Good bad Music for bad, bad Times! / 2010 / March

BREAKER- Blood Money, c/w Afraid of the Dark 7″ (selfproduced, USA, 1983)

BREAKER were formed in Cleveland in 1982 and released this very rare 7″ in 1983. In the following year, they recorded a full album which didn’t get released until years later and that’s pretty much all I can tell you right now.

This 7″ might not be the most original one (both songs are heavily, and I mean heavily influenced by ACCEPT), but with time, it grows on you. Today, I find it remarkable that this U.S. band took its influences from Germany’s Accept rather than from the emerging NWOBHM. The vocals may sound a bit wimpy, far away from the power and aggression of Mr. Dirkschneider, but hell, isn’t that what we like about Metal? All in all, you can already hear a “modern” sound here. I like.

Buy all BREAKER stuff from Cleveland’s legendary Auburn Records.

Blood Money.mp3
Afraid of the Dark.mp3

DORSAL ATLANTICA- Victory, b/w Dweller of the Streets 7″ (Flight Nineteen Records, Switzerland, 1988)

The pioneers of Thrash Metal from Brasil. Not everything DORSAL ATLANTICA has put out in the band’s long running career is as great as this two tracker. Both songs show a great deal of good old SLAYER worshiping, but hey, that’s not the worst thing you can do as a band. The incredibly catchy a-side stomper and the slower b-side might be the best introduction to the works of these fine gentlemen from Sao Paulo Rio de Janeiro and at the moment, I can’t think of much more to write (been writing so much totday that it literally dried out my brain).
Released on Pierre Moix’ great Flight Nineteen label (named after, you guessed it, the ANGEL WITCH song) which also brought us Paul Chain and Hellwitch. 500 copies made.

Victory.mp3
Dweller of the Streets.mp3

A Punk Rock Comedy!

I don’t know whether or not in non-german speaking countries the Helene-Hegemann-debate has been in the news. What happened? A rich brat of 17 years has published a book (“axolotl roadkill”) last year. Upon release, the book has seen enormous praise by some of the most potent papers and critics in germany, making it a huge success. A new, “authentic” voice of the hedonistic new generation has been found, so they triumphed, and how it writes! So unique, so fresh, so good! The book had it all: Gang bangs, drugs and night life in trendy clubs, all written by a young woman who allegedly had written down her own experiences. No wonder especially the male 50+ literature critics couldn’t hold back neither ink nor cum and so a new star was born.

Long story made short: As it soon appeared, large portions of the book were actually stolen from the autobiographical blogs of an anonymous male clubber from Berlin, almost twice her age. What turned out to be a shock to most, didn’t surprise others. Apart from the dubious sexual adventures of a not-too-pretty young woman (sorry to mention, but c’mon …., thinking of it,  I seem to remember having seen only half-way okay pix of hers prior to the scandal and only afterwards, the full ugly truth was shown – I tend to believe that this played an important role itself in the built-up of hers as star writer in the public opinion): “Axolotl Roadkill” was also highly spiced up with names such as Giorgio Agamben, Michel Foucault and others: How on earth would a youngster of 17 have read that stuff? I once tried to read “Axolotl Roadkill” but after a few pages I thought it was dung, obviously put-on and rather dull and harmless.
The funny thing is, that now that the critics have been openly duped by praising a piece of stolen junk, most of them can’t crawl back into their holes. Although the debate has long since turned into one highly interesting one about intellectual property, the downloading and copy & paste mentality of the young generation., these critics stand by their judgment and keep defending the book. Imagine somebody had stolen their work ……

