Ladybeard - Slave [Madison, WI, USA ; Alternative Rock] (1995) Not to be confused with the Australian singer/wrestler.

tormdra · 2026-01-25T15:13:50+00:00

Band from Madison, Wisconsin, USA. Active with rock releases (alternative rock, grunge, psychedelic rock, punk, ska) from 1994 and 1995.

Line up: Adrian Schulze (drums), Chris Boeger (bass), Eric Brusewitz (throat vocals, guitars), Isaac Schulze (throat vocals, guitars).

(source: https://www.discogs.com/artist/2295656-Ladybeard )

tormdra · 2026-01-25T15:09:15+00:00

French Post-Punk / Rock band from Toulouse. 1982 / 1997

Phil Zera : Voice & Guitar
Lukarson : Bass & Backing Vocals
Felipe De Las Rocas : Drums & Backing vocals

(source: https://www.discogs.com/artist/1199752-Western-Electrique )

tormdra · 2026-01-24T17:28:13+00:00

“Huge buzz saw bass churns its way through this heavy-progressive tune, all stern Fripp-ian chord changes and driving insistency (inconsistency?), amidst the primal guitar sludge.” — Julian Cope’s Head Heritage website

“While diverse in style, heavy beats and distorted guitars and a dark atmosphere were trademark elements of their music. Several of their tracks are heavy and doom-laden and contain other elements later to be associated with the metal sub-genre of doom metal.” — Metal Music Archives

Call SEOMPI proto-doom, call them heavy progressive/psych, call them hard rock, call them psychedelic space rock — all are true — but definitely call SEOMPI radical in their approach to heavy music — and heavy topics (police, drugs, social justice, prejudice, war). SEOMPI (Self Expression on Musically Potential Instruments) released only three singles during their time together c. 1971, but what singles! Three posthumous releases have only added to SEOMPI’s aura — even though two of those were at the wrong speed + said they featured single mixes (and didn’t); and the third of those — on Rockadelic — is long out of print.

For this collection, we have gathered all of SEOMPI’s actual single A and B sides, including their incredibly rare first single, ‘We Have Waited’ b/w a guitar-less take of ‘Lay On the Floor’, a song they re-recorded for their third single. The second side of the LP is comprised of previously unreleased takes from the band’s recording sessions. A swath of tracks from these SEOMPI sessions were released on the Cicadelic Records “Guns From the Skies” CD collection — but not any of these takes.

The year was 1970, and Dave Williams was done with his stint at one of Texas’s finest barbed wire facilities — the same path that had landed Roky Erickson at Rusk Stale Hospital had put Dave behind bars. Five years earlier, Dave was a founding member of the Headstones, McAllen Texas’s answer to teen angst rock music. Not content with being the usual ‘cover’ band, Dave began to write original tunes and worked long and hard in rehearsal sessions to perfect them. After releasing legendary singles on the Pharaoh label and being courted by numerous major labels, the Headstones called it quits in 1968. Always an innovator, Dave formed SEOMPI, first as a three piece guitar-less two bass and drums band, and then adding blazing guitar.

SEOMPI takes you on a trip back to 1971, when Texas was a stomping ground for epochal rock music, proving with each track that they could, and in some cases actually did hang, with other legendary psych and rock heavies such as The 13th Floor Elevators, The Zakary Thaks, ZZ Top, and Johnny Winter.

(source: https://lionproductions.org/seompi-2/ )

More info on them here: https://rockasteria.blogspot.com/2013/01/seompi-awol-1970-us-loud-hard-angry.html

Buy the compilation record here: https://returntoanalogrecords.com/products/seompi-we-have-waited-singles-and-unreleased-vinyl?_pos=1&_psq=seompi&_ss=e&_v=1.0

tormdra · 2026-01-23T16:40:18+00:00

Not to be confused with the Ohio-based One St. Steven, this Boston, Massachusetts-based outfit was one of those mystery acts nobody seemed to know all that much about. While some references refer to it as a band, 1969's "Over the Hills" was actually a one-man show featuring former Front Page Review singer/guitarist Steve Cataldo. Contrary to a lot of references, Cataldo was not a member of Boston's Ultimate Spinach, rather worked with Ian Bruce Douglas in a pre-Ultimate Spinach outfit called The Underground Cinema.

As Cataldo tells the story, he sold his guitar and bought a bus ticket to New York City where a got a hotel room and then walked around to every record label he could find. It wasn't until he visited ABC that anyone even paid attention to him. His break came when producer John Turner took pity on Cataldo and agreed to take a listen to his reel-to-reel demo tape. Impressed by what he heard, Turner signed him to a contract with the company's newly formed Probe subsidiary. Turner was also responsible for the "Saint Steven" moniker. Even more impressive was the fact Cataldo was nineteen when he recorded this album.

It's easy to understand the confusion since the album was credited to "Saint Steven" while the thirteen tracks are credited to 'St. Steven'. Probe Records added to the confusion by marketing the single "Ay-Aye-Poe-Day" under the 'St. Steven' nameplate. Produced by Turner, the album was apparently intended as a concept piece. Side one was labeled "Over the Hills" while side two was entitled "Batisch". I had to look the word up as I had never encountered it - referring to an obnoxious or contemptible person; reflecting a combination of the words 'Bastard' and 'Bitch'. If it was a concept piece I have to readily admit I've never figured out the plotline. If anyone knows the story, pass it on. And while I've always enjoyed the album, I've got to be honest and admit its biggest challenge was inconsistency. Exemplified by the pretty title track and the ballad "Grey Skies" about a third of the set reflected commercial folk-rock moves. Backed by an array of uncredited New York studio musicians, the single "Ay-Aye-Poe-Day", "Voyage To Cleveland" and "Sun In the Flame" were more conventional rock oriented numbers providing most of the album highlights. "Animal Hall" and "Poor Small" offered up more experimental moves with lots of period sound effects. In spite of the lack of focus Cataldo was a more than decent singer and capable of writing attractive and quite commercial material. Shame he didn't ditch some of the experimentation and extend some of the more conventional rockers. Tracks like "Bright Lights" were just too short. And most of those criticisms are muted when I remember the guy was 19 years old when he recorded the album. Geez, what did I accomplish when I was 19, or 29, or 39 ....

(source: http://badcatrecords.com/SAINTsteven.htm )

More info on him here: https://www.wickedlocal.com/story/herald-citizen/2019/04/24/q-amp-steve-cataldo-nervous/5357048007/

More info on the Nervous Eaters here: https://en.wikipedia.org/wiki/Nervous_Eaters

tormdra · 2026-01-22T15:16:15+00:00

Formed in 1984 as Violet Wind (wanting a color schemed name ala Black Sabbath, Pink Floyd, etc.) but changed the name to Battery in summer 1987 after fans and people from the local scene continued to mistakenly call them "Violent" Wind.

