio LP, "Jane From Occupied Europe", before breaking up. Each of the members followed their own career paths, playing solo and forming bands: Sudden formed The Jacobites, Soundtracks joined Crime & The City Solution and Head played with the Television Personalities.

Track Listing:

A1. H. S. Art (2:21)

A2. Another Song (1:43)

A3. Vertical Slum (1:12)

A4. Spitfire Parade (3:10)

A5. Harmony In Your Bathroom (5:24)

A6. Don't Throw Ashtrays At Me (1:16)

A7. Midget Submarines (4:33)

A8. Bridge Head (Pt. 9) (1:58)

B1. Full Moon In My Pocket (1:30)

B2. BLAM!! (3:31)

B3. Full Moon (Reprise) (1:21)

B4. Gunboats (8:25)

B5. Adventuring Into Basketry (7:28)

B6. My Lil' Shoppes 'Round The Corner (0:44)

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Scratch Acid - The Greatest Gift

Scratch Acid played a huge part in the noisy underground movement of the 1980s; they took punk to the dirtiest, dingiest mudhole they could find and sullied it from top to bottom until it looked and sounded like some hell-bound bogeyman. It's not too far-fetched to think of Scratch Acid as the American equivalent of the Birthday Party, the Texans donning the mantle that was dropped when the BP disbanded. The Greatest Gift contains everything the band ever recorded, including a few lo-fidelity instrumentals. Scratch Acid never received the notice it deserved, but the musicians could pound out brilliantly frenzied and highly original post-punk/noise rock that sometimes rivals the material released by singer David Yow and bassist David Sims' future (and much more well known) project, the Jesus Lizard. The first eight songs were originally released in 1984 as an eponymous EP; from the opening crashing bars of "Cannibal" to the terrifying lyrics heard on "Lay Screaming" (a song which reads like something culled from a medieval book about torture), this band obviously never had any desire to control itself. Only one slight reprieve can be found in the relatively tender "Owner's Lament," a song replete with weeping strings. Songs nine through 20 first saw the light of a sickly day as Just Keep Eating, Scratch Acid's one and only full-length that found the band expanding its musical palette: insane noise rock numbers ("Eyeball," "Holes"), jaunty, faux lounge grooves ("Amicus"), goofy Zeppelin-esque riffs ("Cheese Plug"), and a spot-on cover of the Webber-Rice rocker "Damned for All Time," complete with exclamatory horns. The remainder of the disc comprises the songs from their definitive statement, the 1987 Berserker EP. A little more money went into this recording; as the sound quality is better than on Just Keep Eating, it was definitely worth it. "Mary Had a Little Drug Problem" and "Flying Houses" are whirlwinds of pounding drums, foreboding basslines, and scathing, blinding guitar phrases. The band never played so well or wrote better songs. Highly recommended to any Jesus Lizard fan and noise rock/hardcore punk aficionado.

Track Listing:

