Sunday, August 29, 2010

Calypso, Drugs and Jazz.....




My Thanks To: sludgeswamp Blogspot for the following:

Here are 3 crazy takes on the God Fathers of Doom! The first 2 I have had for a long time and (since I am a sucker for tribute albums) I bought the 3rd (Opium Jukebox) during my last record store binge. Some interesting stuff here for sure. I haven't had a chance to listen to the new one yet but my quick page through heard a lot of sitars. The lounge tribute has it's moments but the Jazz CD is awesome!! I am not claiming they are masterpieces, but they are good fun for sure. To be ingested with large amounts of smokey treats!! Enjoy your Sunday!

Lounge Lizard Entrance - http://tinyurl.com/2dqhq9p

Jazz Cat Entrance - http://tinyurl.com/32cz6ol

Opium Den Entrance - http://tinyurl.com/36byv9p


Read more: Doomed To Be Stoned In A Sludge Swamp http://sludgeswamp.blogspot.com/#ixzz0y34BlREL
Your source for Sludge, Stoner, and Doom

Saturday, August 21, 2010

The Plugz - Electrify Me


While the seminal 1979 debut from The Plugz is usually characterized as a punk record, the L.A. band actually strives to embrace the scope of rock & roll on Electrify Me. Built on a sound which spikes a strong pop sensibiity with punk fury, singer Tito Larriva and his band draw on their Hispanic heritage for an anthemic cover of "La Bamba" while exploring reggae on the title cut; there are even some folky touches here as well. And as for punk, both "Revolution" and "Alienation" burn white-hot. [Source: AMG]


A1. A Gain - A Loss
A2. The Cause
A3. Electrify Me
A4. Satisfied Die
A5. La Bamba

B1. Adolescent
B2. Braintime
B3. Wordless
B4. Let Go
B5. Infection
B6. Berserktown



http://www.mediafire.com/?y3zjzh3mqmr

The Commercial Zone

The Plugz - Better Luck (1981)


Considered by just about everyone to be the first Latino punk bank, The Plugz came together in 1978 in Southern California. Part of the family of bands that was influenced by The Germs and played at legendary clubs like Madame Wong's and the Masque, The Plugz were led by vocalist Tito Larriva and formed their own label, Fatima, in 1979. Their debut, Electrify Me (1979), which featured a ripping version of the classic "La Bamba", and the follow-up, 1981's Better Luck, were well received, and tracks from the latter would eventually find their way onto the soundtrack to the cult classic film Repo Man. Although the band (Larriva, Chalo Quintana, Tony Marsico, and Barry McBride) would split in the mid-'80s, Larriva, Quintana, and Marsico resurfaced with Steven Hufsteter in tow to form the critically acclaimed rock band Cruzados. Larriva continued to supply music for movies and did some acting work, most notably as a neighbor of Pee Wee Herman on an early version of his kids' show. In 1999, Larriva released Santa Sangre with his band The Psychotic Aztecs, while Chalo would go on to play with The Havalinas. [Source: AMG]

Tracklisting:

A1. Better Luck 3:18
A2. Red Eye #9 2:42
A3. Achin' 3:32
A4. American 2:15
A5. In The Wait 2:57
A6. El Clavo Y La Cruz 2:58

B1. Blue Sofa 4:59
B2. Touch For Cash 2:43
B3. Gas Line 2:48
B4. Cesar's Song 2:07
B5. Shifting Heart 3:18
B6. No Love 4:43



http://www.mediafire.com/?zjoffjwanxm

The Commercial Zone

Nervous Gender - Music From Hell (1981)