As if stealing the intellectual property of others and selling it as your own was something new. When one Punk band steals from another (the NIHILISTICS from SUSPENSE), it’s rather dull in comparison, but nonetheless just as funny. A while ago, I had posted what I called “Punk Rock Scam”. Then, after the whole thing had reached its first comical climax, I followed up by posting the SUSPENSE EP, calling to attention the bizarre comments I kept receiving in the issue.
Now it’s time to point out to this incredibly ludicrous story again. Work your way through the comments section in the punk rock scam thing, it’s well worth it. A couple days ago, somebody (who I believe to be Ron Rancid, by the way, although I can’t prove it) has really pulled off a feat by writing a comment in what I thought was written in dutch language. After a first glimpse (dutch ain’t that different from german), I thought I had understood that the comment came from an ex-SUSPENSE band member I asked Jos (ex-LÄRM Jos, btw and for what it’s worth) if he could translate the dutch comment into proper english for all the non-dutch speaking readers and also because I was very curious to see what the comment really said. As it turned out, what seemed like dutch was in fact the result of some other language being translated by probably a translation machine in the net. When I checked the comments IP-adress, I realized that it came from NY in the USA and the same adress had before commented in proper english. Wonderful!!!

In one comment, Thomas (Tomasso of Trust-fanzine, that is) asks: “Why would a HC band from NYC cover a song by a Dutch punk band and then cover it up – and then go to such lengths 20 yrs later to prove the world otherwise by posting stuff in fake Dutch?” I don’t know, Thomas, but I do know that that’s exactly what happened, as bizarre as it sounds.

Enjoy!

HEADCLEANERS- Disinfection 7″EP (Malign Massacre Records, Sweden, 1981)

One of the most original Hardcore bands and quite possibly Sweden’s best were HEADCLEANERS (or HUVUDTVÄTT). Don’t believe me? Here’s the split EP with PICNIC BOYS and here’s the final, monstrous EP.

Every time I put this on, I simply can’t believe how a band could be so original, so great and so damn HARDCORE. It’s Hardcore of the subtle kind (or “Gentleman’s Hardcore”), not the tornado, blizzard and thunder – type for the proles. Amazingly, not one song sticks out, they’re all equally great. This EP  was especially made for the outside of Sweden-markets (as was the rare untitled 9 songs EP which combined the split EP songs and the a-side of this babe here) and is thus sung in english. I happen to think the swedish versions of these songs (to be found on the split EP) rock a little harder and also have a superior sound.

Dying in Maze.mp3
Kill the Royalties.mp3
Death Threat.mp3
Where is.mp3 / Disinfect.mp3
Over the Wall.mp3
Police Perversities.mp3

DIAMOND HEAD- Shoot out the Lights, b/w Helpless (Happy Face Records, UK, 1980)

Thanks to Facebook, I’ve just given away two albums by swedish retro-poppunkers The Hives for free (to an old L.A. punk, Jay Thurston, who comments every move over at Peter’s KBD blog and who is rarely ever seen here because he is afraid of good music!).

Anyway, I thought I might as well give out some free stuff to you as well, so here it is, the first DIAMOND HEAD 7″. “Shoot out the Lights”, a suicide song, is great, rough, kinda unpolished and its totally inappropriate guitar solo makes it typical good bad music. The flipside has “Helpless”, a song we know from the band’s debut LP. This slower version is jolly good, although not quite where the album version is.
Never issued in a picture sleeve and if you wanna find out a bit more about the band and the follow-up 7″ and other nice things, you might just wanna scroll down a bit. Fun trivia: I traded this one away for a AC/DC “Dog eat Dog” 7″ (yeah, the one with “Carry me Home”) in 1981. Nowadays, you can find this DIAMOND HEAD 7″ for maybe 5$, whereas the AC/DC 7″ goes for about 300$. I was a smart ass kid, yes. Okay, okay, the guy’s a banker (hi Thomas K.) nowadays and probably made a trillion $$$, but still ….. oh, fuck you.

Shoot out the Lights.mp3
Helpless.mp3

PLASMATICS- Butcher Baby 7″EP (Vice Squad, USA, 1978)

Malcolm McLaren had done it in the UK and Rod Swenson in the U.S. – however obscene you might find today’s casting shows, you should never forget that in a way, the casting idea had played quite a role in the early days of Punk. THE PLASMATICS basically were put together by Swenson – or better yet, the band had been built around Wendy O. Williams. Or better yet: Around the body of hers.