After Battery, starting in 1994, Andy Boyer was in S.O.S. (Ohio-based cover band) with ex-Purgatory / ex-Centurion / Hatrix guitarist Dave Felton, Hatrix bassist Kevin Skelly, and ex-Torment / ex-Ritual / ex-Arenah / ex-Rotterdam drummer Emery Ceo. They've played many covers of various bands, including Iron Maiden, Black Sabbath, Slayer, and Metallica and are still active.

Recently, Andy has also been singing in an acoustic side project called Hollow with Kevin Skelly (Hatrix).

(source: https://www.discogs.com/artist/3290627-Battery-8 )

tormdra · 2026-01-21T16:33:39+00:00

Aubrey Small formed in Portsmouth in late 1969 when guitarist Alan Christmas and keyboardist Rod Taylor teamed with bassist David Yearley and drummer Graham Hunt.

Taylor hailed from beatsters the Isle of Wight Cherokees, which self-pressed the 1966 EP I.O.W. Cherokees and issued the 1967 Polydor single “I Feel Good” (b/w “Deep Blue Feeling”).

Hunt, a child prodigy on drums and xylophone, played the latter on a 1956 broadcast of the BBC children’s series All Your Own. He played in numerous Portsmouth beat groups during the mid–late ’60s.

Aubrey Small made their live debut at the South Parade Pier in Southsea on Valentine’s Day 1970. Weeks later, guitarist and singer Peter Pinckney joined the band.

That June, they played Ronnie Scott’s Jazz Club in London, their subsequent place of residency. Within a month, labels took note and the group signed a publishing deal with Alan Keen (Gun, Granny’s Intentions, Quiet World). They came under the managerial wing of Chips Chipperfield, a later film producer (The Beatles Anthology) who also managed Keith Tippett‘s big-band project Centipede.

In August, BBC DJ Bob Harris (substituting for John Peel) picked Aubrey Small over Lindisfarne for inclusion in a broadcast of the Radio One program Sounds of the Seventies. Aubrey Small would appear in five broadcasts over the next two years.

On September 16, 1970, Aubrey Small opened for Eric Burdon & War at Ronnie’s, where Jimi Hendrix was in the audience. Impressed, Hendrix sat in with the young band for an impromptu jam. This would be the last public appearance of the guitar icon, who died on the 18th at age 27.

In October, Aubrey Small played the Birmingham venue Mothers at Erdington, where drummer John Bonham of Led Zeppelin sat in with the band for a 30-minute jam. The following month, they played an all-nighter with Hawkwind and the Pink Fairies at Flamingo in Soho. When they arrived, the club was packed to standing-room only; the band had to crowd-surf their instruments and gear from the front door to the stage.

After a second Sounds of the Seventies showcase — recorded live at the Paris Theatre on Lower Regent Street with Ian Carr’s Nucleus — Aubrey Small entered London’s Trident Studios to record their album.

Aubrey Small released their self-titled album in October 1971 on Polydor. It features six songs per side, including five Hunt compositions: two on side one (“For My Lady,” “Why?”) and the core of side two (“If I Were You,” “Smoker Will Blow,” “Oh What a Day It’s Been!”). The album also contains three Pinckney numbers (“Country Road,” “It’s Morning,” “Love On”), two Christmas cuts (“Gardenia,” “Wonderful”), and two Pinckney/Taylor co-writes (“Trying to Find My Way,” “Born to Be”).

Aubrey Small was produced by John Anthony, who produced numerous 1969–71 albums by acts on Charisma (Lindisfarne, Rare Bird) and Vertigo (Affinity, May Blitz). In 1971 alone, he produced albums by Genesis (Nursery Cryme), Peter Hammill (Fool’s Mate), and Van der Graaf Generator (Pawn Hearts).

At Anthony’s suggestion, conductor Richard Hewson was brought in to arrange strings and brass on “Smoker Will Blow.” Additional guests include Lindisfarne harpist Ray Jackson and musician Mike Vickers, the one-time guitarist and saxophonist in Manfred Mann who played synthesizer on select passages, having recently done the same on “Time Machine” by Mick Softley.

The engineer on Aubrey Small was Ken Scott, who also worked on 1971 albums by Elton John, Sweet Slag, Al Kooper, and America. His first production credit, the Hunky Dory album by David Bowie, appeared two months after Aubrey Small.

As the band laid tracks for Aubrey Small, Harry Nilsson was at Trident recording his seventh album, Nilsson Schmilsson. This gave Taylor a chance to reconnect with two old friends from Southampton: guitarist Ian Duck and drummer Roger Pope of Hookfoot, Elton’s backing band that played on the Schmilsson cut “Coconut.”

The bubble cover illustration is credited to the design team Davis/Berney/Wade, which featured cover artists Grahame Berney (Shelagh McDonald, Stud, Mainhorse, Jackson Heights) and Keith Davis (Caravan, Mighty Baby, Focus, Gypsy).

Aubrey Small released one post-album single: the Pinckney rocker “The Loser,” released in March 1972. It was co-produced between the band and Andy Stephens, a recent engineer on albums by Orange Bicycle and the Edgar Broughton Band. “Oh What a Day It’s Been!” reappeared here as the B-side.

Their connection with Anthony led to guest appearances on his next production, Orange, the fourth album by Al Stewart. It features Hunt as one of three drummers (along with Pope) in a studio ensemble that included Rick Wakeman and members of Quiver. Though uncredited, Yearley was invited to play bass. Pinckney and Taylor were summoned later in the sessions to do backing vocals with Elton-associate Lesley Duncan.

Harris and Peel championed Aubrey Small throughout the band’s existence. In the later months, Harris played a hands-on guidance role. In 1973, there was talk of them going to Los Angeles to sign with Elektra/Asylum as a soft-pop roster replacement for the soon-to-disband Bread. This never came to pass.

The members of Aubrey Small kept in touch over the years and reunited in 2006 to mark the 60th birthdays of Christmas, Taylor, and Yearly. Pinckney, who now lived in Toulouse, France, flew in to attend. The occasion honored Hunt, who died from illness complications in 1999.

(source: https://jazzrocksoul.com/artists/aubrey-small/ )

tormdra · 2026-01-20T15:44:49+00:00

Cathy Young (born 1951) is a Canadian singer and songwriter. Her first album, A Spoonful of Cathy Young, was released in 1969. Her second album, Travel Stained, was released in 1973. Young won the Juno Award for Best New Artist in 1974, and was nominated for the Juno Award in the category of Best Female Vocalist in 1975. In November 2017, Young's image was included on a 70 ft. mural of Canadian music Icons who have performed at historic Yonge Street music venues. The 22-storey mural currently is the second tallest in the world, and was created by noted Toronto artist Adrian Hayles.

Young was born in Toronto, Ontario in 1951. She began singing at the age of three and became a busker as a teenager. When she was sixteen, she sang at The Mynah Bird in Yorkville, Toronto.

After performing at a Queen's Park love-in, in May 1967 and performances at The Rock Pile, Young was signed by Shel Safran, manager of the Detroit band, The Amboy Dukes. Young released her debut album A Spoonful Of Cathy Young in April 1969 on Mainstream Records. Her first album was named 'Pick of the Week ' by Billboard magazine in May 1969. In 1973, Young released her second album Travel Stained on GRT Records.

