Rolling Past Expiry Hard Rock 2009

Ah, I mean Stan Webb wanted to do more heavy music, little of which shows up for 100 Pound Chicken, a lot more of which is on Accept Chicken Shack.

chuck, do you have *The Great Metal Discography* by martin strong? another weird book. same dude wrote the great rock discography. i don't think i've actually used it for anything. has discographies for 800+ groups. so, i guess it's kinda cool to check out the discographies for bands like For Love Not Lisa and Four Horsemen and Freak of Nature. kinda curious about Princess Pang now.

Picked up reissues -- not that recent -- of Chilliwack's Wanna Be a Star and Opus X.
Band straddling Eighties AOR pop rock moving into metal, pulled by guitarist Too Loud MacLeod
and bassist Ab who wound up pulling it in the direction of Headpins, their other band with Darby Mills, until it became obvious they were more into the latter.

Both are good albums, Wanna Be a Star having their only single to chart significantly in the US, "My Girl," which I don't remember well. I presume that's because it got regional play in varios areas, and southeast Pennsy wasn't among them. Opus X turns into Headpins without Darby for it's second half, which crashes out with hard AOR arena rock guitar and ensemble vocals appropriately. Liner notes indicate that this was thought to be for the US market but, truly, there was a glut of this sound in 1982 and the competition was fierce even when you had the material. It actually might have been a little too much for audiences into Journey, Starship, The Babys, etc.

Since it was, according to the biographer, decried in the Canadian press for being too much like Headpins, I dragged out Play It Loud and concluded, yeah, that Headpins did Headpins better than Chilliwack doing Headpins with Bill Henderson instead of Darby. But the difference is in increments and and some minor style choices. Less big harmony vocals, almost none really, in Headpins, but more riff and no singles aimed obviously at airplay. But some of the songs just smoke, like "People" and "You Can't Leave Me." Opus X, on the other hand, has a couple singles, "Watcha Gonna Do" and "Secret Information," before dispensing with the restraint for riffage in the last twenty minutes.

One appreciates the over the top singing and high studio sheen coupled with clubbing, often van Halen stiff-necked guitar on Opus X, there to an even greater extent on Play It Loud. It was a good combination and it must have worked for them in Canada for awhile, although far as I can tell, aside from "My Girl," neither band made much of an impression in the states.

gorge, there is a fierce debate going on in my e-mail box. i ended up on this e-mail list of hard rock/metal dudes, and the debate - such as it is - is about who was the fiercest boogie rock band of all time. martin popoff sez it was status quo. some say savoy brown. some say foghat. others say zz top. i might give it to the quo just for sheer singlemindedness, but i want you to weigh in if you feel like it. basically, who blows all others away when it comes to hi octane boogie.

Point Blank? (Though not for a long term, obv.)

"My Girl" -- maybe because the band were Canadians -- definitely got AOR airplay in occasional suburb-of-Ontario Detroit. As did, I've realized in retrospect, "Fly At Night (In the Morning We Land)," off Chilliwack's 1976 Dreams Dreams Dreams, which seemed brawnier more often than Opus X or Wanna Be A Star to me, last time I listened, though I might think differently if I spun them all back to back. I've got all three LPs on vinyl; also a 45, which I wrote about (along with some musings on the band itself) at this permalink:

Mostly German Old Used 45s That Metal Mike Saunders Mailed To Me

Hey Scott, I don't have The Great Metal Discography, though it sounds familiar, and potentially useful. Definitely kinda liked the one Princess Pang LP I bought for $1 last year -- aren't they L.A. sleaze metal guys fronted by an immigrant Swedish or Finn gal (who could easily pass as a sleaze-metal guy dressed up as a gal on the cover)?

