giovedì 29 ottobre 2009

Leaving Comments It's Not A Crime.....

Hi, this is not another album but just a consideration. My work and the work of the other bloggers on the net it's hard and abviously for free, so leaving some comment or a thank or just expressing your opinion on the material released would be helpful, interesting and would contribute the long lasting of this blog. So don't be shy and express your opinion! :-)


mercoledì 28 ottobre 2009


And here it is the First Chesterfields album.Good jangle pop, beatiful melodies and energy. An absolutely must have for song such as "Sweet Revenge" or "Completely And Hutterly"it's a shame this band hadn't got the attention he deserved.


1 - Sweet Revenge
2 - What's Your Perversion
3 - Lovemountain
4 - Best Of Friends
5 - Hidden Untitled Track
6 - Completely And Utterly
7 - Girl On A Boat
8 - Ask Johnny Dee
9 - Pop Anarchy



The Chesterfields were an English indie pop band from Yeovil in Somerset. Hardcore fans tended to refer to them as 'The Chesterf!elds', with an exclamation mark replacing the 'i', following the example of the band's logo. The band was formed in summer 1984 by Dave Goldsworthy (vocals, guitar), Simon Barber (bass, vocals), and Dominic Manns (drums), joined in 1985 by Brendan Holden (guitar).[1] Early recordings included contributions to the Golden Pathway tapes, that captured the West Country music scene of the time, such as "Stephanie Adores" and "The Boy Who Sold His Suitcase", the latter with a female lead singer, Sarah.
The first "vinyl" release was as one half of a flexi disc; "Nose out of Joint" shared a single side with the Shop Assistants' "All that Ever Mattered", and was given away free with copies of London's "Legend" Fanzine and future Subway Organisation boss, Martin Whitehead's own Bristol Fanzine. They signed to The Subway Organization, releasing three well-received singles, before Holden was replaced by Rodney Allen. Debut LP Kettle was released in July 1987, with a compilation of the early singles, Westward Ho! issued later the same year. Allen left to join The Blue Aeroplanes, to be replaced temporarily by Andy Strickland of The Loft (band)/ The Caretaker Race, before a more permanent replacement was found in the form of Simon Barber's brother Mark.[2]
The band then moved to their own Household label, issuing two more singles and a third album, Crocodile Tears. Manns left and was replaced by future PJ Harvey drummer Rob Ellis but when Goldsworthy departed in late 1988 the band effectively split. The Barber brothers continued as The Chesterfields for a final single, "Fool Is The Man" in 1989.
The band split for good in the summer of 1989, Simon Barber forming Basinger, and Mark Barber joined Grape. Goldsworthy fronted several more bands, including Furnt and Diceman. The Chesterfields reformed briefly in the 1990's to tour Japan after their material was re-issued there. Dave Goldsworthy (Davy Chesterfield) was killed by a hit & run driver in Oxford, UK, on 9 November 2004.
Crocodile Tears is a perfect example og good jangle pop melodic and immediately catchy. This is a rare and deleted records and it's another vinyl rip. Enjoy and have a good listen.


Lunchtime For The Wild Youth
Alison Wait
When It All Comes Down
Hopes For Lauren Or Joseph
Get Some Religion
Let It Go
Goodbye Goodbye


martedì 27 ottobre 2009


Ladies and gentleman here's an aboslutely MUST HAVE album. Flordemal were a sicilian band formed in the late 90's. Their music is a pure folk rock with some country influence and a bit of sicilian tradition. Take R.E.M., Sonic Youth and Husker Du, mix them together and you'll have one of the best album of the 90's. Each song is beautiful and catchy.Flordemal have made two more albums, one of them produced and played by Peter buck of R.E.M. Take this album also because you won't find it on the net. This is a vinyl rip made by myself. Have a good listen.