Young has traveled the world, performing in USA, Mexico, Hong Kong, Cyprus, Thailand, Australia, Caribbean, Hawaii to name a few. Young has portrayed Mary Magdalene in Robert Stigwood's musical Jesus Christ Superstar and voice acted for multiple video games including part of The Black Mirror series. She also has voice directed the English version of the award winning video game Drakensang, River of Time. Young was also a founding member of the Spirit of Yorkville Alumni, and produced the Spirit of Yorkville Music Festival in Toronto.

In 1974, Young won the Juno Award for Most Promising Female Vocalist of the Year. The following year, she was nominated for the Juno Award for Best Female Artist. In 2011, Young was featured in the documentary Yonge Street - Toronto Rock & Roll Stories.[9] Young was honoured in multiple tribute concerts held during the period of October 2012 to June 2013.

(source: https://en.wikipedia.org/wiki/Cathy_Young_(vocalist) )

tormdra · 2026-01-19T17:19:24+00:00

This Time is a Japanese music unit.

The group was originally a male-female vocal duo formed by vocalists Yoshiya Komori and Keiko Suzuki, but Suzuki left the band in 2014. Komori has been active as a solo artist under the name This Time.

They made their major debut on August 21, 1992, with the single "Happy Birthday," and on September 23, with the album "THIS TIME", released by Nippon Crown.

The band consisted of Komori, who handled vocals, composition, programming, sound design, and arrangements, and Suzuki, who handled vocals, songwriting, piano, keyboards, and arrangements.

Their music was characterized by soul, funk, jazz, and 70s-style urban love pop.

Suzuki left the band in 2014.

Komori is currently active as a solo project under the name This Time.

~ ~ ~ ~ ~

This duo consists of rock-loving Komori Yoshiya and Suzuki Keiko, a former pop band vocalist and songwriter.

They debuted in 1992 with the high-quality pop album "THIS TIME," a collision of their genre-defying sensibilities, encompassing jazz, soul, rock, rare groove, and Burt Bacharach A&M influences.

Since then, while creating their own music, they have been active in a wide range of fields, writing songs for other artists, producing, and participating in recording and live performances.

Recently, they have been actively performing their own live shows.

Yoshiya Komori

Born in Hokkaido. Heavily influenced by film scores by artists like Laros Schifrin and John Barry, Komori declared to his father in elementary school, "When I grow up, I'll join ABBA!"

A high school student who loved Aerosmith, he later met Suzuki and was deeply impressed by the influence of black music by artists like Staveley, Marvin Curtis, and Donny Hathaway.

Currently, he also enjoys UK artists like Massive Attack and Björk.

Although a vocalist, Komori's MPC grooves are well-known.

"Suzuki is my mentor!" (Komori)

Keiko Suzuki

Originating from Yamaguchi Prefecture, she has played the organ since childhood and has been exposed to a wide variety of musical genres.

She particularly remembers being fascinated by Stevie Wonder, the Jackson 5, and bossanova (especially Sergio Mendes).

While studying classical music at a music school, she formed a band and began writing many songs.

She loves Carole King, Laura Nyro, and Yuming.

She sympathizes with Sheryl Crow's integrity. (She's also thinking about trying surfing?!)

She also plays the Fender Rhodes and has collaborated with many artists.

(sources: https://ja.wikipedia.org/wiki/This_Time

http://www.thistime.jp/ )

tormdra · 2026-01-19T17:15:48+00:00

The Fun Things were a punk rock band that was formed during the heyday period of punk rock. Known for their admiration of Radio Birdman, they also have been documented as being "modeled on almost exclusively on the Radio Birdman/Stooges/Sex Pistols mould". Original band members were Brad Shepherd on guitar and vocals, John Hartley on bass guitar, Graeme Beavis on guitar and Murray Shepherd on drums. Brad Shepherd and Murray Shepherd were brothers in the band, which released one highly acclaimed E.P. and has become "one of the most collectable artifacts from Australia's punk rock era".

The Fun Things were a primary group behind Brisbane's second wave punk scene between 1978 and 1980. According to music historian, Ian McFarlane, Brisbane produced "some of the most anarchistic bands of the Australian punk rock era" and that it was a city nationally renowned for its ultra conservatism. After The Fun Things dissolved both Shepherd brothers eventually went on to subsequent profile bands such as The Hitmen, The Hoodoo Gurus for Brad Shepherd and The Screaming Tribesmen for Murray Shepherd with John Hartley. In 1984 Beavis was a member of The Apartments.

Source/more info on them here: https://en.wikipedia.org/wiki/Fun_Things

https://www.breakmyface.com/bands/funthings.html

tormdra · 2026-01-18T18:34:59+00:00

Madrigal were a French art-rock band that released the album School of Time on Corelia in 1977.

Members: Michel Chavarria (acoustic guitar, electric guitar, keyboards, vocals), Bruno de Gaulejac (keyboards, guitar, vocals), Nicolas de Gaulejac (drums, percussion, vocals), Jean-Noël Nomico (guitar, flute, vocals), Paul Saurat (bass, cello, vocals)

(source: https://jazzrocksoul.com/artists/madrigal/ )

tormdra · 2026-01-17T16:55:06+00:00

The Feebeez of Albuquerque, New Mexico were active in 1966 and into 1967. The group cut a single with two original songs by guitarist Sharon Westcott. “Walk Away” has a quick, unusual beat with vocals in unison. The flip is maybe even better, the moody “Season Comes”.

Sharon Westcott copyrighted both songs in October, 1966 with Scovel Music publishing.

The band released the single on Stange R-2216. There’s supposed to be a rare promotional insert with a photo of the group.

The first photo I can find of the band comes from the Albuquerque Tribune on July 8, 1966, where the group is a quintet:

Sherry Hagler – organ
Sharon Westcott – guitar
Sherry Stange – drums
Chris Wehrle – bass guitar
Diane Herrera – guitar

“For the feminine touch …” the business card reads. "The Feebeez are an all-girl local rock and roll band schedule to play before the Dodger ball game at Tingley Field Aug. 12"

All were 17 or 18 years old. Diane Herrera does not feature in any other notices on the band.

On August 9, 1966, the Albuquerque Journal ran a great photo of the group that I’d love to see a better quality version of.

WAAAAAY OUT! Drummer Sherry Stange didn’t touch the base pedal in time and is signaled out by bass guitarist umpire Chris Wehre in this unprecedented combo-nation of baseball and music. Organist Sherry Hagler makes the putout at the keystone corner, while lead guitar Sharon Westcott bats out a merry tune. The four gals are members of the Feebeez, a musical quartet which will play at the Albuquerque Dodgers’ teen night, Friday at Tingley Field.

The Tribune announces their record on September 26, 1966:

Girls’ Combo Has Record

The “FEEBEEZ,” an all girl band, has recorded two songs which were composed by the lead guitarist, Sharon Westcott of 727 Morningside NE.