When in the case of the SEX PISTOLS, Punk was threatening and intelligent, the PLASMATICS were not much more than a rather daft outfit. Wendy’s role, sexually outrageous and violent, was definitely of unseen before dimensions, but other than that, the PLASMATICS had little to offer. Blowing up cars on stage, cutting down guitars or t.v. sets and other forms of ritual destruction of goods (a Punk Potlatch) were quite a spectacle in the late 70s / early 80s, but as soon as the band adapted the “Mad Max” outfit (mistaken as Punk), the whole scheme became really ludicrous.

I liked the PLASMATICS a lot when I was a kid and I had tried everything to see them live when they played Switzerland in 1981 (in the Volkshaus in Zurich – the PLASMATICS concert ended in rioting and destruction and became famous as the last Punk show at this venue) and needless to say, I liked them best when they turned more and more Metal. Nowadays I’m a it more sceptical about them. Some of the music is good and Wendy’s voice is truly unique. The combination of both Punk and Metal was there from the very start and added a lot of power.
In early April 1998, Wendy had been missing for a few days and, believe it or don’t, it was Rod Swenson himself who found her in the back of her house. She had blown her brains out.

This is the first, selfproduced version of the first PLASMATICS EP. It was repressed in 1980 on Stiff Records, with different cover, different version of “Butcher Baby” and a different b-side (one might say, it was all different,haha). Every single PLASMATICS record was available on colored vinyl (often multicolored), this didn’t really occur to me until recently. And yes, my vinyl is very, very noisy. I even tried and bought another copy for a quality upgrade, but guess what. A “ex” record turned out to be a fucked up as my previous one.
Oh yeah – here’s the infamous Lemmy & Wendy O. 7″.

Butcher Baby.mp3
Fast Food Service (live).mp3
Concrete Shoes (live).mp3

DIAMOND HEAD- Sweet & Innocent 7″ (Media Records, UK, 1980)

This was the 2nd 7″ by DIAMOND HEAD, released almost immediately after the debut (which will get posted here soon!). Plain and simple: A perfect record. The slower version (compared to the album take) of “Sweet & innocent” just plain rocks and the b-side has one very interesting and kinda odd guitar solo to boot.

DIAMOND HEAD, often reduced to the emblematic “Am I evi?” song and made popular through METALLICA first copying and then covering them, were one of the highlights in the young NWOBHM-sensation, but quickly fell into the depths of wimpdom (I still cannot decide whether or not I like “Borrowed Time”).

You can find this and the first one almost constantly for a bargain on ebay.co.uk. I remember how highly we valued this and the first one in our trading days in the early 80s. There must have been thousands and thousands pressed of them, methinks, for the UK-market exclusively.

Sweet & innocent.mp3
Streets of Gold.mp3

THE GERMS- Lions Share Bootleg LP (Ghost ‘o Darb Recordings / Lager Rhythms, USA, 1988)

The infamous GERMS bootleg LP, rumored having been released by some ex-member of the group. Whether or not this is true (please share your information in the comments section), what’s most remarkable about this LP is that it was not only the first time for the complete “Cruisin’”-session to appear on vinyl – it also has a much better sounding version of the band’s final gig on the flip, compared to the rather crappy sounding one on the Germs Anthology CD. I had recently downloaded it and was kinda puzzled to hear how careless it’s made. Like the folks over at KBD said, it sounds all crappy, muffled. A loveless piece of work and not worth the money. Somebody should re-release at least the epochal “GI”-album in a proper manner.
All five studio tracks captured on “Lion’s Share” are exceptional, but most exceptional is “Not all right”, which is disturbing, kaputt and grandiose.

So here’s the “Lion’s Share” bootleg for you to download. Yes, I think one should go crazy about this, it’s quite simply documenting one of the finest Hardcore Punk bands ever at their peek. Imagine what (different) beast the GERMS could have turned into, if not ….
More GERMS here and here.