Been listening, obsessively, to Coloured Balls and Buster Brown reissue CDs (Ball Power and Something To Say respectively) that came out on Aztec a few years ago. They're totally great; can definitely see them as blueprints for Oz AC/DC/Rose Tattoo/Angel City bogan boogie bands that came later (which is where some of their personnel wound up obviously.) Angry Anderson (their singer) talks in the liner notes of the Buster Brown one about how their audience mainly came from a rowdy Aussie working-class streetwise kid subculture known as "sharpies," a term I don't think I'd ever heard before. Buster Brown also have Phil Rudd on drums; Coloured Balls' guitarist is Lobby Loyde. But when Jasper and Oliver say under both bands' entries in their book that Buster Brown were originally called Coloured Balls, they're wrong; on these two albums, the lineups don't intersect at all -- and in fact, they were known to play on the same bills. Though it seems at least one Coloured Balls guy wound up in a later version of Buster Brown, and Loyde produced them. (Not clear from the liner notes whether he was an actual member; Jasper and Oliver claim he was.)

Lots of other Aussie bands from the time mentioned in the liner notes also, including Skyhooks a bunch of times. Kind of curious now about the Dingoes, who I've always heard of, but never heard. Any good?

Btw, so far my favorite Coloured Balls track is "Human Being," easy, which just kills. And just noticed that the Coloured Balls booklet (just got these a couple days ago) has a longer essay (which I only skimmed just now) about Sharpies - "bored suburbanites whose main access to almost everything was by train," with a gang revolving around every town near Melbourne that had a station. Overseas acts popular with them were the Faces and Slade (both of whom did major tours, clearly influencing the Aussie bands), Suzi Quatro, Bowie, Lou Reed, and other glam acts from the UK. Sounds like the sharpies actually dressed kind of mod, and (the liner notes say) "in many ways it was more Clockwork Orange droog than archetypal skinhead." Also says they came from "all ethnic backgrounds" (though what that means Down Under I'm not sure - -hard to imagine that many aborigine kids joined up), and ranged from young teens to "well into their 20s."

George on that Coloured Balls reissue, a couple years before me:

Rolling Metal Thread 2007, Part II

Also had no idea until reading the liner notes that Stephen Malkmus (!?) had cover a Coloured Balls song ("That's What Mama Said") on one of his post-Pavement albums in 2001. Kind of scared to check out that remake myself, but curious if anybody knows it.

Drunk & fighting rock audiences, perfect for those bands, although they mostly served it better live than in the studio.

I like Lobby Loyde's Obsecration better than the first Coloured Balls record. The first fifteen minutes bring a lot more with Mandu as a singer, then it kind of start's flopping around like a gaffed fish for a long instrumental which they musta thought was great at the time.

Re boogie bands, Status Quo definitely not the fiercest boogie act. Saw them live on an odd bill at the the Sprectrum in their prime. It was Black Sabbath headlining, then Slade, and Status Quo at the bottom. In the UK, it would have been reversed a bit, Slade and Status Quo at the top of the bill. Anyway, Slade took the cake for aggression and spectacle, and Noddy Holder's voice blew the doors off the place. Ozzy was pretty incommoded with substance and Black Sabbath's show, in support of Sabotage, was pretty languorous. Status Quo put on an entertaining set, but when their mannager, Bob Young, joined them onstage to play harmonica on a couple songs, they looked like Sha Na Na.

Don't get me wrong, I like their records, but live they definitely didn't have the heft to put it to the wall like Slade, or more accurately, the boogie acts which were gangbusters in the heartland, like Foghat. Foghat just killed live and I saw them many times in Harrisburg and Philly. No one ever followed them onstage. Once "Fool for the City" became a climbed into radio, they'd hit the stage with it and the attack was merciless. Lonesome Dave had one of the most distinctive voices in hard rock in the Seventies. Francis Rossi of Status Quo, by comparison, well -- there is no comparison. And Quo never really had a lead guitar player, since it wasn't important in the context of what they were projecting. That said, they were huge beyond huge in England and if you have the Anniversary Waltz DVD, you see just how big. It was their 25 year anniversary and the show on it -- well, no one does anything like it. They play with the velocity of the Ramones and condense their songs into long medleys, with 1:30 devoted to each number's central boogie lick and chorus. And since most of these were big hits in the UK, it's quite remarkable. Couple with the Status Quo tone, which is two Telecasters straight into Marshalls, it's distinctive. Even through that, compared to Foghat and early ZZ Top -- and I'll get to Savoy Brown -- they just aren't in the same league of heavy ferocity.