Nervous Gender is a punk band founded in Los Angeles, California in 1978 by Gerardo Velazquez, Edward Stapleton, Phranc and Michael Ochoa.
Their use of heavily distorted keyboards and synthesizers made them, along with the The Screamers, one of the original innovators of what is today called "Synthpunk", although they could equally be considered an early industrial group. The group was confrontational and experimental.
Phranc's androgynous appearance was the embodiment of the group's name, garnered the band much press in zines such as Slash and, later, proving inspirational to founders of the Queercore movement. Despite their somewhat high profile, the groups' habit of provoking the audience, obscene material and harsh erotics guaranteed they would never gain commercial acceptance. At their first show in 1979, a benefit for the Women's Video Center, Phranc called the audience "pussies" and "dykes" when the band was requested to stop playing, and songs like "Jesus Clone", contained lyrics such as "Jesus was a cocksucking Jew".
In 1979, Don Bolles of The Germs joined as drummer. The next year Phranc left the band and Paul Roessler of the Screamers joined. At this time they recorded the tracks for the compilation Live At Target, released as an LP and a video, both seminal not only in the punk scene but also as early industrial recordings; fellow contributors Factrix and Zev (listed on this recording as "UNS") were early industrial acts, and Nervous Gender found more acceptance among that scene initially. All the artists involved in Live At Target were experimenting with atonality, noise and concepts not common until post-punk groups emerged later. Nervous Gender played with bands such as SPK, Factrix, Non, Einstürzende Neubauten, and Psychic TV during the early 1980s.
In 1981 they released their LP Music From Hell, which included guest vocalist Alice Bag from The Bags singing on "Alice's Song". Nervous Gender did not record in the studio again. After the LP came out, Paul Roessler moved to New York to play with the Nina Hagen Band and was replaced by Bill Cline, and Don Bolles left the band to play with 45 Grave. He was replaced by an eight-year-old boy, Sven Pfeiffer. In 1982, Sven's mother took the young drummer back to live in Germany. During their career Nervous Gender was called by one critic, "...the thorn in the side of the L.A. music scene...".
During the mid 80s, the band was on the verge of breaking up when members of Wall of Voodoo Bruce Moreland, Marc Moreland and Chas Grey, who were fans, stepped in and offered to collaborate with them. It was at this point that a guitar-driven version of Nervous Gender emerged. During this time Dinah Cancer of 45 Grave was a frequent guest performer with them, and they played shows with bands such as Christian Death, Super Heroines, Kommunity FK and Gobsheit (a side project of Stapleton's with Patrice Repose) at venues such as the Anti Club. In 1988, Edward Stapleton played his last show with the band.
In early 1990, original members Gerardo Velasquez and Michael Ochoa along with Joe Zinnato (a long time Ochoa collaborator) revived Nervous Gender as a trio. This formation did a series of 8 performances, and were working on what would have been the final Nervous Gender album (working title "American Regime") with producer Paul Cutler (of 45 Grave). The final performance of Nervous Gender was on August 26, 1991 at Club A.S.S. in Silverlake, CA. Gerardo Velasquez died on March 28, 1992, at age 33.
After Gerardo's death, members Ochoa and Zinnato, with the addition of singer Claire Lawrence-Slater (of Honeymoon Killers, Huge Killer Ships), formed "HighHeelTitWig" a punk-industrial-pop-grunge hybrid, which played a series of shows. In 1995 Joe Zinnato suffered a serious stroke which put an end to musical activities.
As of 2005, Edward Stapleton, Michael Ochoa and Joe Zinnato were reviewing all of the Nervous Gender material (studio, live and rehearsal recordings and performance videos) with an eye towards releasing a NG retospective. At this time, Edward Stapleton (with Karene Stapleton) also recorded under the name Kali's Thugs. [Source: WIKIPEDIA]

Tracklisting:

Martyr Complex
A1. Monsters
A2. Nothing To Hide
A3. Cardinal Newman
A4. Fat Cow
A5. Alien Point Of View
A6. People Like You
A7. Regress For You

Beelzebub Youth
B1. Christian Lovers
B2. Exorcism
B3. Bathroom Sluts
B4. Pie On A Ledge
B5. Push, Push, Push
B6. Alice's Song

http://www.mediafire.com/?yomyntgvdm2

Xmal Deutschland - Viva (1987)


