worldcavesin

deadbeats

2006-06-24T06:32:00.000-07:00

deadbeats
Originally uploaded by SALTY635.

DEADBEATS ~ Kill The Hippies + Deadbeat b/w
Brainless + Final Ride EP
(IQ-29 — released July 1978)

Scott Guerin: vox
Geza X: guitar
Pat Delaney: sax
Pasquale Amadeo: bass
Shaun Guerin: drums

DB: The musicianship of the young men who comprised the Deadbeats was a joy to behold. Scott Guerin and his brother Shaun played as extensions of the same self, and the band also served to unleash Geza X and Pat Delaney on the world. Their stage act musically and visually confounded every cliché and preconception about what "punk rock" meant. Their unique, driving sound consisted of treated sax and fuzz guitar layered over flawlessly executed intricate rhythm patterns.

Octavio Pretentious: I'm the cat who designed all those Deadbeats flyers that are probably still hanging on your wall. I first came into contact with the band through Cathie Deadbeat. She was the singer's girlfriend and did the band's makeup. You might even say she was a silent co-conspirator in their musical/non-musical assault on the L.A scene. She helped define the Deadbeat look and, brother, I'll tell you the Deadbeats looked like no other band. At least not until the Dickies got an eyeful of them. They shared a bill at the Masque. The Dickies showed up in your typical T-shirt and jeans and did Ramones and Sex Pistols covers. (See Slash #6 for proof...a picture's worth a thousand words). The Deadbeats came on and did the Deadbeats. No more T-shirts and jeans for the Dickies.

Bands may have tried to cop their look, but nobody could cop their sound. Hell, maybe nobody wanted to. On one flyer Brendan Mullen described the band as Bill Haley meets Captain Beefheart in the Theater of the Absurd. Another critic stated that they wanted to confuse. Untrue, untrue. It is my never-so-humble belief that they wanted the masses to share in the joke, but their audiences were just too stupid to get it.

Still, anyway you slice it, the Deadbeats were different. The bass player was a gibbering idiot, but boy could he play. (Some say this was an act.) Slash magazine called the sax player a poindexter squawking on a horn. They had an androgynous drummer named Shaun. (Geddit? Could be a girl's or a boy's name). He got several offers to join all-girl bands. (No, not the Go-Go's.) According to Geza, punk boys secretly fantasized about him, never knowing "it" was a boy. One even claimed his roommate had wet dreams over him. Basic Black magazine called the singer a cross between David Bowie and Felix Unger. Go figure!?!? And what can you say about Geza X? A grown man performing radical psychodrama on himself nightly in front of a live audience. Needless to say, mental illness prevailed.

Unfortunately most people never got to witness this spectacle as the band never made it out of L.A. One rumour has it that Geza's mommy (the real one) wouldn't let him leave the city. Jeez, if you had a son like Geza, would you encourage him to stay at home?

Scott Guerin: If not for a string of chance events the Deadbeats may never have come into existence. My brother was asked to play drums for a band called The Whores for the battle of the bands sequence in Cheech and Chong's Up In Smoke movie. Except he went and got himself grounded for cutting class too much and couldn't do it. So I filled in for him. This lineup was scheduled to play the Whiskey but then the singer was forced to back out under the advice of his lawyer. It seems he was involved in a lawsuit with the Whiskey so playing there would constitute a conflict of interest. There was only one course of action to take. I moved to vocals and my brother was brought back to fill the drum slot. For me as a singer this was literally on-the-job training as I had never even thought about singing before and truthfully was pretty awful. After a few sporadic shows our guitarist Hilary Haines up and quit and moved to San Francisco. Pat Delaney and I decided to change the name of the band to the Deadbeats.

Nickey Beat (drummer for the Weirdos) had the fucking nerve to recommend one Geza X to us and against better judgement we listened. Geza had just been booted out of the Bags for farting out of key or something equally criminal. I may have been responsible for the original sound and concept for the band but the addition of Geza gave us a rawer, harder edge than we ever had before.

Now as for the breakup of the band, it was down to the usual clash of egos and an over-dependence on substances by certain members that eventually caused the band to implode.

Geza X: Besides the musical sophistication, the best thing about the Deadbeats was the staging. There were no bands doing elaborate things with costumes and props in the early punk scene and we did amazing visuals. Scott was the weirdest dresser on the scene, someone who might wear an impeccable chef's outfit to a gig or even a party; and he had a complete collection of those novelty items you order from the back of comic books, like fake dog doo and whoopee cushions. Some people mistook his style for Glitter and that was a no-no in the early days but the cool people all got that it was dada.

