Punk rock. Blackbox Records, based out of Germany I believe, released a spate of punk/pop/grunge type records in the early '90s, and this CD compilation manages to gather up nearly 20 songs, many of which had only existed on vinyl prior to. Some fairly renown American outfits are present and accounted for: Samiam who contribute an acoustic take of their 1990-era chestnut, "Home Sweet Home," Big Drill Car's live rendering of Billy Joel's "Big Shot" is phenomenal, and the Doughboys take on Kiss' "Stole Your Love" live in the flesh. As for the other Yanks that appear on Blackbox, there's in-concert Big Chief goodness, Nova Mob's "Evergreen Memorial Drive" is a tuneful pop reprieve from this disks overall mayhem, and Bone Club and The Heretics who never got their due on either side of the pond, round up the US contingent.
The most prominent of the European participants, Leatherface contribute a pair of songs from the Mush-era (or thereabouts). Probably worth the price of admission alone for more than a few of you. Spoon (track four) are not the Austin indie idols of the same moniker. The Speed Niggs assault our collective senses with their version of Murphy's Law's "Secret Agent S.K.I.N," and the Big Drill Car indebted Thud! pose the musical question, "What is comfort when you're dead?" Indeed.
01. Big Chief - Jungle Jam (live)
02. Nova Mob - Evergreen Memorial Drive
03. Samiam - Sky Flying By
04. Spoon - Fearless
05. EA 80 - Wo steht die Uhr?
06. Heretics - Gotta Go
07. Boxhamsters - Auf Wiedersehen
08. Leatherface - Eagle
09. Bone Club - With Me
10. Thud! - What is Comfort...
11. The Nozems - Psycho
12. Maximum Bob - Way 2 B
13. Speed Niggs - Secret Agent S.K.I.N.
14. Big Drill Car - Big Shot (live)
15. Doughboys - Stole Yer Love (live)
16. Leatherface - Dreaming
17. Heretics - Straight On
18. Bone Club - Time of Day
19. Thud! - If I die...
https://rapidshare.com/files/486868496/va_blackbox.rar

Who doesn't love some good harmonica music??? And the Harmonicats are awesome! It's kind of hard to believe that all the music on this album is just three guys - Jerry Murad, Al Fiore, and Don Les - playing their harmonicas. I grew up listening to most of these songs (performed by others), and these versions are just great! I would definitely play this album at my next fiesta themed dinner party!
Track listing for Jerry Murad's Harmonicats - Fiesta!:
Side 1:
1. Guadalajara
2. The Peanut Vendor (El Manisero)
3. Espana Cani
4. La Golondrina
5. Siboney
6. Adios Muchachos
Side 2:
1. Adios
2. Les Filles de Cadix (The Maids of Cadiz)
3. La Virgen de la Macarena
4. La Cumparsita
5. Mexican Hat Dance
6. Granada
Upon sharing Lustre's album and single a few days ago, it was brought to my attention that there was yet another single kicking around from these unlikely Chapel Hill, NC denizens. Actually, make that an ep, a promotional one at that, supplied to radio stations and the like in support of the "emphasis track," "Kalifornia." I've gone on about how utterly addictive Lustre's melodious riffola is (which you can peruse my testaments to via the links above), so I'll get right down to the disk at hand and point out that the Kalifornia ep features two really excellent b-sides, "Great" and "Drag" that so far as I know appear exclusively. Things close out with a slightly edited version of "Nice Overalls" which can be found on the Lustre record, as well as the Empire Records soundtrack. Unless some demos or outtakes surface this is likely to be the final words on Lustre, so far as these pages are concerned anyway. Cheers.
01. Kalifornia
02. Great
03. Drag
04. Nice Overalls (edit)
https://rapidshare.com/files/346922762/lustre_kalifornia.rar
01. Kalifornia
02. Great
03. Drag
04. Nice Overalls (edit)
https://rapidshare.com/files/346922762/lustre_kalifornia.rar
The curiously titled What is My? What is Mo? is one of a handful of demo eps recorded by the Dimestore Darlings, a spirited New York bunch who possessed the nonchalant moxie and charisma of some of their key inspirations which thankfully included Dramarama, the Replacements and Soul Asylum. A familiar recipe, but one that's aged nicely since these four cuts were committed to tape the better part of two decades ago. The Darlings are what the Hold Steady could have amounted to if their singer ever attempted to carry a tune (harsh, I know). Turns out these guys have a Tumblr page with streaming audio of these tunes and about eight more, plus a super thorough and entertaining bio. Highly recommened. I've plucked a paragraph from that bio which specifically addresses this tape. Enjoy (or not). But you will.