After Tejas -- or maybe even a bit before -- ZZ Top had ceased being spectacular live. They were, however, a spectacle. They towed around this huge set from Texas for the stage and spent a lot of time jamming in which they'd often lose the beat somewhat. Saw them and the show, while it had its moments, often broke down into long stretches of snooze.

Savoy Brown, since for a good long while was Foghat with Kim Simmonds and Chris Youlden, had a similarly ferocious live boogie show. The live sides on Blue Matter and A Step Further pretty much destroy Quo's Seventies
live album, even though that record is quite good. Again it's the attack, and the singers -- Youlden and Lonesome Dave -- plus Kim Simmonds, who in the Seventies was a very loud and heavy axeman, which turn the trick. Those ingredients puts a lot more drama, dynamic and brute force into the boogie numbers. And Status Quo's style was different from that.

Now if you want some relentless boogie numbers, Quo certainly had them: Caroline, Railroad, Roll Over Lay Down, Don't Waste My Time, Big Fat Mama.

But they don't actually exceed the classics like Slow Ride, Fool for the City, I Just Want to Make Love to You, Drivin' Wheel, Honey Hush, The Boogie (SB), Tell Mama (SB), Let it Rock (SB), Lousiana Blues (Foghat and SB), Poor Girl (Foghat & SB), La Grange, Tush, Down Brownie, Just Got Paid.

And if it's really brutal live boogie you're looking for, there probably isn't a recorded performance that exceeds Savoy Brown in Central Park sometime in the very early Seventies with Dave Walker on vocals. It was put out by Relix and during the last twenty minutes, the band just clubs the audience with boogie rhythm and hot riff. If it weren't just rock 'n' roll, it would have been a proto-metal performance, particulary a version of Hip Shake. It's such a remarkable thing that what's left of Foghat, or Foghat II, now do it live and have recorded it twice in the last year and a half.

And we haven't even begun to talk about Humble Pie, right?

And for you real obscurists, after Foghat and Kim Simmonds parted company, Simmonds replaced them with Chicken Shack minus Stan Webb, and that's the band plus Dave Walker on vocals for the Central Park recording. So, yeah, Chicken Shack could sure be heavy, they just didn't do it until that date after they weren't Chicken Shack anymore.

i was just listening to humble pie.

i think a case could be made for cactus as well. not that i ever saw cactus live, but i've heard the tapes of the original line-up live and they were pretty bad-ass.

Yeah, the first double CD off Rhino Handmade makes a case for that very successfully. At the time, the live side of Ot n Sweaty did, too. "We're gonna do a boogie called SWIM, so get your socks a'rockin', baby..." And that was the second version of Cactus. It was mostly all in the rhythm section.

And Ten Years After always gets left out, sadly. After Alvin Lee did "I'm Going Home" at Woodstock, everyone thought he WAS the Man with the Ph.D. in boogie.

I gotta agree with George on this; based on the beginning of this discussion, I downloaded Quo's Pictures: 40 Years of Hits (the 2CD, not 4CD, version) and listening to it now, I'd rank 'em well behind Savoy Brown, Humble Pie and Foghat - in fact, I'd probably just consign 'em to my "Fuck It, It's An English Thing" list alongside T.Rex, Slade, and Sweet.

totally true about ten years after. it is forgotten that they were the heavy blooze rock kings for a friggin' decade.

but t.rex and slade and sweet were great too, phil! you kids today...

I've tried all three and they do exactly nothing for me. T.Rex literally sounds like a Kidz Bop version of early '70s hard rock - the same idea as more traditional hard rock/boogie bands, but sugared up and dumbed down for five- and six-year-olds. The way Kiss was aimed at ten-year-olds, but even younger-skewing. T.Rex are like the Raffi of rock.

Yeah. Bolan just was to twee for the US market, but then Bolan appealed to women in the UK, too, I think. He was also damaged by a dreadful performance on In Concert which went nationwide. He was apparently stewed and turned in a long performance of Jeepster which just fell apart.