One time at the Masque, as an intro to the song "Brainless", we wheeled out a mannequin on a cart and proceeded to cut its skull open to reveal several handfuls of blood drenched cow's brains, some of which ended up on an unsuspecting audience. Somehow the photographs of that show came out with that magic glow you see in the finest performance art books and we used them on many a flyer.

Another time before a show at the Whiskey, we were at the beach and there had been a major storm the night before. I collected a huge mass of abnormally large seaweed and washed it off so it was slimy but clean. During the show that night, I went in to the "Mean Mr. Mommyman" routine to the usual heckling from the "real" punks (the lizard brains who used to come on weekends and show how cool they were). So I ran behind my amp and grabbed two hefty trash bags, from which I heaved a lot of seaweed right into the audience. At first they thought it was rubber, but when it made contact and the smell got around, panic set in and everyone moved way back so there was a large open space in the front. I said something smartarse like "Oh, did it get on you? Just wait a minute..." and ran up the stairs to the backstage area where I had hidden the piece de resistance from everyone (including the band). I came back down the stairs thump, thump, thump dragging a single, perfectly shaped seaweed bulb, the kind with a pointy ball and fins, except this was the granddaddy of all life on earth, being about 11 feet long and about 3 feet wide. To everyone's fascinated revulsion, I chucked it into the slam pit where it exploded in a pile of goo. There was a moment of absolute silence after that. Somehow, that stands out as one of the most hilarious moments of my life.

Pasquale Amodeo: I've always thought it appropriate that I'd be lobotomized before gigs and transformed into a babbling idiot savant bassist unable to pronounce one single word yet play this incredibly intense music.

Shaun Guerin: The scene was so new and experimental and it didn't matter if anyone could really play their instruments. I remember being at the Masque and watching everyone slamming against each other, having a good time, never realizing what kind of movement they were involved in. It was just something to do.

I'll never forget the time my brother, Scott, kicked Geza off the stage at the Whiskey for doing really corny rock star poses, and the cable, still attached to his amp, pulled it off the speaker cabinet. It came crashing to the ground yet still kept on working. Geza continued to play from down in the audience as though nothing had happened.
BMF: Black, clear, and yellow vinyl issued. Clear vinyl is the most elusive. No picture sleeve variations.
HERE IS A LINK TO A COUPLE DEADBEAT TRACKS: http://www.4shared.com/dir/379425/72c84ea2/sharing.html

WEDNESDAY WEEK

2006-06-22T13:49:00.000-07:00

http://www.wednesdayweek.com/links.htm

WEDSDAY WEEK
Originally uploaded by SALTY635.

Wednesday Week was/is...

Kelly Callan...Drums, Vocals
Kristi Callan...Vocals, Guitar
David Nolte...Lead Guitar, Vocals
Heidi Rodewald...Vocals, Bass
THIS IS FROM:
official homepage of Wednesday Week!
Yep, the band that brought you Betsy's House, What We Had and No Going Back has an upcoming CD compilation of rare and unreleased tracks on Avebury Records! Also coming on Avebury Records is Warfrat Tales (Unabridged) an expanded re-release of WarfRat Tales, a 1983 compilation with two Wednesday Week songs on it!

Latest News:

Wednesday Week Live!

Wednesday Week will be performing at the CD releases show for WarfRat Tales (Unabridged) and Keats Rides A Harley. Mark down your calendar for 4pm to 8pm on September 17, 2005 at The Echo in Echo Park, Los Angeles, CA! Also playing on the bill are The Leaving Trains, Human Hands, Urinals, The Last, The Question?, S Squad and Earwigs.

Kristi has a new band—Dime Box Band! Kristi is the lead singer and plays guitar. Joining her are Nancy Luca (guitar), Pam Moore (bass) and Judy Cocuzza (drums).

WarfRat Tales, the legendary 1983 compilation of LA bands that introduced Wednesday Week to the world, has been issued on CD for the first time and it has lots of extra tracks. WarfRat Tales (Unabridged) features two Wednesday Week songs never before on CD and it's available exclusively at Avebury Records' website until September 6, 2005. Click here for more info.

Kristi is currently recording a new record with David Nolte doing the producing. Also, Kristi will be a guest vocalist on the upcoming Kjehl Johansen record, due out in 2006 on Avebury Records. You can get Kristi's current release, Feed The Kitty, from Vibro-Phonic.

Heidi Rodewald is in the process of recording her first solo album. As soon as we get info on its release, you can read about it here. David Nolte is working on the next David Gray CD.