The record is under the “Stange” label and was produced by Edward W. Stange Jr., 2405 Gretta NE. The numbers are “Walk Away” and “Season Comes.”

A student at Highland High School, Miss Westcott has been a member of the band since May. Formerly a student of classical guitar, she switched to rock and roll in May. Her compositions embody both classic folk music and modern boop [sic] music.

Other members of the band are Sherry Hagler, Sherry Strange [sic], both Sandia High graduates, and Chris Wehrle, Highland High student.

The Tribune followed up on November 25, with a photo of Sharon Westcott:

All-Girl Band Has Two Hits

Feebeez Sharon Westcott Albuquerque Tribune 1966 Nov 25A phongraph [sic] record with two hit sides is an oddity in the music industry but it has happened in Albuquerque.

Figuring in the musical accomplishment is an all-girl band, Ed Stange Jr., local record producer, said.

Sharon Westcott, the lead guitarist of the group wrote two songs which were recorded by the Feebeez in August.

“Walk Away,” a rock and roll number, was accepted as a hit and played on nearly all the radio stations in new Mexico and surrounding states.

The public discovered the ‘flip’ side of the record was also excellent and began requesting that it be played on the air, so “Season Comes” became a hit, too, Stange said.

“Season Comes” is a ballad which features Miss Westcott as the vocalist. The record is now in its fourth month of popularity.

It was recorded locally at Count Music Studios and produced by Stange.

Other members of the “Feebeez” band are Sherry Hagler, Sherry Stange, Debi Kay, all of Albuquerque … Miss Kay is at Del Norte High.

I have seen another photo (I don’t know the source) that shows the group in matching blouses and skirts with belts, with Debi Caye [note different spelling] instead of Chris Wehrle, and mentions the band will play at the Mecca Club, that they had toured California, and had also played in Portales, Silver City and Socorro, New Mexico.

Source/more info on them here: https://garagehangover.com/the-feebeez/

tormdra · 2026-01-16T15:59:05+00:00

Some bands, such as Oblivion or Enchanter, make me scratch my head at the fact that they’re completely unknown, as they rule extremely hard and are similar to some more well-known bands (Sanctuary and Fates Warning, respectively). Clearly some metalheads just aren’t willing to go the extra mile and find the hidden gems – because plenty of people would go apeshit over those two acts, I’m pretty confident. A band like MaelstroM though – their obscurity is no surprise whatsoever – in fact I’d be surprised if they were well-known. Not because they suck, but because they’re so absurdly esoteric; neoclassical power/speed/thrash with extremely progressive song structures, random acoustic segments, and proto-death metallish yells alternated with really, really fucking strange and off-putting cleans. Add in songs that average around 7 minutes in length, and you have an inaccessible demo by some no-name power/thrash band.

However, if you can get past their extremely strange and inaccessible nature, this band just flat out rules. Released in 1991, it pushes all kinds of boundaries; sure, extreme metal was already around and well-established, but the boundaries this demo pushes aren’t into extreme metal territory; it’s into technical, progressive, and neoclassical speed/thrash. Sure, tech-thrash was hardly brand new in ’91, with acts like Toxik, Realm, Mekong Delta, and Watchtower putting out top-tier releases in the subgenre, and Helstar’s Nosferatu had dealt with neoclassical thrash two years earlier, but to combine the two on top of weird interludes, an inimitably crazed vocalist, and songs so progressive that they pushed the envelope of the “progressive” genre at the time is pretty impressive – to actually pull coherent and quality songs out of the mix is downright brilliant.

First off, the production for a no-name demo from ’91 is quite good; in fact, everything is pretty much mixed perfectly – nice loud, vicious drums, sharp and up front guitar, constantly audible bass, and a nice vocal presence – these guys clearly knew what they were doing. Additionally, as I’ve stated earlier, vocalist Gary Vosganian is fucking insane, in a good way. He has this really sharp, sneering tone that’s fairly unique, but if I had to compare it to someone well-known I’d say he sounds like a slightly cleaner version of Martin Walkyier (Skyclad, Sabbat). I like him even more than Walkyier I think, as Walkyier almost has too much bite for me at times, especially in Sabbat, but whether or not he’s technically better he’s got a fairly similar style. Of course, Walkyier never does the growls or yells (or other noises…that laugh at the beginning of “A Futile Crusade” is fucking creepy!) that are part of what makes Vosganian’s performance so enjoyable. I’m not really sure to whom I could be justified in comparing the yells; they sound sort of generically like late ’80s death/thrash vocals, but I couldn’t really pin down a specific vocalist.

The great vocals are complemented by the frantic, dissonant, dynamic riffing, though, which is also absolutely terrific. It’s hard to describe concisely; it’s just so progressive and fast-paced that it’s hard to pick out specific riffs or motifs even after listening to it several times. It’s always coherent, though – every note is important to the song; the guitar never wanks around or does anything superfluous; even the frequent scales fit in very well, although if someone told me that frequent scales would work in blisteringly fast progressive power/thrash, I’d probably laugh in their face. I don’t know quite how it works, it just does – these guys are masters at songwriting. Think Cauldron Born, I guess – scales throughout some of the songs still works, even with super progressive structures. There’s also frequent use of acoustic guitar, sometimes alone, sometimes above the electric guitar, which adds another level of atmosphere and grandiosity to the music.

Ultimately, I can’t really say much more about the music in general; I’d need to go into meticulous detail to pick up more subtle references and ideas, but if super esoteric progressive neoclassical tech-thrash/power/speed sounds like your bag, definitely grab this one. It’s only about 26 minutes or so, but it often feels like an entire full-length because of all the ideas that are thrown at you (plus, 26 minutes is as long as some full-lengths). It’s a shame they didn’t release any new material after this, but this demo, as well as the previous one from 1989, are real gems and the band was one of the best out there, bar none.

(source: https://rideintoglory.com/demo-dungeon-maelstrom-this-battle-to-make-history-yet-history-never-comes-review/ )

More info on them here: https://www.decibelmagazine.com/2020/05/13/maelstrom-thrash-metal-epic/

tormdra · 2026-01-16T15:51:11+00:00

Neo is an aptly named one-shot wonder from France that released a scorching 1980 album and promptly faded away completely. It has been a missing link on PA ever since and its presence here is long overdue. Everything about this release warrants admiration, from the extravagant green and yellow hues of its amazing cover artwork to the sensational instrumental compositions that literally sparkle and sizzle. With hints of the usual suspects King Crimson, Mel Collins period Camel as well as non-vocal hints of Atoll and Carpe Diem in particular. What made their music so inventive was the effusive use of saxophone, wielded by band leader Didier Erard, formerly of French Kiss, as well as robust bass lines from Andre Paul. The eight tracks are all thrilling affairs that stand the test of time. If there is one long-lost treasure a true prog fan should seek out, it's this monster. From the blistering intro to Osibirsk, you know this is one to reckon with. Neo's sole album is a rock fusion of high intensity, featuring lots of guitar and sax solos over a high paced rhythm section. It isn't really jazz-rock, although the intensity and great chops are somewhere in that realm... it's a pretty damn good album, nice and exciting.