We emerged 30 hours later with the second EP in hand: What Is My, What Is Mo?—the title the result of a Justin and Steve misread of Gene Simmons asking the musical question “What is my charisma?” It was heavy on the kick drum, frenetic, and a strong move forward. Justin’s “Sometimes It’s Me” and “Damage” were both genuinely surprising with their lyrical depth, and the grooves themselves had a dizzying, reckless feel, a kind of walloping gait that left no room for instrumental niceties, but were still both interesting and accessible, particularly “Damage,” which had a rough-hewn Keith Richards vibe and a drunken nose-sung vocal that worked perfectly. It’s a great song. In all, What Is My, What Is Mo? was an adrenaline-fueled, determined sound of a band blasting off, which Jay nailed when he yelled “I’m stressing out” in the second track, his “Waste of Time.” And Aaron plays the living hell out of his kit throughout. A fun time had by one and all: Imagine the Keystone Kops, loaded, making a record against an insane deadline and you get the idea—fun but exhausting.
01. Sometimes It's Me
02. Waste of Time
03. Summary
04. Damage
https://rapidshare.com/files/1423594807/dimestoredarlings.rar
We emerged 30 hours later with the second EP in hand: What Is My, What Is Mo?—the title the result of a Justin and Steve misread of Gene Simmons asking the musical question “What is my charisma?” It was heavy on the kick drum, frenetic, and a strong move forward. Justin’s “Sometimes It’s Me” and “Damage” were both genuinely surprising with their lyrical depth, and the grooves themselves had a dizzying, reckless feel, a kind of walloping gait that left no room for instrumental niceties, but were still both interesting and accessible, particularly “Damage,” which had a rough-hewn Keith Richards vibe and a drunken nose-sung vocal that worked perfectly. It’s a great song. In all, What Is My, What Is Mo? was an adrenaline-fueled, determined sound of a band blasting off, which Jay nailed when he yelled “I’m stressing out” in the second track, his “Waste of Time.” And Aaron plays the living hell out of his kit throughout. A fun time had by one and all: Imagine the Keystone Kops, loaded, making a record against an insane deadline and you get the idea—fun but exhausting.
01. Sometimes It's Me
02. Waste of Time
03. Summary
04. Damage
https://rapidshare.com/files/1423594807/dimestoredarlings.rar
Thought I'd give everyone a heads up on this one, as the physical edition of this title is limited to a mere 200 copies. If you're already a Graham Repulski convert you're likely to be a completist, and since this fella is on the creative tear that he is (six releases in roughly two years) I wouldn't sleep on this.
For those of you who can recall your first encounter with Guided By Voices 1994 magnum opus, Bee Thousand, experiencing any given record by this New Jersey progidy is bound to induce déjà vu all over again. Graham has all the classic Pollard-ian earmarks set to “stun” in an enjoyably slavish fashion, including but not limited to: a doggedly lo-fidelity recording ethic, slightly manipulated vocals, esoteric and oblique scripture, and a doctrine that screams, “if the song exceeds the two minute mark, time to hit erase" Truth is, Graham has virtually picked up where Mr. Pollard left off in say 1999, doleing out melodicly rich colossus' namley the title track, and "Mommy's Dreaming" (which in all fairness exceeds the 120-second threshold).
Among his other four-track forarys 2011's Into an Animal Together is the bona fide full length, racking up 24 songs, but if that strikes you as too imposing for your virgin pallete, My Collar is Red, by comparison tallies up a mere four and serves as equally a convincing introduction. For those going the clear red vinyl route, head over to Big School Records, or if the streaming/downloading method gets you through the night, head over to Bandcamp, and please check out more of this gentleman's surprisingly fresh back catalog.
For those of you who can recall your first encounter with Guided By Voices 1994 magnum opus, Bee Thousand, experiencing any given record by this New Jersey progidy is bound to induce déjà vu all over again. Graham has all the classic Pollard-ian earmarks set to “stun” in an enjoyably slavish fashion, including but not limited to: a doggedly lo-fidelity recording ethic, slightly manipulated vocals, esoteric and oblique scripture, and a doctrine that screams, “if the song exceeds the two minute mark, time to hit erase" Truth is, Graham has virtually picked up where Mr. Pollard left off in say 1999, doleing out melodicly rich colossus' namley the title track, and "Mommy's Dreaming" (which in all fairness exceeds the 120-second threshold).
Among his other four-track forarys 2011's Into an Animal Together is the bona fide full length, racking up 24 songs, but if that strikes you as too imposing for your virgin pallete, My Collar is Red, by comparison tallies up a mere four and serves as equally a convincing introduction. For those going the clear red vinyl route, head over to Big School Records, or if the streaming/downloading method gets you through the night, head over to Bandcamp, and please check out more of this gentleman's surprisingly fresh back catalog.