Kelly Callan has a record label—Avebury Records. Check it out for an amazingly eclectic collection of good music. Bands on the label include Stereotactic (from Bakersfield, CA), Twinkie (from Derby, UK), Andrew (pop genius from LA), The Get-Outs (from Bristol, UK), Kjehl Johansen (Narrow Adventure/Wednesday Week member!), The Mighty Stars (from Bristol, UK), Action Now (archival early-'80s garage powerpop featuring pre-Lucky Mike Lawrence and pre-Pandoras Paula Pierce) and Battery Life (with Lucky member Mike Lawrence!).

Also, Alejandro Escovedo, a longtime favorite of many Wednesday Week members, is having some serious medical problems and could use your help. If you can, please visit a site that some of his many friends have set up. Get well, Alejandro!

THE LAST

2006-06-21T21:38:00.000-07:00

Lastlogo2
Originally uploaded by SALTY635.

"While L.A.'s late-'70s rivalry between pogoing punks and skinny-tied new-wavers never matched the intensity of Britain's mods-vs.-rockers violence in the mid-'60s — punks here were more threatened by the very real prospect of LAPD beatings than by power-pop geeks — the mutual contempt and bitter separation of the two scenes was real, pointless as it seems now. The Last were one of a few groups at the time — think Flaming Groovies, the Zippers or the Real Kids — that could convincingly travel in both worlds, aggressive enough to appear with punks like the Gears, the Avengers and the Alley Cats, and melodic enough to fit in with 20/20 and the Plimsouls. Even singer-guitarist Joe Nolte's angriest songs, like the epic Difference, which decries those police riots, are infused with a diehard romantic's melodicism and layered with ruefully pretty harmonies and 12-string-guitar jangle. Need convincing? Ask Mike Watt, who recently covered the Last's proto-pop-punk classic She Don't Know Why I'm Here."
— Falling James, 2002
from the LA Weekly

The Last started to take shape in 1976, when Joe Nolte, Dave Harbison, and Vic Pizarro performed in a band called The Power (named after a song by Mike Nolte). The Power haunted bars in Santa Monica and Torrance from June to September - starting with the latest disco hits to songs by The Modern Lovers, and Iggy and the Stooges.
In November, the band recorded a demo tape which Joe gave to the staff of a fairly new magazine called Back Door Man - a magazine Joe admired since they had decent articles on cool bands, such as The Ramones. Unfortunately, Joe gave them the only copy of that demo tape, and it was lost in what Phast Phreddie calls, the "virtual Bermuda Triangle" that was D.D. Faye's bedroom. The staff at Back Door Man liked the tape very much, however. You can read Phast Phreddie's glowing review here.
The Last played wherever and with whomever they could. This included the Weirdos, Bags, 20/20, Blow Up, Zeros, Zippers, Crawdaddies, Dredd Scott, Penetrators, Wild Man Fisher (!), Offs, and The Pop, among many others.

Joe Nolte: "We spent the spring playing the Whisky A Go Go mostly. When the Whisky tightened its booking policy we spent the summer mostly playing San Diego, and rounded out the year with everyone else at the Rock Corporation in the valley, which was the only place outside of the "New Masque" that would let bands like us play. We also got a manager, Randall Wixen, who by the end of the year had convinced Bomp to let us do a full length album."
here is a cool vid link:http://www.dannolte.com/last/ShankDSL.ram and a couple music links;http://www.dannolte.com/last/bol.ram http://www.dannolte.com/last/hit.ram

jimmy lindberg

2006-06-19T14:52:00.000-07:00

jimmy lindberg
Originally uploaded by SALTY635.

I swear if linberg was a chick!

FLYBOYS CRAYON WORLD

2006-06-04T05:07:00.000-07:00

FLYBOYS CRAYON WORLD
Originally uploaded by SALTY635.

you like the CROWD from H.B.?
THE FLYBOYS E.P. COULD HAVE EASILY BEEN ON BEACH BLVD.
WHEN I SAW THIS RECENTLY I SNAPPED IT UP LICKITY SPLIT.
BOTH TRACKS ARE KBD CLASSICS.

Terminal Mind

2006-06-03T17:53:00.000-07:00

terminal[1]
Originally uploaded by SALTY635.