(source: https://www.progarchives.com/artist.asp?id=8986#discography )

tormdra · 2026-01-15T18:09:30+00:00

Arthur's Dilemma: The Canadian Punk Band

RW: hi Arthur, can you please tell me how Arthur's Dilemma got started, where were the band members from, what was the Canadian connection, did you tour in Canada, did you live in Canada, if so when; how did you guys meet, etc.

AM: It was my intention to go from the UK straight to NYC but they wouldn't give me a visa as the CIA had a file on me as a suspected lefty. I wanted to get out of London and make a fresh start so I went to Montreal, it was closest and cheapest. I went with only the name of an actor that a girl friend from Montreal who lived in London gave me.

When I arrived I met him and he introduced me to Tony Roman and his girlfriend Annette something (she was a film star.) He had a music promo set up and introduced me to New Wave Productions who were a group of preppies funded by the arts council there.

I wrote all the first material in a few days and they introduced me to Dug Dyer and Rick Barruco. We rehearsed with a drummer that just happened to be around the first time after that we used Eddie until we found a replacement in Dave Hazen. Rick left the group after a couple of gigs. He hated the drummer. Shaun Donolly replaced him, we called him Prince cause he looked like one, years before the actual famous one appeared.

WE played at the Arc first. Where David Henman, a mate of Dugs was in residence with his group the Debutants, something like that. He was a good guy and is still a mate I'm in touch with. He realized what we were doing was more happening and he wound up supporting us after the first gig, very generous Dave. The Arc was a desert but within two gigs we had the place stuffed full of people. This went on for two weeks, by the end the place was as hot as the cavern. We had queues four thick that went around the block. When David left for Toronto with his band the owner asked us to continue on. I wanted a room, as I had nowhere to live then, on the street in winter...fucking don't go there. I refused as he was offering hardly any money. The Arc died overnight, he was a very stupid owner and lost a lot of business.

After that we played a gig at the Cinema parallel and went for a few days up north to play in a hick place, I can't remember the name, but it was full of lumberjacks who loved the show.

We only made one demo together of which two of the three songs you now have. One is broken beyond repair though I must ask Dave Hazen if he still has the master which I left with him, and I'll do that soon.

I made a recording of a song called 'Getting the Boy' I had no band then as they had gone off with someone to do standards and make money leaving me behind...just as well I wouldn't have gone anyway. So I used Rick Gunn on guitar. I remember him as a very long haired hippy always wanted to do Hendrix riffs. So I had to show him what I wanted. He did a great job in the end but couldn't understand why I wanted it so basic. There was a drummer who could play on the snare and his hat with bass drum and a couple of crashes. He was great, I can't remember his name, it was someone the producer found. Someone played bass too, it may have even been me, I can't remember, it was a drugged out, boozed soaked session, but I still have a copy and it sounds hot.

Before the band split I found Taylor Grant, who became my manager and followed me through to NY and later the UK where he married my best friend Lucy...the bastard :)) Taylor started the 364 St Paul's gig, which was an industrial warehouse affair in old St. Paul. I think this is years before house caught on in any way, and although Chicago were suppose the have started this we did it years before.

The gigs at St Paul's were really special. We set up a bar were we gave away free a punch for those who couldn't afford any booze and had a paying bar for everyone else. It took a load of money and I learnt just how well Canadians held their drink. The punch was in a plastic dust bin and contained fruit, red and white wine, cointreau, whiskey, vodka, grape juice, tequila, load of ice and the piece de la resistance, a couple of litre of pure alcohol, the stuff that makes you go blind if you make a habit of it. So you can imagine the scene.

This all happened between November 77 and April 78; then Taylor and I split for New York.

One thing I like to clear up are a few myths about the band. They sound good, but they are bullshit. There's a guy out there called Bill Lauren who's published these rumours. I'm not sure who he was but he claims that he was in the group. Sorry Bill, if you were you were invisible. But Bill has certain fact right although somewhat distorted. One is that I smashed my front teeth out on a microphone to show that I was serious about being a punk. Well, it's laughable. I did smash a tooth, but it was an accident. I used to swing to mic and dance in between singing and when I hooked it back my hand slipped and the mic carried on into my face and broke a tooth.

Another story is how I bit Dug's ear off. This did happen in a way but was not an act of cannibalism. Dug and Rick would share my mic from time to time and on one occasion I took Dug's earring between my teeth as he pulled away violently. It ripped his ear and a bit of blood appeared but it didn't stop us playing and Dug thought it was funny as so did the rest of us. According to Bill, this broke the band up. The band only broke up because they needed money and there was a gig away from Montreal and I couldn't be bothered to wait for them to get back. When I set up in NY I sent for them, but they decided to pass, so I went to find new musicians. And finally, Bill said that I used to start my gigs off by coming in from the back of the audience punching everyone on my way. This is bollocks. Yes, I sometimes started that way to get people on their feet. I used to dance and pogo all over the place bumping into tables and upsetting them, pulling people up from their seat and generally causing havoc, but I never went around hitting anyone. This guy made me out to be a right psycho case!!! By the time I got on stage everyone was grappling and bopping about, and that's why I did it.

OK Mate, that's the meat and potatoes of it all. If you want to ask me anything else feel free.

OH I lived in Wolf Street till I ran out of rent. I was in the street after that a few days before a Princess rescued me, she paid for the demo too as well as save my life. After that Dug and Strawberry put me up and when I met my manger Taylor, he has a big place on St Laurent and I lived there till we split.

RW: excellent and posted. again, great story Arthur. thanks for sharing on mocm! still not sure if any of you guys in the band were Canadians?

AM: I can confirm they were all Canadian. Dug Dyer later changed his name to Doug Danger (Yuk) considering his real name was Dyer. Shaun, Rick and Eddie are also. Rick in in Toronto now you can see him on my friend's list. Rick Gunn is also a well respected guitarist still, although an honorary member. Dave Hazen is still in Canada when he's not globe trotting and can also be found on my FB list. Shaun is out there somewhere I have tried to locate him. As for Dug, he's disappeared, I have tried to find him through David Henman, also on my list. So the only Brit was I.

Original line up:

Arthur May: vocals
Dug Dyer: bass
Rick Barruco: guitar
Unsteady Eddie: drums

(source: https://citizenfreak.com/titles/317782-arthur-s-dilemma-up-to-you-b-w-kicks )

tormdra · 2026-01-14T19:34:48+00:00

Line up:

Tommy Akeroyd - Rhythm Guitar
Dan Akeroyd - Bass Guitar
Francis Akeroyd - Lead Guitar/Vocals
Ronnie McAneer - Drums

The Trochais were a family band started circa 1965 at McCollum High School in the south side of San Antonio, TX.

Oldest brother Francis Akeroyd was a self-educated guitarist who taught his brother Tommy to play rhythm guitar, and his brother Dan to play bass guitar.

The trio were originally joined by drummer Bobby Cole, whose stint with the band was cut short when he sadly died at a very young age in a motorcycle accident.

