Sorry Ma…it’s the Replacements…
I'm not sure if I heard "Johnny's Gonna Die" or "Gary's Got a Boner" first. Yeah, I got into the Sex Pistols in '78 and Blondie not too long after, but then I went into high school and northern Montana didn't really offer up any more punk rock. '81 passed without a hint of the Replacements reaching my ears. Sure, there was a brief moment in '83-'84 when some kids from California played some Black Flag for me, but it wasn't until '85 that I met my punk rock guru...finally destroying any possibility I would be a normal Republican guy.
This fella was a strange looking character, my guru. He had near white hair, which was shoulder length, I suppose they'd say, but...it was shoulder length all the way around and he somehow hair-sprayed it into a helmet-like piece every day. I'd heard about him on campus, helmet head did this, helmet head did that...what the fuck is his problem...what's with those mirrored glasses...blah, blah, blah. KGLT was his realm...he had a radio show from midnight to 6 AM at the college station, but he also worked at Stromboli's Pizza, which is where I asked him about his freakin' hair.
Turned out he was a punk rocker. I was a metal head at that point, but "Subterranean Jungle" changed that forever. Sure, I had brief relapses when "Reign in Blood" and "South of Heaven" came out, but my life has been predominately influenced by punk rock, punk thought and punk culture since I met that weirdo. Thank god! When I hear the shit my friends from home say, believe and listen to, knowing that could be me, I thank the non-existent god(s) for Hyyppa...and every record he owned or played on KGLT. He was, and still is, one of the most intelligent, friendly and free-thinking people I've ever met in my life...cheers to Helmethead!
So, in some of these old tapes...I used to record those radio shows...I'm finding really old Replacements stuff, and it's got a completely different vibe than most of the other punk of the time. I have a really hard time understanding what it is, but there's an underlying hopefulness, a touch more reality and a spirit of fun that just rises through the Replacements songs. Even the real melancholy stuff doesn't sound hopeless. This is a rockn'roll band turned hardcore by influences of the time...these are kids who aren't feeling the despair of the working class under Reagan and Thatcher. Sure, they've seen drug use and violence, but those are peripheral to their true experience...and I'm glad. Sometimes I prefer feeling hopeful.
So, "Sorry Ma, I Forgot to Take Out the Trash" opens with "Takin' a Ride" and just rips from there. The band was amazingly tight, considering the fact that Tommy Stinson was all of 13 when they formed. The rest of the band were 19-20 years old, but I always hope younger readers will see there is not some magical age where you're suddenly qualified to play. Tommy is no better or worse than the rest of the band...he's just a great bass player who happened to be 13 at the time.
Hyyppa had this in his pre-burglary collection...not sure if it disappeared then, but I recorded this album to cassette and played it until there were large spaces on that 1/8" tape that had no magnetic shit left on them...absolutely one of the greatest albums of the 20th century...and one of the greatest bands to play rock music. Their "maturation", as many called it back then, consisted mainly of Paul Westerbergs penchant for slow, bleeding hearted ballads that still carried a current of rebellion under their sorrowful surface. They never "made it" in the sense that Green Day and Nirvana did, but they got some pretty heavy rotation with their "Bastards of Young" video. Somehow their MTV success validated this music I was bringing home to my siblings and their friends. But, even as the Replacements challenged conventions and pushed into unexplored territory, they were creating a breeding ground which would soon be inhabited by a whole new form of music....the bane of my existence...alternative rock. It really sucks that that's how I'll remember the influence of these groundbreaking souls, but I don't blame them, I'll continue to blame those now forgotten, sell-out Alt.Rock artists of the mid '90's.
There's a pretty cool Replacements website out there at colormeimpressed.com and an unchecked MySpace page for your limited listening pleasure.