Local favorites in the fertile chaos of the late 70s Austin Punk scene, Terminal Mind released an ep in 1980 and appeared on the first "Live At Raul's" album. With original guitarist/vocalist Steve Marsh (playing through an amp that once belonged to David Koresh!), the current lineup features veteran rock goddesses Terri Lord on drums and Cindy Toth on bass, uniting after 25 years to play fast, loud and timeless tunes like "Radioactive", "I Want To Die Yound", and "Zombieland". http://www.4shared.com/file/1901882/3ae8b8a2/terminal_mind-sense_of_rhythm.html

The Hollywood Squares

2006-06-03T05:58:00.000-07:00

hollywood Squares- Hillside Strangler / Hollywood Square 7" Square SQ001, 1978 SS
here is a killer little gem. http://www.4shared.com/file/1890186/4ca49185/02hollywood_squares_-_hilside_strangler.html

THE ONE HANDED READERS

2006-06-02T17:22:00.000-07:00

scan0003_640x480
Originally uploaded by SALTY635.

SOUTH BAY'S ONE HANDED READERS HAVE A SOUND MORE AKIN TO THE GREAT NIP DRIVERS OR THE SMUT PEDDLER'S OR EVEN A NOD OR TWO THE OLD "MYSTIC NARDCORE SOUND"FROM A TIME WHEN PUNK HAD A LITTLE DANGER ATTACHED TO IT. OHR'S ARE ALL ABOUT GOOD OLE SELF SATISFACTION AND FUN...THE MUSIC HAS SIMPLE SONG STRUCTURES BUT THE LYRICS REALLY HAD ME BUSTING UP...
TWO SONGS I'VE SELECTED TO POST UP HAD THAT
PRODUCER GUY FROM PENNYWISE DO HIS THING...I MUCH RATHER THEY WENT WITH A MORE DIRTNAP/HOSTAGE SOUND BUT WHAT THE HELL YOU HAVE TO LOVE THE ONE HANDED READER'S.THAY HAVE SINCE BROKEN UP AND THESE SONGS NEVER GOT A PROPER RELEASE. THE SMUT PEDDLERS WITH THE OHR'S WOULD BE A FITTING BILL FOR A GOOD TIME DOWN IN THE SOUTH BAY AND SADLY I NEVER SAW EM CAUSE I WAS TO BUSY IGNORING MOST EVERYTHING COMING OUT OF THE SOUTH BAY AS EPITAPH PENNYCLONE BANDS, MY LOSS.
http://www.4shared.com/file/1890171/555818e9/one_handed_readers_unknown_album__6-3-2006_4-47-43_am__repressed_agression_02.html http://www.4shared.com/file/1890176/cb3c8d4a/one_handed_readers_unknown_album__6-3-2006_4-47-43_am__knuckle_sandwich_04.html

The MINDS

2006-05-26T04:56:00.000-07:00

Yet another new wave revival band from the retro-obsessed Dirtnap label, the Minds' Plastic Girls is a 2003 rehash of the circa-1978 likes of the Adverts (whose "My Place" gets an enthusiastic bash through), the Yachts (prominent organ parts power all of the songs), and the Buzzcocks (whose tightly wound vocals and sardonic lyrics were clearly a major inspiration, especially on "Smash Smash Smash," which sounds like a Love Bites outtake). So really, it's not the least bit original. On the other hand, these 12 songs are so energetic and entertaining that only the most stony-hearted purist wouldn't indulge in their cheesy punk-pop thrills. Over in 28 and a half minutes, Plastic Girls is silly, occasionally sophomoric, completely disposable, and an immense amount of fun for anyone who knows Rhino's DIY series of compilations backward and forward.
http://image.allmusic.com/00/amg/cov200/drg100/g122/g12224ffm3a.jpg

Hot
Lost in a Crowd
Night Drive
Forbidden Friend
Don't Touch
Plastic Girls
Smash Smash Smash!
Nerves
Sensation
My Place
Sex Vamp

WILD PUSSY

2006-05-23T14:35:00.000-07:00

Wild pussy

Are a few blokes from England who busted out an ep’s worth of music then broke up.
I encountered the 4 songs on soulseek and put them on cdr for a good listen. So I am driving along and wham! I get slapped in the face when I hear the first track it is Thrash?
Is it a straight up Iron Maiden rip off? Is it a megadeth / Metallica clone band? Shit, I am one puzzled panther. The second track comes blazing at me and its becoming quite clear this is one wild pussy! As a band, wild pussy is one juiced up mix of many styles of modern rock Thrash, heavy metal, and an element of New York hardcore. The band makes a few missteps in musical execution but it seems to work in their favor. By the time the tunes flew by I found myself hitting rewind more than once.
All in all I like wild pussy and regret they never released a proper full length recording.
I am sure if those lads sharpened their attack they could have really made a fine LP’S of material. I think the only downside to the band is the vocalist, sure he can belt it all out but the cat is all over the map. Halford one minute Dickenson the next…hummmm.
There is some darn right wackiness going on when the band starts in with youth crew style chants all out of synch. Odd. Funny. I can dig the sloppiness of it all.
Hail the pussy! WILD PUSSY THAT IS. 01. Ready To Strike 02. Hatred 03. The Vigil 04. Evilspeak CHECK THESE MP3'S IF YOU WANT BETTER E-MAIL ME.-CHRISO