1 - Cover Of the Mind
2 - Tommy
3 - Just For You
4 - Mr,Thoughts
5 - A New Day
6 - We're Artists
7 - F.K.
8 - Sweet Tarantella
9 - Island
10 - She
11 - On
12 - Country Song


martedì 20 ottobre 2009


This well-constructed compilation, is significant not only for opening up these sounds to a larger audience but also for putting a definite perspective on a music scene that was all too short.
It is the late Seventies in Europe. The political tensions of the Sixties are now manifest in the extremes of hedonism and direct action. Youth feels alienated once again, this time its worse with constant violence on the television and industrial upheavals at home.
Urban decimation and Postmodernism at its height, further isolating people from their surroundings. European identity has been eradicated in shame and frustration. But something is happening. Punk Rock in the United Kingdom has shown kids all over the world that its easy for them to release music on independent labels. Current technological trends make access to new electronic instruments (ARP and MS10 among others) easy. In France a new youth culture is born. So Young But So Cold illustrates that trend brilliantly.
It begins with the most poppy tunes and gradually goes back in time, as more instruments are added to each song and the experts (mostly influenced by and creating progressive rock) take over. The first half of the disc the instrumentation is sparse, consisting of drum machine or keyboard and vocals primarily. By the end of the disc the tracks get more (analog) synthesizer oriented and denser in construction.


1 - Suis-Je Normale – Nini Raviolette 00:04:03
2 - Euroman – J.J. Burnel 00:03:29
3 - Roman Photo – Ruth 00:05:02
4 - Disco Rough  – Mathematiques Modernes 00:04:00
5 - Carnival – Metal Boys 00:01:45
6 - Person To Person – The (Hypothetical) Prophets 00:06:09
7 - Wallenberg – The (Hypothetical) Prophets 00:06:18
8 - So Young But So Cold – Kas Product 00:03:00
9 - Synchro – Charles De Goal 00:04:00
10 - MAE – Artefact 00:03:18
11 - Switch On Bach – Moderne 00:03:08
12 - Triangle – Jacno 00:03:29
13 - Lighthouse – Tim Blake 00:06:47
14 - The Force (Part I) – Droids 00:03:26
15 - Welcome (To Death Row) – Bernard Szajner 00:06:14
16 - Iceland – Richard Pinhas 00:09:38


lunedì 19 ottobre 2009


This cassette compilation is not actually a commercial release - it was used purely as a demo tape, which the League presented to record companies in their search for a label which could offer them the financial support they needed.

The Dominion jingle is used extensively throughout the cassette (appearing after every song except You've Lost That Lovin' Feeling), and dialogue is also provided by Philip, who poses as a fictional TV presenter, 'Jason Taverner'. This name was almost certainly borrowed from Philip K Dick's novel, Flow My Tears, The Policeman Said, which also features a television personality named Jason Taverner.

The cassette is not actually titled the 'Taverner tape', but it has become known as this, due to these excerpts of dialogue. (For transcriptions of the dialogue, see the Avoid Those Mistakes section of this site.)

Overall, the compilation is a good representation of the group's sound at the time, mixing pop-oriented tracks (Blind Youth, You've Lost That Lovin' Feeling) with instrumentals (Interface, Toyota City) and slightly darker, more leftfield songs (Again The Eye Again, The Path Of Least Resistance, Zero As A Limit). Unsurprisingly, this generated a lot of interest among the record labels in London and the League were quickly signed by Virgin Records.

All tracks written by Marsh/Oakey/Ware, except You've Lost That Lovin' Feeling (Spector/Mann/Weill) and Toyota City (The Human League)

Produced by The Human League, except *unspecified BBC engineer

Cassette not generally available


1. First Jason Taverner Intro
2. Blind Youth
3. Dominion Jingle
4. Interface
5. Dominion Jingle
6. Again The Eye Again
7. Dominion Jingle
8. Second Jason Taverner Intro
9. Toyota City
10. Dominion Jingle
11. Path Of Least Resistance
12. Dominion Jingle
13. Zero As A Limit
14. Dominion Jingle
15. Third Jason Taverner Intro
16. You've Lost That Lovin' Feelin'


venerdì 9 ottobre 2009


Done as part of an ultimately failed distribution attempt in the country of the title, Amigos finds Reilly working very much in the mode of Another Setting, creating five fine pieces that combine his lovely guitar work with piano and other instruments. Though all titles are in Portuguese as well, nothing appears to be specifically about the country or its own musical style -- it's simply Reilly, working solo in this instance, creating some stripped-down work still with that typical hint of Durutti magic. The opening number, the title track itself, actually features some of the most active and busy piano he'd yet recorded, still with just enough control to make it slot in with the remainder of the music. Keyboards also dominate other tracks, including "Lisboa," one of his most straightforwardly beautiful (as opposed to darkly so) numbers, and the concluding waft of "Estoril A Noite."