[play-button:http://dl.dropbox.com/u/16850984/Replacements%20-%20Sorry%20Ma/03%20Customer%20The%20Replacements.mp3] Replacements - Customer Link source
[play-button:http://dl.dropbox.com/u/16850984/Replacements%20-%20Sorry%20Ma/11%20Shiftless%20When%20Idle%20The%20Replacements.mp3] Replacements - Shiftless When Idle Link source
[play-button:http://dl.dropbox.com/u/16850984/Replacements%20-%20Sorry%20Ma/10%20Johnnys%20Gonna%20Die%20The%20Replacements.mp3] Replacements - Johnnys Gonna Die Link source
You’re Gonna Miss Me: A Film About Roky Erickson (2007)
Let's just start by saying I am not the biggest 13 Floor Elevators fan in the world. Don't get me wrong, I liked some of their songs and they were obviously a hugely influential, protopunk, seminal Garage/Psychedelia band. But what I really loved about the music was the vocalist, Roger Kynard Erickson, better know to the rock world as "Roky". Roky was gifted with a voice that was always ready to explode. The Roky that I dug was post-Elevators. While with the Elevators, the band members were REQUIRED to play every rehearsal, performance, and recording session under the influence of LSD. To add to all this, Roky also did a stint at the Rusk Prison for the Criminally Insane in Texas (for a bogus drug rap which would be a slap on the wrist today). While at the prison, he was given repeated shock treatments and forced to take powerful psychoactive drugs. Do you see the path I am walking with you now? When Roky was released from prison in the year 1972, he was a proud, card carrying member of the incredibly insane. Roky was convinced that he was an alien and that humans were “zapping” his mind. His attorney prepared a document declaring that Roky was, in fact, an alien. And THAT is the Roky, in my opinion, who made some of the greatest music of the 1970's.
This documentary, directed by Kevin McAlester, is about as perfect as any can be. When I first put the DVD in, I was just totally immersed in Roky's world. I felt, in turn, amazement, disgust, pity, jealousy, humor and redemption. This movie deeply affected me, not only because I am a huge Roky Erickson fan, but because I believe in the power of the soul. That we, as humans, are not only bound by our mental and physical health, but also what is DEEP inside of us, that place that can be as dark or as bright as we allow it to be.
Here are some songs from the movie soundtrack, also a must have.
[play-button:http://dl.dropbox.com/u/6571345/Roky%20Erickson%20-%20for%20you%20%28i%27d%20do%20anything%29.mp3] Roky Erickson-For You (I'd do anything) Link source
[play-button:http://dl.dropbox.com/u/6571345/roky%20erickson%20-%20goodbye%20sweet%20dreams.mp3] Roky Erickson- Goodbye Sweet Dreams Link source
You can buy this movie from Amazon for $18.06. You won't be sorry....
Crass – Best Before
This was to be the bands last release. It contains all of their very controversial, no holding back anarchistic 7" releases, plus a few other rare gems. Johnny Rotten & the Pistols may have sang about Anarchy in the U.K., but Crass took it to the streets. The press could never figure them out. At their shows, alongside their Crass banner, they hung the flag of Anarchy, the circled A. Crass created Anarchy as a popular movement. They called themselves Anarchists, because that reminded them that both the left and right were full of bullshit.
Reality Asylum, released in 1979, immediately got the band in trouble. Give it a listen & decide for yourself. In the spring of 1980 Crass released Bloody Revolutions, on the flip side of the single was Persons Unknown, by the Poison Girls. In the same year Nagasaki Nightmare, with Eve Libertine on vocals, was released. Big A, Little A was on the other side, probably one of their most popular songs.
Britain decided to go to war with Argentina over the Falkland Islands. The band released How Does It Feel in 1982. This record got everyones attention. "How Does It Feel To Be The Mother Of a Thousand Dead?, young boys rest now, cold graves in cold earth. How does it feel to be the mother of a thousand dead?, sunken eyes, lost now; empty sockets in futile death." In 1983 Crass released Sheep Farming In The Falklands with Gotcha on the B-side. Two more very strong songs attacking Prime Minister Margaret Thatcher & Britains reason for war.
I am not sure when this CD is slated to be remastered. All the other CD's have been remastered & they are excellent. It comes with a booklet about Crass and all lyrics. If you want to learn the real meaning of Anarchy, learn what Crass was all about. They have influenced so many bands to do things yourself, looking at all leaders and the world differently. Their influence is still being felt 30 some years later. Peace.