HEADED FOR DISASTER

2006-05-19T15:57:00.000-07:00

DON'T KNOW MUCH ABOUT THIS BAND THEY ARE FROM SWEDEN AND THEY SMOKE.YEAH IT MANIC HARDCORE WITH A D.C. FLAIR TO IT DARE I SAY ABIT VOIDISH. SWEDEN AMAZES ME YEAR AFTER YEAR. WHAT IS IT ABOUT SWEDEN AND THE POWER OF ROCKNROLL.http://www.distoganda.com/headedfordisaster/media/state%20opression.mp3

REPULSION

2006-05-19T13:11:00.000-07:00

Repulsion: horrified Relapse Records 1986

One word ‘BRUTAL” is how I want to introduce you all to the loveable Repulsion.
If you’re a little timid when it comes to your Grindcore then Repulsion will straight up kick you teeth in. I popped my latest CDR Mix into the car stereo for my morning drive to work and lordy my when it started off with Repulsion I just about shit myself!
Apparently this is one band that set the standard for what was to become a new genre of sorts. GRINDCORE, the tone is jet black apocalyptic mayhem. This is fast real fast, loud real loud pulsing rhythms that nearly blew out my speakers cause it begs to be turned up full blast! I actually drew some attention with my windows rolled down with all the stuffy morning commuters staring blankly at me as I bopped along like no one else’s business. Repulsion gets my vote as one of the true metal bands that’s gets it right.
No wanky leads no clowny double bass kick just blistering grind from beginning to end.
The vocals are ripped to shreds but who cares it is the perfect compliment to the bomb blast they kick out.
Thank you Repulsion you are a good friend now. To bad they broke up.
Click link to a couple mp3-age. http://www.4shared.com/dir/379425/72c84ea2/sharing.html

GARY PANTER

2006-05-17T05:26:00.000-07:00

I USED TO WORK OVER AT THE CREATOR OF THE SIMPSONS HOUSE AND UHHH MATT WAS A HUGE FAN OF PANTER ALL KINDS OF AMAZING PRINTS HUNG AROUND HIS KILLER VENICE PAD. CHECK HIS SITE OUT AND PICK UP A JIMBO SHIRT WHILE YER AT IT.

Jimbo t-shirt back to apparel
White ink silkscreened onto black, high-quality t-shirt. This is the original Jimbo t-shirt first offered in SLASH magazine in 1979. If you are old it will make you feel young. If you are young it will lend you a certain maturity.

DC RARTIES

2006-05-16T11:07:00.000-07:00

BRAILLE PARTY
Braille Party were a melodic punk band that honestly never got much attention. Their one album, Welcome to Maryland has become a minor collectible.

Courtesy Matt Riedl.

Occupiers [unreleased]
Traumatized [unreleased]
Living For A Living [unreleased]
GOVERNMENT ISSUE
I suffer from an illness. I can't say nice things about GI. I like the band, I really do, but it's impossible for me to let the world know. Just check out the reviews I've written for proof. Here I make amends. Download, listen, and be refreshed.

Courtesy of John Schroeder.

Stepping Stone [First Demo 7"]
Everybody's Getting Banned [First Demo 7"]
Sheer Terror [Boycott Stabb 12"]
Familiar [Joy Ride LP]
Massacre [the Fun Just Never Ends LP]
Hall of Fame / Hey Ronnie (live) [Can It Be CS]
LUNAMATS
Another band from Matt Riedl's past. Much like the Resistors, they never managed to release anything, but did manage to tear it up around DC for a while.

Courtesy Matt Riedl.

Shy From The Neck Up [unreleased]
Way Past Prime Time [unreleased]
KOWALSKI, GLENN
Glenn Kowalski, aka Jake Whipp, is still makin' noise. Check it out at: http://www.7doorsedan.com/. Hopefully there'll be some White Boy stuff up there soon too...

MALEFICE
Heavy (really heavy) metal meets harDCore. Malefice are the most overlooked, underappreciated DC band I can think of. At least Black Market Baby have a toe-hold with the record collector market--Malefice don't even have that.

Courtesy of John Cobbett and Mike Clayberg.