Early Seventies boogie acts which did well in the US turned in performances that were poison for female audiences, not like modern country. I never recall many women up front at Foghat shows. If so, they were long suffering and very patient with their boyfriends, or of the type inclined to attend extremely drunk and ready to doff their tops if asked to "Show us your tits."

Pictures: 40 Years of Hits

If this is what I think it is, a good deal of it is pretty bad, selected from charting material from the string of albums where Francis Rossi wanted to do Jimmy Buffet/Kenny Loggins-type yacht rock.

i can't imagine trying to sell T.Rex to someone at this late date. so i won't try. i'm a huge fan of all of marc's many incarnations, that's all i'll say.

I'm not as hard on Bolan as Phil but, for me, he's pretty DOA after about a third of Tanx. And I had almost no use for that album when it was originally issued. Bona fide pop star, not much as a hard rocker. Most of the readers on this thread would get more use out of famous 'huh's?' like Hustler's Play Loud or High Street.

This video from 2007 shows how to still do Savoy Brown and not be lame. Ugly old man with Flying V mixing thud, crunch and an almost discordant blues change to a thumping beat. The vocals, originally by Chris Youlden, held up the song, too, but the album also put the number to a horn arrangement. Both versions work, actually. The hair-parting crunch coming off the stage, if my experience at these types of 'for boomers blooz shows' in the LV was any barometer probably annoyed the heck out of about half the audience. And sent the women packing.

There's almost no good old Savoy Brown tape on YouTube, which is kind of common state of affairs for a lot of
these types of bands. On the other hand, there's lots of worthless homemade videos in which the fan makes a slideshow of old amp covers and publicity photos set to a cut from the original vinyl. Those are truly worthless and plentiful.

there IS this on youtube though, and it's worth its weight in friggin' gold:

SO AWESOME!!!!

seriously, that just blows my mind every time i see it.

Yeah, I'd been looking at that and you beat me to it. Surprisingly, almost everything else is from 1993 or the Foghat II. Lonesome Dave in his shiny gold/silver suit. That looks like from when they were in support of Rock 'n' Roll Outlaws.

Offsite, today: The Poor Man's Jimi Hendrix

re: The Martin C. Strong Great Discographies are ridiculously useful. Half-Price Books had all of them several years ago. "Alternative & Indie", "Metal", "Psychedelic" and "Rock". Massive books with complete Discographies, memberships and histories of bands you never heard of and the most famous.

A random list of acts in Metal Marshall Law, Mary Beats Jane, Massacre, Masters of Reality, Max Webster, May Blitz, Mayhem, MC5, Duff McKagan, MDC. The writing has some humor and opinion to keep it from getting too dry, but I think I most enjoy reading about all the second and third tier UK musicians and how they moved from group to group throughout the 70s.

Have just been listening to the recent reissue of Shakin' Street's Vampire Rock, allegedly only '999'
copies, off a Euro imprint. The US debut, their second -- which repeats some of the numbers from this -- was produced by Sandy Pearlman of BOC and had much more of polished heavy metal whoosh to it, plus Ross the Boss, who added standard grade excellent Ross the Boss solos. Vampire Rock has a much rawer, violent sound. There's no big cushion of arenaverb on the guitars, so it actually fits the tone of the time better than the Pearlman produced thing.

No "Suzie Wong" -- Shakin' Street's best tune. But substitutes more speed and boogie, "Celebration 2000,"
"Love Song," sounding much more recorded under the influence of sulfates. Plus nothing on the second on CBS quite like "Blues is the Same," where Shine plays a little harmonica. Come to think of it, the original solos by Frenchmen sound very Ross the Boss-ian, either indicating they listened to the Dictators a lot, or they just alike melodically, or they were yanked from their duties for who knows now what reasons.

Like Telephone, Shakin' Street showed the French could do hard rock 'n' roll real good. However, the chirpy and fluty singing style which seemed to go with French acts of the time was met with no curiosity or patience here.

Lotsa crunch and crash on this record, though.

