No silver Disc action over the weekend so thanks to Babyloti for chipping in with some early B-Movie from this CD Compilation from Lincoln based label “Dead Good Records”(Recorded in FLAC)
This clears up the confusion over which releases is this;
First was ‘The Dead Good Tapes’, released through WAX Records, UK (1988) with the same tracklist on LP and CD. After came ‘Volume 1 – Remembrance Days’, released also on LP and CD through Dead Good Records, UK (1991) and any years after, through Griffin Music Inc. (1995) for the USA market, also including the same songs. Finally was edited this third edition, through Cherry Red Records, UK (1997) just on CD. (Which is this one!) Thanks karlvonschlagend.
Raw and Punky (they came from the ashes of local punk band The Aborted). the line-up was ; Drums – Graham Boffey, Guitar – Paul Statham (Vison, Pete Murphy and Dido collaborator), Peach, , Keyboards – Rick Holliday and Vocals, Bass – Steve Hovington (who turned up in late 80’s band One)
The sound only gets augmented with keyboards from track 3, which certainly helps fill out the sound. Most noticeably on the “Soundtrack”, with the extended synth lead.
“Nowhere Girl”in its original , stripped back form with plenty of 80’s guitar effects. The stand-out is “Institution Walls” – the B-side of “Remembrance Day” – a Post Punk Classic.
“This Still Life” shows how they influenced by MAGAZINE and early ULTRAVOX as it goes through it’s many movements. Another highlight.
“Left Out In The Cold” has a cold synth riff throughout but is a bit ploddy. “Remembrance Day” has a great raw feel to it and starts with an emotional synth intro as the organ swirls around and the guitar picks up – then the bass kicks in what is the best version of the song.
“Aeroplanes And Mountains” again is underpinned by a synth riff and could be a Magazine track, frantic and driving.
I’m not sure why it closes with 2 very similar remixes of “Remembrance Day” by Pete Waterman ! He makes them sound a bit like The Skids / New Order and takes the subtly out of them. Although no dance beats!
More info; Tracks 1-2: From the compilation LP East (February 1980) Tracks 3-5: From Take Three EP (July 1980) Tracks 6-7, 9, 11, 13, 15: From Nowhere Girl EP (November 1980) Tracks 16-17: From Nowhere Girl / Remembrance Day (February 1988)
Resurrecting the series for this week with plenty of pristine rips from Mike B – mostly seven inchers. Trying to do it in chronological order and featuring a wide selection of Oz music for all ears and tastes.
Jimmy And The Boys – I’m Not Like Everybody Else (7″)
Why not start with a classic, a Post Punk cover of The Kinks , produced by Ian McKenzie. Shock Rock they called with Ignatius Jones and his affected vocals. A bit of Moroder feel to it, NYC funk horns and a Disco bass. An admirable effort.
“Wild Boys” is playful rocker, taking a swipe at serious Heavy Metal bands that were around at the time, AC/DC , Black Sabbath.
Both appear on their debut album “I’m Not Like Everybody Else”
From June 1979 and the second release from New Zealand band Mi-Sex. Produced by Peter Dawkins (from NZ 60’s band The Strangers) it was the lead single from their debut studio album, “Graffiti Crimes”.
A gentle mid-pacer with a bit of a Prog feel to it. Dramatic with an excellent guitar solo and some nice lead synths but Don Martin’s bass stands out.
“Burning Up” contrasts with the A-side a quirky Post Punk Rocker, with some clever keyboards.
From the album of the same name and from 1981. Produced with John Sayers and mixed by Cameron Allan.
With haunting guitar and piano working well together it sounds a bit like Split Endz. It has a got an Epic quality although that guitar is bit too prominent in the mix.
Probably only to be heard here “The Bend” shows how synths were augmenting the Rock tracks.
Sydney Band , Fast Cars making their debut on here with a twelve inch E.P. Female vocals from the quartet of David Chapman – Guitar (Icehouse, Maybe Dolls), David Pye – Bass and Trumpet (Allniters) Dianah Levy – Vocals and Guitar and Fabian Byrne – Guitar and Organ (Fiction Romance) Plus Andrew Southam on drums and a certain Martin Plaza on Vocals, Organ, Bongos. He also produced it.
The tracks have a great 80’s Post Punk , gentle but then quite hard. A like the “Expressive” organ that keeps cropping up.
“Can’t Find Things” sounds quite modern, choppy guitar and even some trumpet. “No, No” has a hippy feel with swirling organ and then opens up increasing the tempo and adding to the arrangement.
“Andy’s Cat’s Religious Experience” is a jangly instrumental, flanged guitars. “I Question” shows even more versatility, constantly changing and keeping you interested.
Levy’s voice sounds a bit like a delicate Chrissie Hynde’s or even a Sophie Ellis Bexter’s.
From February 1981 and the Power Pop of the band a bit undermined by weak lyrics. It is quite rocky and it certainly gets their live sound. Another standalone single the B-side saves it. Glam style and a killer riff.