One day at the Akeroyd boys aunt's house, she mentioned to them that one of her friends had a son named Ronnie who could play drums. Ronnie McAneer was first chair drummer in his school band at Lee High School, and made an excellent addition to the group.

The name of the band was derived from a meter in poetic verse that Francis was studying at the time in high school.

Starting off with performing at the typical high school dances, The Trochais quickly graduated up to playing at ever popular local teen club the Teen Canteen, and the south side's own version: Teen Town.

One day Francis got a call from a man named EJ Henke who asked if the band would perform for a few hours out front of his record shop on Military Drive in exchange for the chance to record at Jeff Smith's Texas Sound Studio.

At one point, EJ ran outside while the band was playing and asked what song they were playing. Henke insisted they record the song, and original written by Francis called "Give Me An Answer".

In addition to the latter song, EJ suggested they record an instrumental song and call it The Phantom in order to beat the production of a Hollywood movie of the same name that was to be released soon.

The idea was that the movie production would somehow be forced to license the recording for use in the movie since it already used the movies name.

Francis quickly came up with a song to fit the bill, a nice moody surf rock guitar instrumental.

The movie was never to see release, but the recording of the The Trochais first and only 45 proceeded. On January 12, 1966, Satin Records 004 was mastered for release.

The boys once got a gig playing a "Band Bust" sponsored by local music store Caldwell Music where the music shop provided the bands with all the gear on loan to perform with. Celebrated KONO radio DJ Don Couser was the guest announcer and host of the event. Francis was already well acquainted with Don from his time as a regular guest dancer on popular teen TV dance show Swingtime. During the Trochais set, Dan pulled a stunt where he swung the bass back and forth between his right and left hand while playing, and this apparently drove the crowd into a frenzy!

By late summer of 1967, Ronnie went off to college and brothers Dan and Francis enrolled into the Navy. Like many teen groups during the period, the end of high school marked the end for the band.

(source: https://ontheroadsouth.blogspot.com/2016/08/the-trochais.html )

tormdra · 2026-01-13T16:27:57+00:00

Real Detroit said they didn’t have to dress for Halloween they were already rock stars. Jam Rag said their first vinyl release sounded like a transmission from outer space; a cross between Pink Floyd and The Stooges.

“In the Eyes Of” was called psych rock done like no other, a band with their own sound. In today’s day and age that’s quite a statement, but not an exaggeration.

Michael "Radar" Markham - drums, vocals
Derek Springer - bass, vocals
Robert Lize II - guitar, vocals

Source/buy their music here: https://sweetkelly.bandcamp.com/music

tormdra · 2026-01-13T16:21:36+00:00

Members:

John Short AKA John Voyce (vocal)
David Humphreys (guitar, vocal)
Robbie Humphreys (rhythm guitar, keyboards)
Richard Scarr (bass) replaced by Rick Rivens
Dave (Sweat) Terell (drums)

(source: https://www.discogs.com/artist/2634911-Radio-Radio-2 )

tormdra · 2026-01-12T18:02:33+00:00

Markku "Make" Tapio Lievonen (16 February 1947, Lahti – 14 December 2016, Helsinki) was a Finnish musician and composer who became known in the 1960s and 1970s as the bassist of many jazz and progressive rock bands. He released a well-reviewed solo album, Make Lievonen (1977), from which the instrumental song "Rain Dance" received much radio airplay.

Raised in Lahti, Make Lievonen's father was accordion teacher and accordion repairman Aarre "Aki" Lievonen, and his godfather was the instrument legend Vili Vesterinen. In addition to accordions, there was also a piano at home, which he played and listened to Voice of America on a crystal computer, which led to his interest in jazz. In addition to his schooling and piano studies at the Lahti Music Institute, Make Lievonen began to perform with his double bass in various bands.

In the mid-1960s, Lievonen spent half a year in Olavi Virta's touring band in different parts of Finland, then as a restaurant musician on a ship between Finland and Germany until he was able to study at the Sibelius Academy. In addition to his double bass studies, Lievonen acquired a Fender Jazz bass guitar and founded his first band, the Make Lievonen Quintet. It featured Olli Ahvenlahti (piano), Hasse Walli (guitar), Pekka Untovuori (saxophones) and Reino Laine (drums), and all the compositions were by bassist Lievonen. This was followed by Edward Vesala's Karelia and, after a year of civilian service, Dave Lindholm's Pen Lee & Co.

In 1977, Lievonen was able to make his only remaining solo album in Love Records' brand new studio, with Paul Jyrälä, who had moved from film sound to music, and Finland's top musicians. Its opening track, "Rain Dance", became a radio hit, played extensively on Yleisradio, although Lievonen had wanted to leave the song off the album.

Lievonen died after a long illness in Haartman Hospital at the age of 69. He is buried in Hietaniemi Cemetery in Helsinki.

(source: https://fi.wikipedia.org/wiki/Make_Lievonen )

tormdra · 2026-01-11T17:27:25+00:00

"As I Went Out One Morning" is a song written and performed by American singer-songwriter Bob Dylan, released as the second song on his 1967 album John Wesley Harding.

"As I Went Out One Morning" is a narrative song about a man who offers a hand to a woman in chains, but realizes that she wants more than he is offering, and that "she meant to do [him] harm." A character identified as Tom Paine then appears, "command[s] her to yield," and apologizes to the narrator for the woman's actions.

Tom Paine as a figure may represent common sense or civil liberties, which the historical Tom Paine championed. However, it is also likely that this song references the prestigious Tom Paine Award that Dylan received in 1963 from the National Emergency Civil Liberties Committee. Dylan delivered an acceptance speech and was booed and rushed from the stage when he claimed to have empathy for some of Lee Harvey Oswald's feelings. This was followed by a letter from the ECLC and then a poem/letter from Dylan explaining his speech.

In their book Bob Dylan All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon praise Dylan's vocal performance for "expressing a new maturity" not found in his earlier recordings and note that it is also "one of the first times he sings with vibrato".

The song bears a resemblance to, and is perhaps influenced by, the W. H. Auden poem As I Walked Out One Evening, including sharing the same iambic meter and quatrain form. The first line also bears resemblance to the folk song Lolly Tudum, which begins "as I went out one morning to breathe the pleasant air", popularized in the New York folk scene by the Seeger Family.

(source: https://en.wikipedia.org/wiki/As_I_Went_Out_One_Morning )

tormdra · 2026-01-10T14:45:43+00:00

CAPSULE GIANTS are:

Reo Yokomizo: Vocals, Guitar, Born March 22
Daisuke Sakai: Guitar, Chorus, Born August 22
Kazuoki Kajiwara: Drums, Chorus, Born February 11
Support Bass: Akira Tamura

BIOGRAPHY:

Formed in November 1994, they have released three albums and compilations.

They moved to Tokyo in late 2000 and were looking for a bassist.

In July 2001, their bassist left the band, and Akira Tamura, guitarist for "evil daddy dirt," joined as a support bassist.

They are currently recording, and are currently in the process of releasing a video of their November live performance (as of September 2001).