Songs on BEST BEFORE:
[play-button:http://dl.dropbox.com/u/16850984/Crass%20-%20Best%20Before%201984/01%20Do%20They%20Owe%20Us%20A%20Living_.mp3]Do They Owe Us A Living? Link source
Major General Despair
Angela Rippon
[play-button:http://dl.dropbox.com/u/16850984/Crass%20-%20Best%20Before%201984/04%20Reality%20Asylum.mp3]Reality Asylum Link source
Shaved Women
[play-button:http://dl.dropbox.com/u/16850984/Crass%20-%20Best%20Before%201984/06%20Bloody%20Revolutions.mp3]Bloody Revolutions Link source
[play-button:http://dl.dropbox.com/u/16850984/Crass%20-%20Best%20Before%201984/07%20Nagasaki%20Nightmare.mp3]Nagasaki Nightmare Link source
Big A Little A
Rival Tribal Rebel Revel
Sheep Farming In The Falklands -flexi
[play-button:http://dl.dropbox.com/u/16850984/Crass%20-%20Best%20Before%201984/11%20How%20Does%20It%20Feel%20To%20Be%20The%20Mother.mp3]How Does It Feel? Link source
The Immortal Death
Don't Tell Me You Care
Sheep Farming In The Falklands
Gotcha
Your Already Dead
Nagasaki Is Yesterdays Dogend
Dont Get Caught
Smash The Mac
Do They Owe Us A Living ( last gig miners benefit)
Don't forget to visit the Steve Ignorant website or his Facebook page for info on the Last Supper tour!
CRASS
GREETINGS! I AM SURE EVERYONE REMEMBERS THE UK PUNK SCENE IN 1976. EVERYONE REMEMBERS THE DAMNED, SEX PISTOLS, CLASH, & STRANGLERS. ONE MORE BAND NEEDS TO BE REMEMBERED-CRASS-FORMED BY PENNY RIMBAUD & STEVE IGNORANT. STEVE WAS INFLUENCED BY DAVID BOWIE, & THE NAME "CRASS" WAS INSPIRED FROM A LINE IN ZIGGY STARDUST, "THE KIDS WERE JUST CRASS." THE DO-IT-YOURSELF ATTITUDE FROM THE CLASH & THE PISTOLS WAS ANOTHER INSPIRATION. WHERE AS CLASH SIGNED TO CBS & THE PISTOLS EXPLODED, CRASS REMAINED INDEPENDENT PUTTING OUT THEIR OWN RECORDS. CRASS WAS & STILL REMAIN THE ANARCHO PUNKS OF A REVOLUTIONARY MOVEMENT. OTHER MEMBERS WERE GEE VAUCHER - ARTWORK, EVE LIBERTINE - VOCALS, PETE WRIGHT - BASS, PHIL FREE-LEAD GUITAR, JOY DE VIVRE - VOCALS, ANDY PALMER -RHYTHM GUITAR, PENNY ON DRUMS & STEVE VOCALS.
RELEASES:
THE FEEDING OF THE 5000 EP (1978)
BEST BEFORE (1984)
IF YOU ARE INTERESTED IN THE ONE OF THE BANDS THAT REALLY GAVE A SHIT PLEASE GIVE THEM A LISTEN!
STEVE IGNORANT WILL BE IN A FEW CITIES IN THE U.S. IN MID APRIL IT IS CALLED THE LAST SUPPER - IT IS NOT CRASS THEY SPLIT UP IN 1984
STEVE & HIS EXCELLENT BAND WILL BE SINGING CRASS SONGS . HE SAYS THIS WILL BE THE LAST TIME HE WILL PERFORM THEM LIVE.
GO TO THE STEVE IGNORANT WEBSITE OR HIS FACEBOOK PAGE FOR INFO ON THE LAST SUPPER TOUR
DO NOT MISS & PLEASE ADD CRASS TO YOUR LIBRARY!
SIMILAR UK PUNK ANARCHIST BANDS: CHECK OUT CONFLICT, SUBHUMANS, POISON GIRLS, ZOUNDS & FLUX OF PINK INDIANS.
TOUR DATES:
April 20 Brooklyn, NY @ Europa
April 21 Montreal, QC @ Olympia (Moved by popular demand!)