And if you think my posts look dyslexic in spots -- they do -- it's because of ILX's crippled format, or mine, depending upon your point of view. The ILX message box slides off the right side of my browser screen into a blind spot. And I'm sick of constantly having to readjust it with style sheets changes in the 'preferences' tab, changes which don't stick because of buggy software, on my end or its end, who cares.

But back to Vampire Rock -- which still kills thirty-one years later. Version of the Stones' "Yesterday's Papers" which also surpasses most of the imagination shown on the Pearlman-produced domestic release. I knew I liked the first record more for many reasons -- see xhuck's gut feeling upstream re my taste -- and these are some of them.

See here now, xhuxk, Uriah Heep's "Look at Yourself" is a fast shuffle,
not a Latin beat although I see where you'd get that in 'tinge' from the drum break and coda played by the dudes from Osibisa. Who were from Africa.

And, actually, Pete Townshend's flurrying guitar style is, and he's done it on TV, derived from flamenco playing. The fast da-d-da-daa stuff in open and
down strokes which is present on just about all Who recordings -- which apparently was picked up from someone in his family, like dad (?) or early lessons.

in open and down strokes

Make that 'in up and down strokes'.

The current most vital poor man's Jimi, as per above. The CD Baby offering of the Anthony Aquarius Mystery. It's no mystery his lyrics are a hoot, perhaps unintentionally so. "Love Bathed Experience" and the piece de resistance, "She's All Sheep."

"He even plays left-handed. Strung upside down as Jimi did. A great CD fom (sic) start to finish."

Lenny Kravitz, quit now.

Our boys in uniform try to rock. Oy vey.

Born to be mild

Hooo boy.

I once compared Iggy Pop solo albums to episodes of the old Bill Shatner series,
T. J. Hooker. Most of 'em are as unlistenable as episodes of Hooker were unwatchable. Now he has a new rival, the reruns of "Land of the Lost" on the Sci-Fi Channel, set to coincide with the movie remake and a commemorative box set. "Land of the Last" is uniformly dreadful. I dare you to watch more than five minutes of it sober.

So today's Calendar section in the LA Times devotes two of its three frontpage stories to "Land of the Lost" and Iggy Pop's new solo album. Keep in mind, I used to write almost an entire features section at a Tribune property, then Times-Mirror, the Morning Call in Allentown. And while that paper was mediocre and one was confronted with total crap from the entertainment industry on a daily basis, in the early Nineties it wasn't required that you pretend it always be something it wasn't, as is now SOP.

I'll reprint this graf, on Pop and his new album, Preliminaires.

It's hard to imagine a human being writing it with a straight face.

"Rockers who start second careers by singing jazz have become an industry cliche but
Pop, no surprise, doesn't just rework the standard songbook. Using 'The Possibility of an Island,' Michel Houellebecq's 2005 existential sci-fi novel about a dissolute, desolate icon as a springboard, 'Preliminaires' follows the poete maudit traditions of Baudelaire and Rimbaud, and the sunny show tunes of Gershwin."

Considering Iggy Pop's 'singing voice,' or facsimile of it, I'd say caveat emptor.

I've heard the record. (I've also read the Houellebecq book, but that's unimportant to this discussion.) Based on your post, I can't tell if you've heard the record or not. It's not terrible, and it is somewhat jazz-influenced (though one song is a conventional rock band arrangement). Iggy can pull off the low-voiced crooner thing when he wants to. It's not something I can really envision myself listening to very often, but neither is Avenue B (his "poetry" album) or Zombie Birdhouse.