Amigos Em Portugal

1. Amigos em Portugal
2. Small Girl By A Pool
3. Lisboa
4. Sara e Tristana
5. Estoril à Noite
6. Vestido Amarratado

Dedications For jacqueline

7. Wheels Turning
8. Lies Of Mercy
9. Saudade
10. Games Of Rhythm
11. Favourite Descending Intervals
12. To End With

giovedì 8 ottobre 2009


It seems strange that the Feelies’ third album is only now being reissued. Stranger still that Crazy Rhythms isn’t available, but that’s a topic for another article. Since New Jersey’s favorite nerds played a Fourth of July gig with Sonic Youth in New York’s Battery Park, they’ve reasserted their reputation as one of the best bands of the 1980s, despite a career that never really felt like taking flight (aside from moving to Florida).
Only Life, the band’s major label debut from 1988, immediately brings to mind the band’s obvious influence, the Velvet Underground, and a band that was hugely influenced by Crazy Rhythms, R.E.M. Glenn Mercer’s voice sometimes brims with Lou Reed’s detachment, yet he’s not averse to enthusiasm. On "Too Much," he’s sailing, uncorking a guitar solo as melodic and transcendental as anything Tom Verlaine played with Television.
The record is a far cry from the tensions of the Feelies’ live show - its first half is downright peaceful – but it never gets easy. It pieces together its own momentum, riding Mercer and Bill Millions’ downstrokes in an impressive exercise in subtlety. Everything crests on the last three tracks, "Too Far Gone," "Away" and a cover of the Velvets’ "What Goes On," Mercer’s guitar soars over tightly-coiled rhythms that contain equal helpings of joy and dread.
The Feelies’ music exists in a claustrophobic space where punk borders pop. They’ve always managed to fend off the latter’s commercial blandness while vying for the type of big league attention they deserved, but perhaps fortuitously, never received. Only Life undeniably sounds like a product of its time, but it also portrays a band in the best Velvets tradition, with a clear sense of what and when not to play.


1. It's Only Life
2. Too Much
3. Deep Fascination
4. Higher Ground
5. The Undertow
6. For Awhile
7. The Final Word
8. Too Far Goe
9. Away
10. What Goes On


Led by singer/bassist/keyboardist Andrew Jarman (vocally something of a David Byrne student), this London quartet drifts between arty synth-dance and lightly played mood music. Using dinky electronic percussion rather than a drummer in the early days, the enigmatic group's records alternately wax chilly, funky, humorless and clever.Ministry's Al Jourgensen remixed "Ladder Jack" and "House" for the eponymous American 12-inch, a four-song sampling of the band's pre-Comrades 45s. Both of those remixes also appear on 'Taste', a 1980-'87 singles compilation that presents an absurdly bloodless trashing of Lou Reed's "Rock&Roll" and adds two previously unreleased items, including an awfully strange cover of John Fogerty's "Run Through the Jungle."Fielding a solid five-man lineup, APHOS comes out of the woods on the obviously commercial England in the Rain. Unlike its previous unpredictable self-indulgences, the band now reveals a clear-cut focus: the half-dozen peppy songs are all standard stylish modern dance rock that compares favorably to Wang Chung and that whole post-Ultravox ilk. If Jarman weren't such a duff singer, these attractively produced tracks might be really appealing.
1. Crowds
2. Justice Not Vengeance
3. Dancing With Ideas
4. Stigma
5. Art Of Persuasion
6. If She Was A Car
7. Ladder Jack
8. Trapped
9. Body And Soul
10. House
11. Rock & Roll (Velvet Underground cover)
12. Run Through The Jungle (John Fogerty cover)