April 22 Toronto, ON @ Opera House
April 23 Chicago, IL @ Bottom Lounge
April 26 Seattle, WA @ Neumo's
April 27 San Francisco, CA @ Slim's
April 29 Pomona, CA @ Fox Theater
April 30 Pomona, CA @ Glasshouse
May 1 Scottsdale, AZ @ Chaser's Nightclub
May 3 Austin, TX @ Emo's
May 5 Gainesville, FL @ Common Grounds
May 6 Atlanta, GA @ Masquerade
May 7 Baltimore, MD @ Sonar
May 8 New York, NY @ Santo's - SOLD OUT
[play-button:http://rhodri.biz/pix2/gotcha.mp3] CRASS - GOTCHA LINK SOURCE
[play-button:http://www.oursanecorner.com/www/pubhousedialogues/mediablitz/MB183PART5.mp3] CRASS - BANNED FROM THE ROXY LINK SOURCE
[play-button:http://cowsarejustfood.files.wordpress.com/2010/01/crass-what-the-fuck.mp3] CRASS - WHAT THE FUCK? LINK SOURCE
[play-button:http://crassdiy.tripod.com/Mp3/SYSTEMATIC%20DEATH.mp3] CRASS - SYSTEMATIC DEATH LINK SOURCE
SUBMITTED BY VANZETTI
Bikini Kill
The cut against the grain and the rebellion that sparked in the US in the form of hardcore punk was revolutionary. It also changed the face of metal and gave birth to a plethora of new subcultures within urban and suburban America. It's presence and influence is still felt today in the music world even amongst all the chaos, often brilliance, that the mixing of sub-genres tends to create. But there was always one missing element. One thing that has alienated an entire demographic to a large extent.
There were no female bands. The feminine perspective in general was just missing. Angry young women needed an outlet too and so riot grrrl was born in the early 90's. Feeding off of the energy of the few all female grunge bands (Babes In Toyland, L7, and 7 Year Bitch) and bands like The Runaways, riot grrrl is to women what hardcore is to men. The music was often crude and simple in the beginning because, like their male predecessors, a lot of these girls just started picking up instruments during that time. They tackled cultural feminine issues along with political activism and, so, they have come to be viewed as an underground feminist movement.
The most notable band that helped create this sub-culture is Bikini Kill. They carried over the brutal honesty and D.I.Y. ethic of hardcore which helped unite most of the bands under a common mentality. Self-promotion took the form of local zines, meetings between bands and fans, and the formation of riot grrrl chapters around the US.
The band's debut album “Pussy Whipped” is still one of my favorite punk CDs out there. The vocals on this baby are as diverse and interesting as L7's. “Lil Red”, “Sugar”, “Star Bellied Boy” and “Hamster Baby” stand out for me in that regard. Instrumentally, it's just as diverse ranging from very aggressive to very tranquil. “For Tammy Rae” is the most harmonious and longest song of the bunch clocking in at 3:33 minutes. Although “Rebel Girl” is the song that this band is known for, I really do enjoy “Alien She” the best on this album. It just screams hardcore punk, i.e. the same chord playing over and over until the end where there is some progression and an almost abrupt finish.
So dear reader, I can only hope that you enjoy their music and passion as much as I do.
[play-button:http://domesticgenocide.com/audio/02-Alien%20She.mp3] Bikini Kill – Alien She Link source
[play-button:http://domesticgenocide.com/audio/05-Lil%20Red.mp3] Bikini Kill – Lil Red Link source
[play-button:http://domesticgenocide.com/audio/07-Sugar.mp3] Bikini Kill – Sugar Link source
[play-button:http://domesticgenocide.com/audio/08-Star%20Bellied%20Boy.mp3] Bikini Kill – Star Bellied Boy Link source
[play-button:http://domesticgenocide.com/audio/09-Hamster%20Baby.mp3] Bikini Kill – Hamster Baby Link source
You can find tons of Bikini Kill LP's, CD's and 7"'s @ GEMM
Effigies
Forgive me, reader, for it has been 16 days since my last post. My semi-recent interview with Dave Rave and Cups von Helm is taking longer to transcribe than I could have imagined, but the interview went on longer than they could have imagined, I guess we're even. I know it's been a while and you're probably wanting to read about something really great...so let's see what I can find here...