Acid Death [Lotus Blossom LP]
Carrion [Overboard 7"]
Overboard [Overboard 7"]
Into the Grinder [Lotus Blossom LP]
MEDIA DISEASE
Insaneblastingstaticmankillsguitarwithhammerwhitenoise! That's pretty much it.

Courtesy of John Cobbett.

Unwritten Laws [Mixed Nuts Don't Crack LP]
Redneck Assholes [Mixed Nuts Don't Crack LP]
Lyrics (in full): Molly Hatchet / Ku Klux Klan / get a beer belly / be a man / Lynnyrd Skynnyrd / Confederate flag / you're a bunch of / nazi fags / southern boys / redneck assholes / drinking beer / smoking bowls / acting tough / spitting chew / redneck assholes / I hate you
Sit Down [Mixed Nuts Don't Crack LP]
Sit Down [Hit and Run 2x7"]
Rock is Dead [Hit and Run 2x7"]
We Won't Listen [Hit and Run 2x7"]
Religion [Hit and Run 2x7"]
NECROS (DC)
The infamous (sorta), but totally unheard DC Necros surface at last.

Songs appear courtesy of Pete Molin.

'80/'81 Basement Tape
Thousand Years [unreleased]
Schizoid [unreleased]
Hit and Run Demo
Mean Streets [unreleased]
RESISTORS
This short-lived seventies group were the original home of Mike Dolfi (BMB, Iron Cross), and Matt Riedl and Gerry Rolfe (Privates, the Lunamats, and Braille Party).

Songs appear courtesy of Matt Riedl.

Trapped in DC Space (live) [unreleased]
Summer Time Blues (live) [unreleased]
RUSTBUCKiT (ex-BLACK MARKET BABY)
Boyd Farrell - vocals, Mike Dolfi - guitar, Joe Popham - bass and guitar, Phil Ricche - drums. Courtesy of Boyd Farrell.

Burning Fast [2003 demo]
Suckapunch [2003 demo]
Tough Kid [2003 demo]
Evil Inside You [2003 demo]
TRENCHMOUTH
The entire Trenchmouth oeuvre is available at: http://www.ramblingshadows.com/html/Trenchmouth/Trenchmouth.htm.

UNITED MUTATION
There are some UM mp3s available at: http://www.livingnightengale.com/united_mutation.html.

MISC
Black Market Baby / Minor Threat / SOA gig info [9:30 Info Line]

VARIOUS PICS

2006-05-16T05:19:00.000-07:00

JUST A FEW SHOTS FROM PUNKS PAST

CHINAWHITE

2006-05-16T04:38:00.000-07:00

China White -OC legends played all the big shows from 80-1983.They were always in the mix wether it be the Starwood with Fear or the Cookoos nest with Wasted Youth or Black Flag. These early recordings capture the China White sound I like.The Dangerzone record was over produced and more metallic while this stuff has a more raw punk edge to it,Mark had a unique voice and the drummer was wicked fast . frank's guitar really made it what it was in my humble opinion.ripping beach punk.http://www.4shared.com/file/1649635/8c84e53a/chinawhite-_solid_state.html

VITAMIN - X

2006-05-13T12:11:00.000-07:00

VITAMIN XRIP IT OUT7 Inch New Release
Release Date: October 2005
Vitamin X takes their tried and true thrash sound to the next level. Building on the direction they were headed with the Bad Trip LP this 7" mixes full on thrash with some wild 70's rock riffs and leads. Before you think this is another "how we rock" or "fire and ice" you better chill out and recognize, it's still fast and furious, just with some wild and unique guitar work from Marc that's influenced by 70's hard rock. Essential for die hard fans or people who have never heard Vitamin X before.
TRACK LISTING
Rip It Out/ Total Switch Off/ Down/ Final Straw// Secret Police/ Dead End/ Rock Bottom/ (Again)
MULTIMEDIA DOWNLOADSVitamin X Secret Police (MP3)

