I’m actually attending a rock and roll event this evening. It’ll be the first – and from what I’m hearing from my sources – potentially the last time I’ll get to see the awesome PAMELA.
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I remember ordering the three RATS LPs from Otis, the Rhino Records rare record god of the 1980s, simply because he’d likened them in a printed catalog circa 1988 to the Lazy Cowgirls. If there was a Cowgirl linkage anywhere that year, I was all over it. Dead Moon hadn’t yet begun (had they?), and frankly, I didn’t actually like my Rats albums all that much when I got ‘em.
Now I’m all growed up, and I think this track (“Panic on 39th”) from their 1976 debut LP is a total screamer. Yes, it’s Fred & Toody Cole of Portland, Oregon, longtime denizens of the down & dirty garage punk rock arts.
The first punk rock fanzine I ever purchased, circa 1981. I took three buses from our house in San Jose to Do-Re-Mi Records in Los Gatos to go record shopping, and was intrigued enough by Sid Terror and The Undead (SF version) to buy this San Jose-published ‘zine. More scans from RIPPER in coming days.
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Having only heard “The Running Kind” by SALLY SKULL for the first time a month ago, I’m still confident enough to anoint it one of the finest examples of low-fidelity explosive underground punk noise since “Mama Was a Schitzo, Daddy Was a Vegetable Man” – hell, since The Mods’ “Leave My House” maybe.
Information on the UK’s Sally Skull is pretty hard to come by on the Internet. The record from which this was taken, a 4-song 7"EP called “Fractious”, was put out by Slampt Records, who appear to have been super-active UK leaders in the trashy post-riot grrl era of female vocalists, bad recordings, scattershot garage punk and inept sloganeering. I’ve heard Pussycat Trash, International Strike Force and few other very solid acts they put out, but nothing even touches this thing. The rest of “Fractious” is fantastic as well.
Huge kudos to our radio hero Erika Elizabeth, who answered the Dynamite Hemorrhage call and digitized her copy so we could be sharing this classic with you this afternoon.
Flyer for the April 8th, 1989 MONOSHOCK performance on my patio in Isla Vista, CA. The cops were called after three songs because, unsurprisingly, the band were too loud for the neighbors.
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Remember all the way back to last week, when we told you about Seattle’s ZEBRA HUNT and their free-to-download 7"EP on Bandcamp, and how it was a loud jangler of Byrds/Verlaines/Clean-like proportions, and how you probably needed to get over there and grab it before they took away the privilege? Here’s another track from it to help seal the deal.
Been sitting around wondering what the best releases of 1994 were? TEEN LOOCH magazine to the rescue. Editor Brian Turner surveyed a who’s-who of scribes, rocknrollers, label heads, pals and various hangers-on on what the ruling releases were in ‘94, and here were the results, as scanned from Teen Looch #8. You’ll find my personal contribution at the top of Page 3 (click to enlarge any of these).
An article on the AU PAIRS from RIPPER fanzine in 1981. This “germinal” UK feminist agitprop post-punk band, one of my all-time faves, is sorta the fish out of water in this San Jose-based hardcore ‘zine, which otherwise features The Lewd, Wasted Youth, TSOL and Black Flag in the rest of the issue. Bully for Tim Tanooka & the boys for some vision and taste.
Neil Young & Crazy Horse :: Fukuoka, Japan – March 8, 1976
I’ve got another “live upload series” contribution to Aquarium Drunkard up now — a truly awesome tape of Neil & Crazy Horse splitting minds in Japan. Guest appearance from Rodan the Flying Monster. Do not miss!
If you like you music you should take this boot for a rip.
I just got to finally hear the MARS “Live at Artists Space” LP and it’s pretty wild. It suffers, as all live albums do, from being recorded and not actually live. You miss the deep, ringing thud of the atonal and raw sound of Mars churning through your ribcage and inner organs. They’ve always been my favorite of the No Wave bands, and their tracks “3E” and “Helen Forsdale” are among some of most crazed and legendary rocknroll of all time.
The LP has two sets from Mars’ turn at the festival in May 1978. Recording is pretty good, as these things go. Most of their tracks start with tribal drumming that enters and starts scattering into shards, almost like a warning, with guitar scrape and caterwauling vocals from another planet following posthaste. Each of the 2 sets have pretty much the same track order, and the closing “Puerto Rican Ghost” from the second set appears to have Lydia Lunch “sitting in” on “vocals”. Here’s what the label that put this out, Feeding Tube, had to say about it:
In May of 1978 there was a five night music festival at Artists Space on Hudson Street in Tribeca. Although almost no one cared at the time, the event has since entered the halls of legend, as one of the signal events in the history of the No Wave era – one that managed to include both the Lower East Side bands and those fronted by their Western contemporaries. On the final night of the festival the two bands playing were Mars and Teenage Jesus and the Jerks. What we are presenting to you today are both sets by Mars – the most mysterious, and bizarrely-styled NY band of their day. One set takes up each side, and while they are similar in song selection, it’s wild to hear how different they are in terms of attack, sonics and approach. The quartet – Nancy Arlen, China Burg, Sumner Crane, Mark Cuningham – was never captured at its mutational best in the studio, but this live slab is revelatory. Tunings, structures and rhythms from a place Capt. Beefheart once called “the other side of the fence,” this is Mars at their most glorious. A futher live Mars LP will be forthcoming in the spring.
The new LP mentioned here is now out, and I’ll be getting to that one presently.
AGONY SHORTHAND 