Ah, yes...the Effigies - Remains Nonviewable. Pulling material from their first LP, "For Ever Grounded", 2 EP's, and a single, this is a great introduction to one of the pioneering bands of the early Chicago scene. The Effigies were among the first hardcore bands to emerge, as the scene spread from west to east, releasing "Guns or Ballots" and "Quota" on the legendary, live Chicago compilation, "Busted at Oz", in 1981, two years after they formed. "Guns or Ballots" does not appear on "Remains Nonviewable", and the version of "Quota" found on here is from the "We're Da Machine" EP, but "Busted at Oz" has recently been re-released on vinyl! Remains Nonviewable also leaves off 7 tracks from the debut album, but does include four of the greats. All five tracks from the "Haunted Town" EP made the cut, as did all four from "We're Da Machine" and 2 more from the "Body Bag 7".
The "Chicago Sound" originated with The Effigies, Naked Raygun, Articles of Faith and Strike Under and is characterized by mid-tempo, melodic hardcore punk with controlled distortion on the guitars and vocals which at times sound almost like chants. The bass plays a larger, more driving role in Chicago punk than the majority of their U.S. counterparts. That's the generalized version of the "Chicago Sound", but it's not completely true of the Effigies, who are propelled forward by big percussion and some fairly complex guitar riffs. Earl "Oil" Letiecq, plays on all these tracks, his guitar sounding like some sort of Teslarian electrical weapon.
As with the rest of the punk movement, there was a lot of experimentation and genre mixing going on. "Security" is almost a dance song, while "Smile!" has a Middle Eastern quality to it. While other U.S. hardcore bands were rapidly exploring the perimeter of anger in American youth, the Effigies wrote songs with multifaceted arrangements and intelligent lyrics, exploring the dark themes of control, police corruption, self-destruction, the mind and human behavior.
This small Chicago scene is a testament to the power of a group of creative individuals. What started as kids playing hardcore became a driving influence on the minds of the youth and the sound of music over the next decades. The Kezdy, Haggerty and Björklund brothers, while not household names, along with a long list of talented friends, formed the foundation of a scene which later propelled Steve Albini (Big Black/Shellac) into the upper stratosphere of major label record producing.
If you're looking for a more in-depth look at the history of Chicago punk, be sure to check out the great You Weren't There: A History of Chicago Punk 1977-84
[play-button:http://dl.dropbox.com/u/16850984/Effigies/09%20Quota.mp3] Effigies - Quota Link source
[play-button:http://boxstr.net/files/6736765_uqkxp/03%20Below%20The%20Drop.mp3] Effigies - Below the Drop Link source
[play-button:http://dl.dropbox.com/u/16850984/Effigies/07%20-%20hand%20signs.mp3] Effigies - Hand Signs Link source
[play-button:http://dl.dropbox.com/u/16850984/Effigies/04%20patternless.mp3] Effigies - Patternless Link source
Now, go check out the Effigies website and add them as a friend from their MySpace account.
Cramps
It's been a little over two years since Lux Interior died. The primitively wild front man of the Cramps was quite possibly the greatest showman of the entire rock era. His penchant for low rider leather pants and high heels, coupled with an overtly sexual performing style and an innate ability to channel the best qualities of all the rockn'roll and rockabilly greats made his performances particularly memorable. Add to this equation the psychobilly vixen known as Poison Ivy, one of the preeminent guitar players of the entire punk scene, and you've got a volatile combination.
The Cramps began in 1976, riding and shaping the wave of punk rock erupting out of New York City. As with most of their peers, they were unique in style and message, combining rockabilly roots with a dark passion for the perverse. The Cramps pulled new life from the remnants of the past and created a legacy of their own.
This 14 track live disc was recorded in 1986 following the release of their 'A Date with Elvis' LP. I'd place this in my Top 10 albums almost any day of the week, and probably in the Top 3 best guitar albums. That's fuzzed out, crazed guitar...not the masturbatory noodlings of the Yngwie Malmsteen crowd...and it will melt your brain.