Anybody have any thoughts on Mi-Sex? Another Aussie band, early '80s, never charted in the States though their 1980 Gary Numan/Telex-style synth-robot new wave single "Computer Games" (not to be confused with Yellow Magic Orchestra's same-year "Computer Game," though that was easy to do at the time) got plenty of college radio and Sunday-night new wave show play at the time. Which doesn't make the sound very hard rock, I know, except that I was playing the Computer Games LP a few days ago and was surprised to be reminded that lots of it is hard rock -- in tracks like "Not Such A Bad Boy" and "Stills, really eccentric, arch, off-kilter hard rock, like the early Tubes, or how I imagine George's OZ faves Skyhooks (who I've never heard) sound. Thing is, after their quasi-hit, Mi-Sex seem to go in a more new-wave-synth direction in general (with some traces of say early '80s pop-period Rush) on later 1980's (still nonetheless quite catchy) Space Race, and by 1984's Where Do They Go they've clearly sold out (unsuccessfully) to a way more tired, bored, pragmatic commmercial medium-rock sound, like some amalgamation of Robert Palmer, Foreigner, and (maybe inevitably) their countrymen Men At Work, but without hooks good enough to justify it. What I'm most curious about is their earliest Australian stuff -- apparently Computer Games shuffled tracks (including the title track) from a somewhat obversely titled Australian 1979 album called Graffiti Crimes. According to Volume: International Discography Of The New Wave, they were "originally a hippy band known as Fragments Of Time from New Zealand. Moved to Oz 8/78 and became a commerical 'punk' band." Hmmmm...

And speaking of old Aussies, I've also been liking this Aztec Records reissue of Mighty Kong's All I Wanna Do Is Rock, from 1973, by guys from the (aforepraised upthread) Daddy Cool gone heavier boogie. (Typically great Aztec liner note booklet too, including plenty of Daddy Cool's own history.)

Also, while I'm here, catchiest '79-style skinny-tie powerpop album I've heard in many moons comes from Portland, Maine's The Leftovers, who I never heard of before and whose Myspace link is below; guests on Eager To Please include sundry people from the Donnas, Fastbacks, Romantics, and Rubinoos:

http://www.myspace.com/theleftovers

Well, typically, now you've made me more curious about MIghty Kong.

And, from today's dose of antic fun, here.

xp Actually though, subsequent listens to that Leftovers CD suggest to me that "catchiest '79-style skinny-tie powerpop album I've heard in many moons" might be rather faint praise. They've got the melodies and the energy; less convinced they have the voices and riffs -- which aren't bad; just not good enough to've ranked anywhere near the new wave era's best, had they come out then. Not yet sure about their songwriting (which is about girls, duh.)

So, anybody want to convince me that my LP copy of Triumvirat's Spartacus from 1975 shouldn't be transferred into the sell pile? For lack of better signposts I can think of it at the moment, I'd call it a nonrockingly sort of weak-guitared German ELP/early Genesis pastiche concept album about the Roman Empire, with only one third of a track (the highly percussive "Italian Improvisation" midsection of Side Two's nine-minute "The March To The Eternal City") I particularly give a shit about. Am I missing anything? Looks like another track was sampled once by some rap guys (see link below), but I'm not hearing anything all that funky there either:

http://www.the-breaks.com/search.php?term=triumvirat&type=0

Haven't heard Spartacus, but I saw Triumvirat open for Fleetwood Mac in '73. Their set was the entirety of Illusions On A Double Dimple, and they were pretty good at what they did: total ELP clones. I never listen to ELP anymore, so decided I didn't need Triumvirat on my shelf.

So, anybody want to convince me that my LP copy of Triumvirat's Spartacus from 1975 shouldn't be transferred into the sell pile?

No. I had the reissue on CD and it wasn't very good. Long gone now. Double Dimple was their best. A segment of it was actually contained a catchy tune which picked up a good deal of hoity-toity FM radio back when it wasn't too long after ELP had been the biggest band in the US.

Actually, the Rolling Stone Record Guide claims Triumvirat were Finnish, but Joel Whitburn, who I trust more, concurs with my German guess, and adds the singer/guitarist commited suicide in 1977.

So another important question: What were the best/ most rocking City Boy albums? I've only got Book Early from 1978, their last and highest charting of their three that charted in the U.S., and though their only Top 40 single "5.7.0.5" is the charming 10cc soundalike everybody says they were, at least four or five cuts qualify as hard rock in my book - especially on Side Two, where "Do What You Do Well" almost sounds midwestern American in a Head East sense, and the weird late-Beatles/loud-rock mix in "The World Loves A Dancer" and "Moving In Circles" could almost pass for a British version of Crack The Sky. Also very much like "Cigarettes"'s six catchy minutes of hard prog, and the funky powerchorded pop of "Summer In The School Yard," about singing along to the Beatles' yeah-yeah-yeahs in 1964. Are those anomalies, or what? They don't make the Jasper-Oliver book at all, so I wonder.