An early, 1979 release from Melbourne’s Mondo Rock produced by Ross Wilson on Oz Records. Original line-up was; Ross Wilson (vocals), Peter Laffy (guitar), Randy Bulpin (guitar), Tony Slavich (keyboards), Simon Gyllies (bass) and Iain McLennan (drums)
Very Rolling Stones on this one-off release from the “Primal Park” sessions.
“The Mood” recalls 60’s Psychedelia / Blues with loose percussion that goes off into a jazzy groove. Great stuff!
Aussie TV personality sends up Kiss with a Disco themed novelty record from 1980. It is so bad it’s good and should be a Sunday Silly Song in its own right !
A great parody.
“Normdrum” is a bit of a Standup with some 80’s pastiche soundbites. What a great slice of 1980’s Pop nostalgia as he introduces the A-side of his own record !
Here is more information from Youtuber DaveinProgress 3
Norman’ was the moniker for actor and comedian Garry McDonald. The titular character was a popular part of the ensemble in the seminal 70’s series ‘The Aunty Jack Show’ and was then given his breakout self titled show which ran for several years earning him countless awards. In 1976, Norman hit the big time on the pop charts with his ‘Salute To Abba’ and four years later this tribute to one of the biggest rock acts in the world at the time. ‘Kiss Army’ climbed the charts in late 1980, reaching #13 nationally. It was backed by ‘Normdrum’ – a hilarious send up of Ian ‘Molly Meldrum’s segment on the hugely popular national music program ‘Countdown’
More hatless men with this, originally from 1982 it got a re-release in the UK in ’83 due to the success of “The Safety Dance”. Their classic sound with loads of analogue synth action I’ve never heard the 12″ before and it does not disappoint. It builds with with an interesting intro, reminds me of a certain Thomas Dolby.
“Freeways” is a homage to Autobahn and Kraftwerk with those off the wall from Ivan (he even sings in German) – a trilingual driving song!
“Utter Space” is a rare track and there is an earlier version knocking about. Again a bit of a Space Disco feel to it.
A band with so much more to offer than “The Safety Dance”.
Quite relevant in todays tense climate this features no extended mixes and both the main track and B-side appear on the album.
The main track is about the Westernisation / Militarisation of China (and could be deemed slightly racist in these woke times, “What did China do? They ordered out submarines instead of Chinese food.” and a nod to the UK Pop scene, “China you want to dance, you’re wearing makeup and listening to Adam and the Ants.”
Tongue-in-cheek (as always) it say it features the Dance Floor smash “Modern Dancing” -which is deliberately robotic with chugging guitar and bass and bright synths
“The Tango Of Thieves” is sung in French and is…… a Tango with some great synth arrangements.
All produced by fellow Quebec resident, Marc Durand.
We are a band!! That was the message especially including the 2 live tracks. I found them more a spectacle and just the audio of Maxim swearing and screeching as it takes off doesn’t really do them justice.
“Breathe” has a massive low-end, Punky Big Beat released in October ’96
“Their Law” from the Phoenix Festival features members of Pop Will Eat Itself. (Gizz Butt)”Poison” from the Tourhout & Werchter Festival with Maxim probably having taken poison himself, mad!
“The Trick” is subwoofer heaven and certainly distorted my speakers, filthy beats with a piano intro
From March 1996 and the infamous “Firestarter” – Punk, vocals, guitars – a change of direction. Samples needed to be cleared, Art Of Noise, Breeder’s “SOS” and a guitarist brought in Jimmy “Goose” Davies (Pitchshifter)
Not many mixes at all. This features a remix by Empirion, Essex Industrialists (Austin Morsley, Bobby Glennie, Jamie Smart) who are still doing stuff. Uncompromising and full of sequencers battling it out over quicker beat. It works well.
“Molotov Bitch” is a twisted Hip Hop instrumental. Discordant and block rocking with plenty of little cuts and scratches.
Thanks for Mr. F for the nudge and also I’ll be doing a re-up next week if you requested something and it’s not been fulfilled. Jeeez even Mike B has re-upped some Oz stuff in FLAC for some lucky person.
That reminds me, Sounds From Oz for the theme for next week! Enjoy you’re weekend.
A strange release that I actually ripped yesterday. (Thursday) Surfacing in 1989 and containing 2 tracks from ’83 and quite a cheesy cover, I’m puzzled. Apparently released on Wax Records after both Some Bizzare and Decca rejected it as a single in 1983, but why?
It certainly is a change in sound from the band, more psych and guitar orientated with Steve Brown on production (and female backing vocals ffs) , I think I prefer the Peel Session.
“Taxi Driver” is an epic 10 mins long jaunt in psychedelic rock, a bit Stone Roses and shows a talented band but one that got overlooked.
From 1983 and some more from this great New Wave band. A bit of Art Rock on the 12″ version mixed by Howard Gray. Not too shabby and nicely extended.
Produced by Victor Coppersmith-Heaven it contains some additional vocals by Toni Childs (Berlin) Band member Steve Hogarth later returned the favour by doing the same on Childs’ debut album “Union.” From the album, “Vocabulary”
“Voice On The Telephone” starts off a bit like “Money For Nothing”, the distinct vocals are a bit marmite but has enough weirdness about it to pass for a half decent , quiet / loud New Wave track and taken from the album.
myvinyldreams 