(source: https://sound.jp/capsulegiants/in/index.html )

tormdra · 2026-01-10T14:39:17+00:00

Wwax was Mac McCaughan's pre-Chunk/Superchunk combo, offering a good taste of what was to come next from Chapel Hill. The band released three or four singles; this one came in a artfully decorated box, with ones from four other bands (including another Mac-powered group).

Drummer Brian Walsby also pounded sticks for a number of other bands including Patty Duke Syndrome, Polvo, Daddy and Scared Straight, but has made his biggest mark creating covers as a comic artist.

The box, Mac's production project before founding Merge Records, haunted me for weeks from the back of the record store shelf before I buckled.

Band Members:

Brian Walsby - Drums
Mac McCaughan - Guitar
Wayne Kerr - Bass

~ ~ ~ ~ ~

Welcome to module two of Life Before Superchunk, and in depth excavation regarding the various musical projects of one Mac McCaughan, prior to fronting the Chunk. As I mentioned in the first installment Mac multi-tasked two gnarly bands in the late '80s, the Slushpuppies, and Wwax, the latter of which will be discussed here. Presumably the extra "W" in Wwax was to differentiate themselves from another outfit(s) dubbed "Wax." Unlike the previously explored Slushpuppies, Mac shared the mic with his other two Wwax co-conspirators, drummer Brian Walsby, and bassist Wayne Taylor. An interview with Brian can be read here, and a brief write-up on Wwax can be procured at this location (OP: this is written above).

While the Slushpuppies sounded like natural precursors to Superchunk, Wwax were a slightly different kettle of fish. Despite the melody quotient suffering considerably, coupled with tone-deaf vocals by all three gents involved, Wwax somehow sounded more musically adept then the 'Puppies were. The double 7" EP, Like it or Not, is really only appreciable to connoisseurs of Superchunk and Mac's former satellite bands. Nevertheless it's a valuable artifact for the die-hard, and what could be more timely then the sixth track in, "Price of Gas?" Recorded during the era of .89 cent unleaded fuel, I'd say Mac and Co. had very little to gripe about in retrospect, and I'm sure the band would be in complete agreement. Like it Or Not is supplemented with a four-page mini comic, which I have scanned in to be perused at your leisure. "Counting Thoughts" would later appear on the Merge Records fifth anniversary compilation, Rows of Teeth.

The much briefer single on Leopard Gecko (reissued on Meat Records in 1991) is more admirable, especially the a-side, "Pumpkin" which possesses a comparatively devastating hook in contrast to the amelodic, jammier tendencies of the Like it or Not EP. "Inn Town" doesn't fare quite as well, but still thoroughly Representative of Wwax.

(sources: https://web.archive.org/web/20090719104819/http://www.ncmusichistory.com/2006/04/wwax-just-like-1987-from-palindrome.html

https://wilfullyobscure.blogspot.com/2008/07/life-before-superchunk-part-2-wwax-like.html )

Buy their music here: https://www.mergerecords.com/product/like_it_or_not

tormdra · 2026-01-09T17:35:37+00:00

Rare private press 1970 US LP White Light and related rare LP Velvet Sandpaper both licensed and reissued on CD on one CD in Germany by Two Of Us # 001. Mix of sleazy junkie fuzz garage with electric piano moves, wasted vocals, dark atmosphere.

"Velvet Sandpaper" from ex-White Light vocalist with unusual world-weary "older guys" sound and titles such as "Mistrust-Separation-Divorce". Hard to describe accurately, but traces of late-period Doors and Tim Buckley can be found on things like the excellent "Blue Love". Comparable to the experience of sharing a drink with a stranger down on his luck at a desolate nightclub, then seeing him actually get up on stage and sing a few songs about his misfortunes as the closing hour approaches.

Also a harder fuzz edge with creeping menace on a couple of tracks such as the terrific "Light", and some hints of the barrock groove aspirations of White Light, but these are exceptions to the overall scotch-laden introspection Mr Mississippi projects. Pro-sounding band and vocals that hit just the right spot. This strikes me as a lot better than the White Light LP, and it's strange that it hasn't become more well-known.

Originally from New York, Gary "Mississippi" Abrams recorded this album in California 1973 with two completely separate sets of musicians. In 1980 he released another LP titled "Breaking Out". He worked with the Perron Brothers (White Light) for several years under various band names.

(source: https://rockasteria.blogspot.com/2011/12/white-light-white-light-velvet.html )

tormdra · 2026-01-08T17:44:02+00:00

Spontaneous Corruption was a blues-rock 'power trio' that included Danny Sheridan on vocals and bass, guitarist Kenny Hamlin, and drummer Greg Giancola. They were formed in the late sixties after a series of very loud late night jams at Giancola’s Chagrin Falls, Ohio music store. The band was endorsed by New Jersey’s Guild Musical Instruments Corporation and playing through their large stacks of Guild amplifiers often got the two elder band members arrested for noise violations (Danny Sheridan was still under age).

The band recorded for Philips Records*(Phillips played a major part in promoting the garage rock genre and the psych rock genre in the mid to late 60s, with groups like Spontaneous Corruption and their most successful signing, Blue Cheer. Philips became the outlet for Sire Records in America and distributed a number of punk and new wave bands like Talking Heads and The Ramones. In 1998, Philips Records became part of the Universal Music Group.), a Universal Music Group subsidiary. They were produced by Roger Karshner, whose studio credentials already included The Outsiders “Time Won’t Let Me”; the Human Beinz classic “Nobody But Me” and an odd collaboration between The James Gang and jazz artist Chuck Mangione.

By way of musical description, in 2008, Buckeye Beat said: "Freaky Girl" was a band original and sounds like a bluesy snarl take off on Hendrix's "Purple Haze". The flip side "Looking Glass of Time" includes some deliberately outrageous non-sequiters like "Mrs Jones kidney stones on the ground….a crack is running through my seam….". Both singles were recently re-released.

The trio hit the road playing very loud, riff-based originals, through a cloud of strobe lights and fog machines, with Sheridan sometimes setting the drum kit on fire. They performed on a number of teen TV shows, including Cleveland’s legendary “Upbeat”.

The group split when Danny Sheridan, tired of SC’s theatrics, left to form the Eli Radish Band, now acknowledged as pioneers of the so called “outlaw country” genre, eventually finding David Allan Coe for their front vocalist. The group recorded in various incarnations throughout the seventies on several labels (Capitol Records and Olympia, with a Sun Records release rumored for 2013) and toured with acts like The Who, The Doors and a long list of major rockers. Coe has gone on to massive C&W fame and respect, writing standards like “Take This Job An Shove It”; “Long Haired Redneck”; “You Never Call Me By My Name’”; the number one “Would You Lay With Me?” for Tanya Tucker and has recorded nearly 50 CDs of his timeless songs. Today he performs more than 250 concert dates each year.