their debut album is really good! and quirky too. they had a lot of albums. haven't heard them all. i'm selling a copy of the first album in my store if you want it. i could sent it to you.

http://www.recordsale.org/cdpix/c/city_boy-same.jpg

actually, chuck, e-mail me your address anyway, i've got all kinds of stuff i can send you for free. good stuff.

i just bought a ton of sealed tapes for my store. i sell a lot of tapes! it's always good to have some backstock. here are some of them:

Agent Steel - Skeptics Apocalypse
Anacrusis - Manic Impressions
Anastasia Screamed - Laughing Down the Limehouse
Angel Witch - Frontal Assault
Arc Angels - Arc Angels
Aversion - Fit to be Tied
B-Thong - Skinned
Band of Susans - Veil
The Beast - Carnival of Souls
Heretic - Breaking Point
Jailhouse - Alive in a Mad World
Mass - Voices in the Night
Mercyless - Abject Offerings
Messano - Messano
Mind Over Four - Half Way Down
Nevada - Beach
Overlord - X Versus the World
Andy Prieboy - Upon My Wicked Son
Prophet - Recycled
Prowler - Prowling Death Squad
Sacred Child - Sacred Child
Shy England - Misspent Youth
Sidewinders - Auntie Ramos Pool Hall
Sister Psychic - Fuel
Skank - I Never Said That
Slapshot - Step on It
Spinal Tap - Break Like the Wind
Sweet Pain - Sweet Pain
Sword - Metalized
T T Quick - Metal of Honor
Tesla - Bust a Nut
Tiny Lights - Stop the Sun I Want to Go Home
The Titanics - The Titanics
TMA - Beach Party 2000
The Toll - Sticks and Stones and Broken Bones
Toxik - Think This
T'Pau - The Promise
Tyrant - Too Late to Pray
Victory - Don't Get Mad, Get Even
Violent Playground - Thrashin' Blues
Wreck - House of Boris
YLD - Window Shopping in a Fools Paradise
Zed Yago - Pilgrimage
The Zeroes - 4-3-2-1....

The Accused - Grinning Like an Undertaker
The Angels - Live From Angel City
Apocrypha - The Forgotten Scroll
Assassin - Interstellar Experience
The Bang Gang - Love Sells.....
Banshee - Cry in the Night
Black Sabbath - Children of the Grave
Black Sabbath - Paranoid
Black Sabbath - Sabotage
Black Sabbath - We Sold Our Soul For Rock 'n' Roll
Candlemass - Epicus Doomicus Metalicus
Cinderblock - Greatest Hits
Death of Samantha - Come All Ye Faithless
Deep Purple - The Book of Taliesyn
Diamond Rexx - Golden Gates
Doomwatch - A Symphony of Decadence
Enuff Z'Nuff - Animals With Human Intelligence
Exodus - Pleasures of the Flesh
Jonathan Grell - Winterkat: The Struggle
Heathen - Breaking the Silence
Mekong Delta - The Music of Erich Zann
Numb - Christmeister
John Palumbo - Victim of the Nightlife
Piledriver - Stay Ugly
Raven - Nothing Exceeds Like Excess
Slik Toxik - Doin' The Nasty
Sodom - In the Sign of Evil
The Splatcats - Feelin' Bitchy
Spinal Tap - Break Like the Wind
Stone - Stone
Straitjacket Fits - Hail
The Suicide Twins - Silver Missles and Nightengales
Joey Tafolla - Out of the Sun
Tesla - Bust a Nut
Trash Broadway - Trash Broadway
Victims of the Pestilence - Born To Leave
Wartime - Fast Food For Thought
The Weather Prophets - Judges, Juries & Horsemen
The Zeroes - 4-3-2-1....
The Zeroes - Names, Vol. 1
Zoetrope - Amnesty
Zoetrope - A Life of Crime