It was nearly three years ago that I shared a scarce slice of wax by Concord, CA's Parade, titled Circle of Deception. Still got that one in your ipod? Yeah, I thought so. It wasn't until I was browsing at Jerry's Records in Pittsburgh that I discovered there was a second Parade album, which I'm featuring today. Turns out they were up to their same old tricks on Love and War, copping a pint or two from the 'Mats/Magnolias/Junk Monkeys wet bar. Ringing guitars and punchy, high strung exuberance all around, with a number of comparatively refined ballads on side two. If any of you can offer some details on Pariah, Parade's precursor band. The singer/bassist is Ray Lujan, and I have to wonder if he's the same Ray Lujan who writes for Maximum Rock 'N Roll. I suppose I'll keep wondering 'til someone confirms that suspicion.
01. Flowers For Pretty
02. True to Life
03. Heaven Help Us
04. One Step Closer to Home
05. Torn in Two
06. The Forgotten Man
07. Love and War
08. When Hope Walks By
09. Time Won't Stop for Us
10. Prisoners of Our Dreams
11. How Can You Win?
12. Dignity
https://rapidshare.com/files/3390270371/parade_loveandwar.rar
01. Flowers For Pretty
02. True to Life
03. Heaven Help Us
04. One Step Closer to Home
05. Torn in Two
06. The Forgotten Man
07. Love and War
08. When Hope Walks By
09. Time Won't Stop for Us
10. Prisoners of Our Dreams
11. How Can You Win?
12. Dignity
https://rapidshare.com/files/3390270371/parade_loveandwar.rar

This is the last of my Jackie Gleason albums. The best way to describe it is by its liner notes:
Music, martinis, and memories... each creates a wonderfully soft, romantic haze. Put them all together and you have a very special effect - a mood whose warmth and tenderness are irresistibly appealing.
The memories and martinis should be yours, of course; the music may be provided by someone else - and nobody can do that more expertly than Jackie Gleason. His famous album presentations - lovely ballads richly orchestrated and featuring the lyric trumpet of Bobby Hackett - are remarkably conducive to that intriguing sentimental spell.
It's really quite possible, in fact, to omit the memories and martinis; but with or without them, you'll find this collection of Jackie Gleason interpretations to be romantic music at its very best, an ideal setting for your most delightful listening moments.
Track listing for Jackie Gleason - Music, Martinis, and Memories:
Side 1:
1. Once In a While
2. I Can't Get Started
3. I Got It Bad and That Ain't Good
4. My Ideal
5. Yesterdays
6. I Love You
7. Unforgettable
8. How High the Moon
Side 2:
1. I'll Be Seeing You
2. Shangri-La
3. I Remember You
4. It Could Happen to You
5. Somebody Loves Me
6. Time On My Hands (You in My Arms)
7. The Nearness of You
8. The Song is Ended
Upon discovering his Seattle noise-pop trio New Sweet Breath back in 1995, via their first full length, Supersound Speedway, my appreciation for Graig Markel's music grew and grew with each successive record that he had any involvement with, whether it be more outings with NSB, his electronic offshoot Animals at Night, and not the least of which solo recordings. By my count, 2012's brand new self-titled platter is his sixth under his own name, following up 2007's Via Novella. Hardly spending the last four years slaving over an ornate, orchestral rock tour de force, a la Brian Wilson in the late '60s, Markel instead returns to the table with a refreshingly lucid batch of ten acoustic songs, tracked straight to analog tape in his domicile studio.
Far from a wordsmith in league with the likes of Waits, Westerberg, or Pollard, Graig Markel's isn't an erudite or arty scribe, rather it's the voice that sinks in so indelibly. His sparse, no-frills arrangements lend a purity to this collection, perfectly befitting it's melancholic tenor, that wisely eschews any wrought or maudlin transgressions. Par exemple, "My Last Words," as it's title implies, mines a mournful vein, but no more so than Nick Drake's Pink Moon, a classic he's apparently taken to heart. Economical yet thoroughly substantive, Markel's balled-esque soliloquies are undeniably straightfoward, but soothingly uplifting. Graig Markel is available from CD Baby, and on white vinyl through his website, but if you need any further convincing embrace the sound on his Soundcoud page.
Far from a wordsmith in league with the likes of Waits, Westerberg, or Pollard, Graig Markel's isn't an erudite or arty scribe, rather it's the voice that sinks in so indelibly. His sparse, no-frills arrangements lend a purity to this collection, perfectly befitting it's melancholic tenor, that wisely eschews any wrought or maudlin transgressions. Par exemple, "My Last Words," as it's title implies, mines a mournful vein, but no more so than Nick Drake's Pink Moon, a classic he's apparently taken to heart. Economical yet thoroughly substantive, Markel's balled-esque soliloquies are undeniably straightfoward, but soothingly uplifting. Graig Markel is available from CD Baby, and on white vinyl through his website, but if you need any further convincing embrace the sound on his Soundcoud page.