Viva represents how Xmal Deutschland mellowed with age. No longer kicking and screaming like Siouxsie & the Banshees in their punk days, Xmal Deutschland tone down the dissonance and funereal atmospherics in Viva. Fans of the group's chaotic early records might disagree, but Viva is Xmal Deutschland's finest moment. Xmal Deutschland aren't trying to be scary anymore — their 1982 single "Incubus Succubus" was creepy stuff — just beautifully depressed. The opening track, "Matador," recalls the band's old gothic fury; however, it's more focused and accessible. The jumpy new wave drums and dreamy mid-'80s keyboards of "Matador" edge the group closer to pop, recalling the Cure in their transformation from the horsemen of the apocalypse to melodic gloom-rockers. "Matador," the band's catchiest single since "Incubus Succubus," was remixed for the clubs as well, but only the original can be found on the Viva CD. It's inevitable that vocalist Anja Huwe would be compared to Siouxsie Sioux; the similarities are striking, like Ian McCulloch and Jim Morrison. Nevertheless, Huwe has found her own voice on Viva, hitting the high notes on "Matador" with palpable passion. "Sickle Moon" and "Feuerwerk (31.dez)" are haunted by Joy Division's dense guitars and foreboding basslines; they display Xmal Deutschland's more mature approach of crafting songs instead of slamming people over the head with repetitive drones. The abundance of synthesizers also give Viva a lighter feel, preventing the music from becoming overwhelmingly bleak, especially on "Eisengrau," "If Only," and "Illusion (Version)," the latter only appearing on the CD. Although Xmal Deutschland went downhill from here — 1989's Devils was blatantly commercial — they're kings of the castle on Viva. [Source:AMG)

http://www.mediafire.com/?ydm2tl1nqj5

The Commecial Zone

Thursday, August 19, 2010

Gal Costa - S/T


After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB — or music from anywhere else in the world for that matter — hasn't heard another sonic assault quite like this. Costa is a ball of contradictions here: overtly wild but in control; sweet and accessible, yet brash; and, at times, almost violent as she screams and moans her way through the album while spindly, whiny guitars mix with soulful bass grooves, bombastic drums, exotic horns, woodwinds, and strings. The sonic textures are taken completely over the top with judicious use of delays, reverbs, and various production techniques new and exciting at the time. When taken all together, the listener may not at first notice the high quality of the songwriting for the unreal, emotional freak-outs laced throughout the performances. Costa's crazy improvisations over Caetano Veloso's tune "The Empty Boat" serve as evidence of this delightful impulsiveness when placed side by side with Veloso's own rather forward-thinking recording of the song, which sounds positively conservative by comparison. All in all, Gal Costa is an indescribable, unpredictable, ambitious, and fun record preserving a slice of time when Brazil was at its most controversial state musically and politically and is a must-have for any psychedelic collection. (allmusic)



http://www.megaupload.com/?d=TMW5AUM9
Thanks earls psychedelic garden

Tuesday, August 17, 2010


La Revolución de Emiliano Zapata
Influenced by American 'psychedelic rock' broad casted over the air waves from the other side of the Mexican border.'La Revolución de Emiliano Zapata' were formed in Guadalajara in the late 1960's.The group won a radio competition and earned themselves a record contract. After signing a deal with 'Polydor' in 1969 the band re-located in Mexico City. In 1970 the group recorded and released their debut album, 'La Revolución de Emiliano Zapata'. The opening track 'Nasty Sex' was released as a single and the group had a worldwide hit, it wasn't massive, big enough to get them on the road, touring the US and Europe. The follow up single 'Shit City' didn't do to well, I wonder why. They should have gone with 'At the Foot of the Mountain' which is a beautiful tune. Mainly though 'La Revolución de Emiliano Zapata' play a trippy brand of rock and roll, mixed in with pop hooks and fuzzed up guitars.... another overlooked gem....

http://www.megaupload.com/?d=BN0IG9TD


Thanks to earls psychedelic garden