Adolescents - Brats in Battalions
Atom Seed - Get in Line (promo)
Aversion - The Ugly Truth
Bad News - Bad News
Belladonna - Belladonna (former Anthrax vocalist!)
Blue Steel - No More Lonely Nights
Candlemass - Live
The Cherry Bomz - 100 Degrees in the Shade
David Coverdale - Whitesnake / Northwinds (double length)
Dancing Hoods - Hallelujah Anyway
Deathrow - Raging Steel
Doctor's Mob - Sophomore Slump
Doughboys - When Up Turns to Down
Drop Acid - Making God Smile
Exodus - Fabulous Disaster
Extreme - III Sides to Eevery Story
Genocide - Black Sanctuary
Gillan - Mr. Universe
The Godz - The Godz
Holy Soldier - Holy Soldier
Hype - Burned
Illusion - I Like It Loud
Impellitteri - Stand in Line
Iron Cross - Iron Cross
John Jarrett's Tribe - John Jarrett's Tribe
Julliet - Julliet
Leviticus - Setting Fire to the Earth
Little Angels - Young Gods (promo)
Lostboys - Lost and Found
Mad Parade - Thousand Words
Manikin Laff - Manikin Laff
Motley Crue - Motley Crue
Noisy Mama - Everybody Has One (promo)
Powermad - Absolute Power
Quiet Riot - Terrified
Raging Slab - Slabbage / True Death
Sky "Sunlight" Saxon - Fire Wall
Seduce - Too Much Ain't Enough
Spinal Tap - Break Like the Wind
Too Much Joy - Son of Sam I Am
Victory - That's Live - Tour '88
Wild America - Tora Tora
The Zeroes - Names, Vol. 1

might be some repeats in there. but that oughta give you an idea. and there is more where that came from. i know i'll break down and open a bunch of them out of curiousity.

it's my goal to have the coolest tape department on the eastern seaboard.

>>The Beast - Carnival of Souls

Probably not as good as "The Beast...Has Arrived!" Famous punk rock goon record, done by a guy fond of jumping off the stage onto the head's of others. One song, the first, must have been played a few hundred times at the store where I bought it, burning the line ... "I'll break youyr fucking back!" into my head.

Not quite as good as the first Nihilistics LP.

>>Slapshot - Step on It

F------' Ay! Slapshot! Every album by Slapshot is necessary if you're fond of beating people up!
Don't you need Choke in your bedroom, threatening to hit you in the teeth with his hockey stick?!

>>T T Quick - Metal of Honor

Regular jobbers at the Airport Music Hall in Allentown. I gave this a bad review in the newspaper and they cursed me from the stage.

>>Deep Purple - The Book of Taliesyn

Rod Evans-era DP!

>>John Palumbo - Victim of the Nightlife

Get back to Crack the Sky or avoid.

>>Stone - Stone

Famous IRS Metal release from the label infamous for doing not-metal. That went well.

>>Blue Steel - No More Lonely Nights

Bad power pop album.

>>Dancing Hoods - Hallelujah Anyway

Something my ex-wife would have liked.

>>Gillan - Mr. Universe

Not bad. Gillan doing his raging hard rock thing.

>>Powermad - Absolute Power

David Lynch directed their video. "I thought he would have a rat on his head," one of the band members told me in interview. That was the most interesting thing about 'em.

>>Raging Slab - Slabbage / True Death

True Death is good, Slabbage not so much.

>>Seduce - Too Much Ain't Enough

Another IRS Metal special, so see Stone. I thought xhuxk once reviewed their self-made debut in his Creem column or in the reviews section of that mag, shortly before it went out of business.

>>Deep Purple - The Book of Taliesyn

Rod Evans-era DP!

^ any good? i like both gillan and coverdale dp, and captain beyond. i have always lived in total fear of the pre-gillan days.

Spotty. "And the Address" and "Wring That Neck," were two good ones, both Blackmore instrumentals. And "Hush" is a classic, still in DP's repetoire. Don't know if they were all on Taliesyn, off hand. I had the advantage, thirty or forty years ago, of getting it and "Shades of Deep Purple" in an old recompile called Purple Passages, which is worth getting cheap if you can find it in used vinyl. And it should be fairly common.