mercoledì 7 ottobre 2009


Electric Lucifer is an early electronic album by Bruce Haack noted for its originality and innovative use of acid rock and electronic sounds. describes it as "a psychedelic, anti-war song cycle about the battle between heaven and hell." Haack used a Moog synthesizer and his own home-built electronics, including an early prototype vocoder. It was originally released on LP in 1970 and has been re-mastered and re-released on CD several times since. "Song of the Death Machine" and "Word Game" both feature vocals by Chris Kachulis. The lyrics are also highly original, mentioning concepts such as "powerlove" — a force so strong and good that it will not only save mankind but Lucifer himself. It remains Haack's only album to debut on a major label and was featured heavily in the 2004 documentary Haack: The King of Techno.


1. "Electric To Me Turn"
2. "The Word (Narration)"
3. "Cherubic Hymn"
4. "Program Me"
5. "War"
6. "National Anthem To The Moon"
7. "Chant Of The Unborn"
8. "Incantation"
9. "Angel Child"
10. "Word Game"
11. "Song Of The Death Machine"
12. "Super Nova"
13. "Requiem"



Best of compilation of this minimal wave german band from Hamburg. Founded by Kirsten Klemm,Matthias Schuster and Jan T.Krahn the band started recording in 1981 inicially with the name Jeanette und das Land Z. The first 7" was released in Spring of that same year and it was a cover of a France Gall song, "Poupee de cire,poupee de son". After finishing the first album, the band didn´t come to an agreement with Phonogram, their inicial label, so the band took over the whole Konkurrenz label to start a new and totally independent company. Inspired by an old song of a german chansonette Hildegard Knef, the band manifested their independent status by changing the name to Bal Paré. They still record to this day after the reunion in 2007.
1.Rien ne va plus
2.Palais d´amour
3.Poupee de cire, poupee de son
4.Die idioten
9.Die hunde sin los
10.Les mots
11.Eine nacht im 9. stockwerk
12.Allez allez
13.Natalie II
14.Tokio - Oklahoma
16.La chute
19.Meilleur du monde
20.Bal paré


One of the `80s most striking debuts, the first album from this Leicester, England, quintet is filled with soaring guitar epics, complemented by the powerful vocals and provocative lyrics of frontman John Butler and expertly produced by Chris Kimsey. Heavily influenced by the same jangly folk-rock (Byrds, Buffalo Springfield, etc.) that helped fuel R.E.M. and other alternative darlings, Butler and his bandmates opted for clarity instead of navel-gazing, creating anthemic tunes like "All the Myths on Sunday" and "Bell of Hope," which sounded like instant classics and considered appropriately big topics like religion and history. But the band may have been, as its label claimed, "years ahead of its time" -- while Diesel Park West followed its debut 45 "When the Hoodoo Comes" with several more singles, including the rocking "Like Princes Do" and "Jackie`s Still Sad," the group struggled to find an audience, and also failed to repeat the magic of Shakespeare Alabama on subsequent albums. But this outing, now out of print, has become a sought-after item among fans who recognized greatness when they heard it."-AMG. "5 stars.. On its original release in 1989, Shakespeare Alabama felt like an instant classic; a tour-de-force of anthemic songwriting and John Butler`s passionate vocals. But, though critically-acclaimed, it failed to sell, and the band never sounded quite so good again. This "special edition" supposedly sounds closer to how the group intended it, though, frankly, it`s hard to find much wrong with the original. Indeed it`s difficult to think of any other album that opened with a sequence of songs as powerful as Like Princes Do, All the Myths on Sunday and Bell of Hope."-The Guardian.


1. Like Princes Do
2. All The Myths On Sunday
3. Bell Of Hope
4. Out Of Nowhere
5. Waking Hour
6. When The Hoodoo Comes
7. Opportunity Crazy
8. Jackie's Still Sad
9. Here I Stand
10. House Divided