Here's a somewhat tame version of the first song on 'Rockinnreelininaucklandnewzealand', Hot Pearl Snatch:
...
[play-button:http://dl.dropbox.com/u/16850984/Cramps/02%20People%20Ain%27t%20No%20Good.mp3] Cramps - People Ain't No Good Link source
[play-button:http://dl.dropbox.com/u/16850984/Cramps/13%20Georgia%20Lee%20Brown.mp3] Cramps - Georgia Lee Brown Link source
[play-button:http://dl.dropbox.com/u/16850984/Cramps/05%20Sunglasses%20After%20Dark.mp3] Cramps - Sunglasses After Dark Link source
Check out their website for some high res photos and sadness, and their MySpace page for even more.
Look at all these crazy expensive collectible Cramps titles in GEMM!
“Ain’t it fun when you know that you’re going to die young?”
Daniel Jones' posthumously published novel 1978, is a great read for a number of reasons. Jones expertly captures the dark, seedy, drug addicted, violent, under belly of Toronto's punk rock scene in the late 1970s, yet it's a revealing portrait of the city, particularly the Annex area (comparable to Greenwich Village). 1978 is also a great musical tour through the era, and is centred around the birth of punk rock. The big players are mentioned - Sex Pistols, Dead Boys, Stooges, Ramones, The Clash, but Jones also brilliantly captures and documents the thriving, often over looked formative years of the Canadian punk scene: Teenage Head, The Viletones, The Forgotten Rebels, Diodes, Stark Naked and the Fleshtones, and The Demics.
The story follows a pack of down and out punks living in a flop house and reeling on the edge of the emerging punk scene. Although it is set in Toronto, the story could have happened in any city. There’s our narrator Boy Zero, and Kid, who used to date Soo until she decided she was a lesbian and started seeing Jacky. They drink, they do drugs, they fight and they go see bands. They are pretty fucked up, except Boy, who has a job but is drawn into the circle of losers as the lead singer of their punk band Cerebral Paisley. These punks are not political, they’re not fashionable, they are the first wave, drawn to the scene because it speaks to what they feel, anger and alienation.
Jones is able to paint a pretty bleak but accurate picture of the time, because he lived it. The novel is funny at times and also brutal in its portrait of drugs, alcohol and poverty. Along with the members of Cerebral Paisley an interesting supporting cast of sketchy characters move in and out of the story. But the real indulgence for me is the reference to all the great and not-so-great punk bands of the time and the trip down memory lane.
I was just a little too young to be involved in the club scene in 1978 but I remember the infamous Ontario Place Teenage Head riot in 1980. I remember buying "punk" buttons and patches at Yonge Street head shops on Saturday afternoons and freaking out when we would see The Viletones lead singer Steven Leckie (Nazi Dog) shopping at The Record Pedlar. I ended up playing my first ever gig at the Turning Point, the legendary Bloor Street punk club and hangout of the cast of Jones' characters in 1978. I was also a regular at Larry's Hideaway in the early 80s (shhhh....under age) another seminal Toronto punk club, checking out some of the above mentioned bands as well as; Raving Mojos, Random Killing, Direct Action and numerous underground metal bands, because metal was still underground then, but like punk, about to explode.
1978 is rough and amateur in patches, but it is a great read for anyone interested in the birth of punk, especially in Canada. Unfortunately after battling severe depression and alcoholism for years, Daniel Jones took his own life at the age of 34 on February 14, 1994.
*3/6/2011 - Alibris has a less expensive copy than the Amazon copy listed below. Alibris says you can get $3 off $30 by using the coupon code BOUND at checkout until April 5, 2011.
**3/12/2011 - 1978 is being re-issued, and will be available this coming May from Three O'Clock Press. Check threeoclockpress.com for updates.