VICTIMS

2006-05-13T12:05:00.000-07:00

VICTIMS DIVIDE AND CONQUERCD LP
New Release
Release Date: April 5, 2006
Note:vinyl coming in a few weeks. I just put up the CD now since the tour is coming so soon. Third full length from Sweden's Victims. This is one of my favorite bands of recent years because they flawlessly mix my two favorite styles of music, Early 80's American Hadcore and Swedish Crust. This record rises to the challenge of mixing two such potent styles with great vigor. Really hot memorable riffs and smoking guitar work from Jon Lindqvist (also of Accursed, Nasum, Saayadina etc) and Johan's vocals sound like he has been gargling with napalm. This LP reminds me of a lot of the first wave of LPs from hardcore bands in the early 80s. In 81 you had this wave of great raw and fast 7"s from the new hardcore bands. By 84 most of these bands had developed their style and developed enough songs for a full length and had the experience to enter a quality studio and record a solid and memorable LP. Victims on this release have reached a point where skill and experience have culminated in one totally raging track after another, without changing their sound, selling out or crossing over. Touring the USA April-May 2006!
TRACK LISTING
Another Way to Die/ Who the Fuck are We?/ Your Life is Red/ Lydanda Små Dockor/ Your Division/ The night-driving toll/ Another Mission/ Ruined/ Darkness Blinds You/ Captured/ Running For Escape/ You Make Me Fight/ Livlösa Kroppar/ Refuse to Feed the Machine/ Endless
MULTIMEDIA DOWNLOADSVictims Another Mission (MP3)Another Mission (MP3)Darkness Blinds You (MP3)Another Mission (MP3)
PRESSING INFOApril 2006: 2000 CDs vinyl coming soon.

THE POP RIVETS

2006-05-08T15:40:00.000-07:00

Billy Childish, VocalsWill Power, GuitarBig Russ, BassLittle Russ on Drums
The Pop Rivets (AKA TV 21) played their first show in 1977 at Detling Village Hall, Kent. Famous for their renditions of "Stingray" and "Hippy Hippy Shake", The Pop Rivets recorded the first truly independent punk LP in 1978/9, pipping Swell Maps to the post (who's LP was actually funded by Rough Trade). The Pop Rivets, on the other hand, borrowed £300 from AKA, a friend, who had just received a year's Social Security back pay. AKA was a type of fan who hated Childish and dismissed the Pop Rivets as a bunch of art school wafters. The mystified Pop Rivets took the money anyway and set about recording the "Greatest Hits" LP in the front room of a bungalow in Herne Bay. (They had to stop recording for the engineers mother to watch the 6 o'clock news). The resulting LP was described in the NME as "The youngsters as the future of rock 'n' roll" and then nothing happened.
In 1979 The Pop Rivets embarked on two self-promoted tours of Switzerland and Germany and recorded their 2nd LP - Empty Sounds From Anarchy Ranch. Two further EP's appeared in 1980 before The Pop Rivets recorded a lost John Peel session and split up. For The Pop Rivets, punk rock had gone horribly wrong. Thatcher - Milk Snatcher was in and New Romanticism was rearing itspoesy old head. Far from being dead and buried it seamed that Bowie and co we're on the ascendant. But there where still many questions the boys need answers for: Why did modern studios insist on making drum kits sound like the recording of a wet cardboard box with a dead fish in it? Why could no group keep its integrity beyond one LP, or even a single 45? Why were LinkWrays 2 track recordings more vital and exciting than anything a modern 8 track studio, or 16 track studio could knock out? Did spiders really see out of all eight eyes at once? Could it be that sophistication far from enhancing creativity, destroyed it?
It was time for the Pop Rivets to stifle their intellects and devolve. There were plans to record a final double LP consisting entirely of rock n roll covers recorded live on half track to be titled - The Pop Rivets Meet the Whirling Dervish and survive! They didn't. songs here: http://www.4shared.com/dir/379425/72c84ea2/sharing.html

GERMS PICS UNEARTHED !

2006-05-07T07:12:00.000-07:00

RECENTLY DUG UP FROM A REALLY COOL HEAD. HE SENT ME A REALLY CLEAN VERSION OF THE OUTSIDER'S FROM HUNTINGTON BEACH . MEMBERS OF CHINA WHITE THE SLASHERS AND NON FASCIST. HERE ARE THE SHOTS.HE SAID THESE WERE TAKEN AT THE STARWOOD 2ND TO LAST SHOW. WHEN DARBY WAS IN FULL ANT MODE.LOL

BANG

2006-05-05T06:09:00.000-07:00

Here are a couple of tracks from early 1970's heavy metel hitter's "Bang".
get the Bang buzz:Take one Pill called "black sabbath" then one pill called "led zep" and wash it down with some micky's big mouth then rock to the sensation of buzzing "riffage"
and some robert plantage style vocals.I suggest starting with the Two on One CD reissue of the great Bang's third and officially final album from 1973, including all their lost singles. But it's the other album on this twofer which really gets the heart racing: a complete unreleased album from 1973 called "Death Of The Country", shelved for reason unclear to us (the band's label quotes "obscure reasons") but now finally available and taken from the original masters no less! Released on the band's own label Bang Records.

https://www.freakemporium.com/ has a nice selection from Bang on offer.