I'm not sure what the UK music press had to say about the Cherry Blades at the time In-Dependace made its way into the shops, but in all likelihood it wasn't very concise. Why? Judging from these eight songs, the Blades were serial genre-hoppers, sounding like a different band on damn near each one, making any sort of broad stroke review all but impossible. Some of the tangents explored include patently trippy pysche revival ("Happy Families"), ragged indie guitar excursions ("Everyday is Extreme" and "Face #1") to relatively linear Britpop ("Everything Is Extreme"), with plenty of halfway points in between. Some of the heavier cuts belie faint dream-pop undercurrents, blending in seamlessly. Though they were unlikely deliberate in doing so, the Cherry Blades assembled an album delivering a makeshift microcosm of where British indie music was headed at the dawning of the '90s. To my knowledge, the band had at least one more record to their credit, an ep titled Imperial.
01. 7-12-12
02. Happy Families
03. Everyday is Extreme
04. Everything Is
05. Down #1
06. Face #1
07. Soul
08. Morphine Waves
https://rapidshare.com/files/2972551205/cherryblades.rar
01. 7-12-12
02. Happy Families
03. Everyday is Extreme
04. Everything Is
05. Down #1
06. Face #1
07. Soul
08. Morphine Waves
https://rapidshare.com/files/2972551205/cherryblades.rar
Maybe it's the hypocritical cynic in me but even with all the technological advances that make obtaining (and for that matter learning about) any given piece of music so instantaneous, I still yearn for, dare I say 'a more complicated' era when fanzines, 120 Minutes, college radio, and last but not least, word-of-mouth was the delivery system for virtually any and all exposure for new and exciting new zounds. Maryland's Jet Age don't necessarily brandish the same musical motifs of my nascent discovery years (late '80s/early '90s) but the essence of Domestic Disturbances is more then than now. Ironically, their encompassing sonic foundation is constructed on one that's a little more current, say firmly in the realm of Ted Leo, and to a lesser extent The Thermals.
As with most musically inclined trios, economy is key, and the Jet Age don't fritter away one iota of it, endeavoring in the stripe of sharp, rhythm-centric post-punk that employs an abundance of clipped, clangy chords, heavy-goes-it snare drums, and occasional plumes of static, executed as only a lean, hungry skeleton crew can. Disturbances is one of those rare records that's as lovingly roughewn as it is painstakingly tight. Most bands operating under such similar premises would likely convey themselves as insular, even dry, but in their case the Jet Age write songs that are thoroughly heartfelt. "Hey, Captain" is searingly soulful in that Stonesy Some Girls kind of way, "Left for Dead" boasts hefty swells of distortion, with a dash of tremolo tossed in, "Home" unfurls guitar god solo's amidst an engulfing echoing stew, and on "I Want to Touch You Again," the guys manage to seize Gang of Four's metronome for an infectious four minutes. And that little synopsis covers only one third of the album. As an aside, mouthpiece Eric Tischler possesses a vocal timbre very much on par with Joel Plaskett (who you might know from bygone Halifax rawkers Thrush Hermit). In any event, live with two of the tracks I mentioned above, and if you're as chuffed and heartened as I am, put a little Jet Age in your life and order Domestic Disturbances here, or go the digital route via Bandcamp.
https://rapidshare.com/files/3943838171/jetage_2songs.rar
As with most musically inclined trios, economy is key, and the Jet Age don't fritter away one iota of it, endeavoring in the stripe of sharp, rhythm-centric post-punk that employs an abundance of clipped, clangy chords, heavy-goes-it snare drums, and occasional plumes of static, executed as only a lean, hungry skeleton crew can. Disturbances is one of those rare records that's as lovingly roughewn as it is painstakingly tight. Most bands operating under such similar premises would likely convey themselves as insular, even dry, but in their case the Jet Age write songs that are thoroughly heartfelt. "Hey, Captain" is searingly soulful in that Stonesy Some Girls kind of way, "Left for Dead" boasts hefty swells of distortion, with a dash of tremolo tossed in, "Home" unfurls guitar god solo's amidst an engulfing echoing stew, and on "I Want to Touch You Again," the guys manage to seize Gang of Four's metronome for an infectious four minutes. And that little synopsis covers only one third of the album. As an aside, mouthpiece Eric Tischler possesses a vocal timbre very much on par with Joel Plaskett (who you might know from bygone Halifax rawkers Thrush Hermit). In any event, live with two of the tracks I mentioned above, and if you're as chuffed and heartened as I am, put a little Jet Age in your life and order Domestic Disturbances here, or go the digital route via Bandcamp.
https://rapidshare.com/files/3943838171/jetage_2songs.rar