American Hardcore
Today a friend of mine posted a link to an article from the Los Angeles Times entitled, Punk rock's creative and savage legacy at Subliminal Projects gallery, which talks about the photos and flyers, as well as the Raymond Pettibon & Winston Smith artwork, which will be on display at Subliminal Projects' Westside gallery through March 26th, 2011. More exciting still, for those near enough to attend, is a performance, tonight February 25, 2011, right now (well, over by now), by OFF!, the new Keith "Johnny" Morris vehicle that's got the hardcore kids all abuzz. Why am I talking about it, when I can't even go? Well, my friend suggested people rent the semi-recent (2007) film, American Hardcore - The History of Punk Rock 1980 - 1986
Why the hell would you rent American Hardcore when you can buy it new at Amazon
This was not a united scene for the most part. The divergent opinions that came through hardcore are as diverse and passionate as you can find anywhere, but there was always an underlying distrust of the authority figures who would try shutting down their shows, prosecute them on obscenity charges and who would never, ever invite them to the table to discuss a record deal. They knew they had to make it on their own and the world was not going to help them...so they did. The content of American Hardcore is nearly as powerful as the music, expressing that unique combination of ingenuity, innovation and contempt for the rules of our dominant systems.
You can feel the truth of what hardcore means in the interviews with its most well known proponents and performers. Yes, Keith is in it, so is Henry, and H.R., and yes, Ian...you know what I'm talking about. But that's not what it's really about, and I'm telling you, it's not an ego-fest, because all of those guys and gals from hardcore know it's about the music and standing up in your own life...so no, don't rent this film...buy it!
Eh, ok...I'll just toss in a few mp3 links for you (not necessarily in the documentary, but good, nonetheless):
[play-button:http://thedecibeltolls.com/mp3/Black%20Flag%20-%20The%20First%20Four%20Years%20-%2001%20-%20Nervous%20Breakdown.mp3] Black Flag - Nervous Breakdown Link source
[play-button:http://www.midwesternhousewives.com/silverunity/more/11%20Live%20Fast%20Die%20Young.mp3] Circle Jerks - Live Fast, Die Young Link source
[play-button:http://dl.dropbox.com/u/16850984/Let%20Them%20Eat%20Jellybeans%20%281981%29/04%20Bad%20Brains%20-%20Pay%20To%20Cum.mp3] Bad Brains - Pay to Cum Link source
[play-button:http://www.minneapolisfuckingrocks.com/mp3/03%20Seeing%20Red.mp3] Minor Threat - Seeing Red Link source
and, just for good measure:
[play-button:http://dl.dropbox.com/u/16850984/Let%20Them%20Eat%20Jellybeans%20%281981%29/08%20The%20Feederz%20-%20Jesus%20Entering%20From%20The%20Rear.mp3] Feederz - Jesus Link source
Loudmouths
While mainstream music mags and documentaries consider the mid-90's to be the period when Guns N' Roses handed music off to Nirvana, there was actually a great resurgence of punk happening at the time. Bands like Screeching Weasel, Teengenerate and Propagandhi were infusing new life into the scene that never died. This was also the era of Electric Frankenstein's "The Time is Now", the Rip Offs' "Got a Record" and our own "Squatters' Inc.". Not to be left behind, San Francisco's Loudmouths released their self-titled debut at the end of 1995/ beginning of '96, with a ferocity unheard since 1993's "!!Destroy-Oh-Boy!!" by the New Bomb Turks.
Enough 90's name dropping...this recording rocks! The raw, primitive, garage punk energy of the Loudmouths is enough to change any mood. Dulcinea has an intensity rivaling "Damaged" era Henry Rollins, and her vocals, combined with chainsaw guitars, flattering bass lines, and driving percussion make this overlooked and exciting gem a must have. At three buck each, I'd buy a bunch for my friends, too.
Even though they're all in new bands now, check out the Loudmouths official website and Beth Loudmouth's MySpace page and that of her new band, the Meat Sluts (MySpace) or the more useful Facebook page.
[play-button:http://dl.dropbox.com/u/16850984/Misc./01%20Saki%20to%20Me.mp3] Loudmouths - Saki to Me Link source
[play-button:http://www.tenbulls.com/gotobed/HandsUp!.mp3] Loudmouths - Hands Up! Link source
[play-button:http://www.tenbulls.com/gotobed/NoGuts.mp3] Loudmouths - No Guts Link source
[play-button:http://dl.dropbox.com/u/16850984/Misc./17%20Creature.mp3] Loudmouths - Creature Link source
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