LINK TO A COUPLE MP3'S :

http://www.4shared.com/dir/379425/72c84ea2/sharing.html

THE HATED

2006-05-03T10:57:00.000-07:00

HUNTINGTON BEACH PUNK. 3 7'S ALL OBCSURE AND ALL KILLER NO FILLER. TRY TO FIND IT ON E-BAY AND PAY LOT'S OF MONEY. SAW THE BAND A FEW TIMES THEY WERE GREAT LIVE A FEW OTHERS COME TO MIND LIKE CHINA WHITE AND EARLY TSOL (LAKEWOOD) RHINO 39 (LONG BEACH) I'M LAUGHING.....GOOD TIMES.

Hated- Innocent People / Seize The Middle East 7" Stress L-4988, 1981 PS- Stereotyped / Pressure 7" Stress 002, 1982 PS- 2:02 AM / Afraid / Victim Of Lies / Enemy 7" 1982 PS

Huntington Beach. This is where it all began—L.A.'s skinheads. The surf punks. Creeps. Survivors. A prefab, middle-class town. Huntington Beach is a sterile community. Tract houses that sprang up during the 1960s as an escape from urban woes. Only they found new troubles."Huntington Beach has always been like gangs and stuff," explains a Hollywood girl at the Starwood whose bored voice says she really just can't relate to it. Her face is painted different colors and her flame-red hair is starched into cornstalks. "You know, surfers against non-surfers. Stuff like that. These skinheads though—these surf punks who come beat people up—they're just a lot of bored rich boys who decided to shave their heads. Featured in "Slam Dancing in a Fast City," a story by Robert Keating that appeared in Penthouse Magazine nearly 20 years ago. - End- SEE Huntington Beach Events Also see old Huntington Beach Music Flyers and Photos from Golden Bear
Huntington Beach Strut, the Circle Pit and More
Unfortunately, the hardcore scene became associated with violence, and attracted some aggressive elements to hardcore shows. Several clubs were trashed, and police began to appear at shows, at least Los Angeles in Huntington Beach, California USA where the Huntington Strut or H.B. Strut was invented.Skateboarding was also associated with the scene, at a time in which the radical sport known today was practiced underground and almost without official notice. The hardcore scene created slamdancing ('moshing' was a later term borrowed from Jamaican reggae -- the original one was '[doing] the Huntington Beach Strut'), stagediving, and crowd surfing.
Moshing or slam dancing is a type of dance characterized by jumping around and or pushing others to loud heavy metal or punk music. Moshing is popular with many, especially young, rock, punk, hardcore, screamo and metal fans, especially hardcore fans. Moshing is also gaining popularity Ska (ska-core) , Rap and Breakcore (a genre of extreme electronic dance music).Both moshing and slam dancing are typically done in a mosh pit or circle pit. Originally this was just a group of people typically directly in front of the stage who were engaged in this form of dancing. It is now more frequent that there are mosh or circle pits throughout the entire audience. A circle pit is a large and usually roughly circular clearing in the audience of a punk show about two to ten meters from the front of the stage. Inside this circle, people can mosh and skank, with moshing usually being the device that created the pit to begin with. The main focus, though, is to pretty much run in a circle and have fun.Circle pits go back to the early days of California hardcore, in the Huntington Beach scene. Originally the dance of running in a circle was called the Huntington Strut, or H.B. Strut. Essentially it involves simply skipping, running, or powerwalking rapidly around the rim of the moshpit, the original H.B. variant being that the participant flails their arms around, pushes, elbows, or crashes onlookers, or moves their arms in a similar fashion to the dance known as "The Monkey" (also similar to the Bushwhackers, the old school World Wrestling Entertainment tag team).Usually a counterclockwise rotation is observed by dancers inside the circle pit, and moving clockwise would be difficult for all but the most massive people. The size of the pit depends on both the size of the audience and the tempo of the music being played: the greater of either of these, the greater the size of the pit. Generally, circle pits can range from between two and twenty meters in radius, with the larger ones typically being the most intense.One's likelihood to be harmed in a circle pit has a lot to do with the size of the audience and the genre of punk; typically small audiences at local underground punk shows will have "friendly" pits where dancers help up others that have fallen, smaller men, boys, women, and girls are able to participate equally with the larger males, and a feeling of "community" is generally pervasive. One is more likely to get injured in a big mainstream punk show, such as one that would be given by Pennywise or AFI, although most audience members will always try to pull dancers that have fallen over out of the way of serious injury as fast as possible.

THE HATED SONGS HEREhttp://www.4shared.com/dir/379425/72c84ea2/sharing.html