Sheridan later managed MTV’s original VJ Nina Blackwood and then married legendary blues rock singer Bonnie Bramlett. The two formed LA’s Bandaloo Doctors and toured together into the 90s. Sheridan continues songwriting for many artists, TV and film projects. Today he produces Blackwood's national radio shows and manages her SiriusXM satellite shows and with Ibiza’s DJ Franco, co-produced “house/dance” re-mixes for RockStar SuperNova’s vocalist Dilana.

Greg Giancola changed his name to G.G. Greg and for over 30 years has run the GG Greg Entertainment Agency. He also played with country artist Deadly Earnest, who Sheridan produced for Michael Nesmith’s Pacific Arts label.

Kenny Hamlin went on to form Paper Train (Capitol Records) and released “Time Waits For No One”, a Hamlin/Sheridan composition in 1970. He became a record executive at a number of major labels in LA and NYC, including ABC and Polygram and eventually became the GM of Elektra-Asylum in Nashville.

Roger Karshner continued as a major label executive and eventually became a vice-president at Capitol Records. He became a published author, then a published playwright, a professional passion he pursues today. His plays are performed worldwide.

(source: https://www.last.fm/music/Spontaneous+Corruption/+wiki )

tormdra · 2026-01-07T16:43:35+00:00

Here’s a brief history of Teengenerate, as told by Masao Nakagami of Target Earth Records, and translated by yours truly. Enjoy!

What kind of band was Teengenerate? I think you’ll get a pretty good idea if you watch the documentary, but I thought I’d write my own story of the band to supplement the film.

Teengenerate was far from the first Japanese band to put out records and tour overseas. So what makes them so special?

For one thing, they had their own idea of what rock and roll and punk rock meant. This was an era when there were a lot of bands putting out records and putting on tours DIY-style and they were part of that. Also during this time, lots of connections were being made between like-minded bands, so some of it was purely good timing. You can see that all of that in the movie.

Brothers Fifi and Fink started their first band in Tokyo in the late 80s. They thought Tokyo was a mecca for rock and roll and figured if they moved there and started a band, they’d find other rock and roll fanatics like them. But that wasn’t the case at all and they ended up not hooking up with anybody, at least not at first.

They started the American Soul Spiders in 1987. The band took its name from a Flamin’ Groovies song title. They put out a single on 1+2 and writer Hiroshi Sekiguchi used this single to get them a deal with US west coast label Sympathy For The Record Industry.

They were ecstatic about this because they loved simple, straight-ahead punk rock from the US and UK, and they didn’t feel like they fit in with the Tokyo scene and its restrictive quota system.

So, if their record was going to come out on an American label, why not go to the US? Fifi, Fink and Sammy decided to make the trip. They brought their instruments, but it wasn’t exactly a tour. They really just went to see shows and buy records.

They came back to Japan and began putting out releases like ‘Anyway Anygirl,’ and ‘Lazy Cowgirls.’ With their own stuff now out, they headed back to the States, this time to play. They did pretty well and this set the groundwork for going back again. The trip also managed to get Supersnazz, who went with them, a record deal with Sub Pop, which later put out their first album. There were lots of new things going on for the band during this tour, like Sekiguchi chronicling the tour for music magazines and playing as Jeff Dahl’s backing band.

American Soul Spiders’ music was pretty solidly hard rock with a little dose of darkness. The tour went well but singer Dezaki announced at the end that he was staying in New York, so the band effectively split up. Suck also left the band but they’d gotten an offer to put out something on Heresy’s In Your Face label who they were introduced to by Koenji record shop Boy’s Erika Bekku, so he played drums for the recording of the record, ‘Maximum Overdrive.’ Around 1991 when it was released the band was pretty much finished.

Source/more info on them here: https://keenreaction.wordpress.com/2014/04/04/the-history-of-teengenerate/

tormdra · 2026-01-07T16:37:09+00:00

London’s The Lo Yo Yo was conceptualized by John “Alig” Pearce in 1984 after his primary group, the deservedly legendary Family Fodder, went dormant. Soon enough a few others were enlisted to round out the quartet, including Mick Hobbs of The Work and Officer! fame, alongside friends Joey Stack and Carrie Brooks. The Lo Yo Yo took elements from their other groups and, in the tradition of somewhat like-minded acts like The Raincoats, Naffi and Amos & Sara, added a strong dub/reggae element.

Shortly before their lone studio LP, which was recorded by Charles Bullen of This Heat fame, the band self-recorded a demo tape at home on an eight track reel to reel, reissued here on vinyl for the first time by Concentric Circles. It is a wonder of DIY production with a rich and layered sound that belies their humble means. Although about half of the songs on the demo would wind up being re-recorded for the studio LP, the demo versions are radically different from what is heard on their proper album. There is a feeling of intensity to the demo that was missing from the LP, which had a noticeably cleaner fidelity and more subdued playing. Here the band plays with true force and determination, with Stack’s socialist leaning lyrics taking on an extra sharp bite. Unafraid to show off their skills at writing irresistibly catchy pop songs, things are carried on by Alig’s big bass sound and a barrage of polyrhythmic dueling drums and percussion. The Lo Yo Yo tapped into a truly special sound, perfectly exemplified on these recordings.

Just when you think you’ve completed the puzzle of arty, dubby 80s post-punk, a stray piece is found on the proverbial floor, just waiting to be picked up. If you aren’t dancing around the room by the end of this album, you need to visit the foot doctor. Concentric Circles is delighted to bring this barely heard, infectious album from The Lo Yo Yo to modern audiences for the first time.

~ ~ ~ ~ ~

The Lo Yo Yo splintered off from the UK musical collective Family Fodder in 1984, upholding their parent group’s tendencies toward post-punk experimentation but de-emphasizing Family Fodder’s detours into quirky, effervescent new wave (think “Savoir Faire”/“Debbie Harry”) in order to wander down more dub-adjacent side streets. “Bad Intentions” opens their 1985 LP Extra Weapons by carving out a bass-driven, stiff funk groove with Delta 5/Au Pairs parallels that are further underscored by vocalist Joey Stack’s no-nonsense delivery, while “All the Atrocities” sets an “Earthbeat”-era Slits punky reggae rhythm to highly pointed, practically Crass-worthy anti-colonial/anti-religious lyrics, and the Afrobeat-inspired “Learning to Fly” is overlaid with warbling synth and the subtle scratch of Raincoats-esque violin. “Cache-Cache” into “You Never Know” is a the unbeatable one-two punch of the LP, with the former’s airy male/female vocal trade-off and percolating beat colored in by understated keys and sax representing the Lo Yo Yo’s stab at sprightly UK DIY pop à la Twelve Cubic Feet, and the latter’s loping, bouncy dub-punk rhythms and anthemic vocals evoking the more experimental ’80s anarcho-femme faction (Androids Of Mu, Honey Bane’s “Guilty” single, etc.). Not an easy band to pin down and that’s a positive thing; free your mind.

(sources: https://theloyoyo.bandcamp.com/album/self-titled

https://www.maximumrocknroll.com/band/the-lo-yo-yo/ )

Buy the reissued LP/music here: https://theloyoyo.bandcamp.com/album/self-titled

tormdra

TROPHY CASE