Scratch Acid

1. Cannibal (2:24)

2. Greatest Gift (2:11)

3. Monsters (1:19)

4. Owner's Lament (4:39)

5. She Said (2:27)

6. Mess (2:22)

7. El Espectro (3:39)

8. Lay Screaming (2:47)

Just Keep Eating

9. Crazy Dan (4:13)

10. Eyeball (2:06)

11. Big Bone Lick (3:48)

12. Unlike A Baptist (2:31)

13. Damned For All Time (2:05)

14. Ain't That Love (2:23)

15. Untitled (0:29)

16. Holes (2:00)

17. Albino Slug (3:26)

18. Spit A Kiss (2:02)

19. Amicus (3:15)

20. Cheese Plug (2:45)

21. Untitled (2:20)

Berserker

22. Mary Had A Little Drug Problem (2:16)

23. For Crying Out Loud (3:06)

24. Moron's Moron (3:13)

25. Skin Drips (2:42)

26. This Is Bliss (2:16)

27. Flying Houses (3:08)

Bonus Track

28. The Scale Song (3:03)

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The Gun Club - Fire Of Love

The Gun Club's debut is the watermark for all post-punk roots music. This features the late Jeffrey Lee Pierce's swamped-out brand of roiling rock, swaggerific hell-bound blues, and gothic country. With Pierce's wailing high lonesome slide guitar twinned with Ward Dotson's spine-shaking riffs and the solid yet off-the-rails rhythm section of bassist Rob Ritter and drummer Terry Graham, the Gun Club burst out of L.A. in the early '80s with a bone to pick and a mountain to move -- and they accomplished both on their debut album. With awesome, stripped to the frame production by the Flesh Eaters' Chris D., Fire of Love blew away all expectations -- and with good reason. Nobody has heard music like this before or since. Pierce's songs were rooted in his land of Texas. On "Sex Beat," a razor-sharp country one-two shuffle becomes a howling wind as Pierce's wasted, half-sung half-howled vocals relate a tale of voodoo, sex, dope, and death. The song choogles like a freight train coming undone in a twister. Here Black Flag, the Sex Pistols, Son House, and the coughing, hacking rambling ghost of Hank Williams all converge in a reckless mass of seething energy and nearly evil intent. As if the opener weren't enough of a jolt, the Gun Club follow this with a careening version of House's "Preachin the Blues," full of staccato phrasing and blazing slide. But it isn't until the anthemic, opiate-addled country of "She's Like Heroin to Me" and the truly frightening punk-blues of "Ghost on the Highway" that the listener comes to grip with the awesome terror that is the Gun Club. The songs become rock & roll ciphers, erasing themselves as soon as they speak, heading off into the whirlwind of a storm that is so big, so black, and so awful one cannot meditate on anything but its power. Fire of Love may be just what the doctor ordered, but to cure or kill is anybody’s guess.

Tracklist

01 - sex beat. 2:48

02 - preaching the blues. 4:01

03 - promise me. 2:37

04 - she's like heroin to me. 2:36

05 - for the love of ivy. 5:37

06 - fire spirit. 2:53

07 - ghost on the highway. 2:47

08 - jack on fire. 4:45

09 - black train. 2:13

10 - cool drink of water. 6:19

11 - goodbye johnny. 3:45

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Dog Faced Hermans - Those Deep Buds

Not many rock bands have a trumpet as a key instrument, but then again not many rock bands -- not many musical groups, period -- are quite like the Dog-Faced Hermans. With production by noted U.K. boardsman Guy Fixsen, Those Deep Buds kicks with a vicious, smart passion, with lead figure Marion handling the vocals and aforementioned brass with aplomb. Backed by the fine, ragged rhythm section of bassist Colin and drummer Wilf and playing off the rough, spindly riffing of guitarist Andy, she leads her charges down constantly unexpected musical detours with entertaining results. It might not be too far to suggest that the group has the same questing spirit as bands like Wire, the Slits, or the Raincoats, but rather than simply recreating the work of those leaders of U.K. post-punk, the Hermans doggedly pursue their own distinct muse. Hints of Krautrock also crop up, both in trancy rhythms (the ebb and flow of "Keep Your Laws/Off My Body") and in the sudden shifts and stops in the music at many points. Fragmentation and propulsion rather than easily hummed melodies are the name of the game, with everything from flamenco-touched percussion and playful, '20s/'30s jazz runs to virulent condemnation of societal idiocies on the agenda. Fixsen's production brings out the strength in the individual performances while retaining space and depth in the mix, even when everything ratchets up to a full explosion. Marion's vocals are never entirely buried, her strong voice cutting through it all, while Andy's guitar play often reaches majestic heights, equal to the sonic wash of shoegazing without losing any bite. Particular highlights include the tight, swinging groove of "Les Femmes et les Filles Vont Danser" and the harrowing peek into the heart of evil "Calley," reliving the horror of the My Lai massacre as echoed down through time. - Ned Raggett, All Music Guide

1. Blessed Are the Follies

2. Volkswagen

3. Keep Your Laws, Off My Body

4. Lie and Swell

5. H Tribe

6. Human Spark

7. Les femmes et les filles vont danser

8. Virginia Fur

9. Calley

10. Dream Forever

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Laughing Hyenas - Life Of Crime [1990]

I guess I'd have to say this my favorite Laughing Hyenas album.

For those who didn't know, vocalist John Brannon also fronted Negative Approach... but this is nothing like that.

The title track from this record is a cover of The Weirdos song. The Weirdos are an old LA Punk band. Turn your shit up to 11 and listen to "Here We Go Again" you're mom and Dad will be really stoked on it.

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