Butthole Surfers - Rembrandt Pussyhorse

Band: Butthole Surfers
Album: Rembrandt Pussyhorse
Country: USA
Release Date: 1986

Everything seems to start almost normally on Pussyhorse with "Creep in the Cellar," even with the rather gone violin line -- Haynes is intelligible, the piano part is quiet serene. Then again, Haynes is talking about the creep in question doing things like taking off his skin, so clearly all is still at least somewhat tweaked in Surferland. The rest of the album makes that pretty clear; if not quite as strong as Psychic...Powerless, Pussyhorse is still a strong slice of homegrown art/psychedelia gone to a murky hell. Gentler songs like "Sea Ferring" still have a distinct queasiness to them, its sea chanty feeling undercut by the nagging bassline and Haynes' yelps. When the group goes totally nuts, as on a drum-blasting, squiggly voiced cover of the Guess Who's "American Woman" that makes the later Lenny Kravitz version seem like the redundant slice of nostalgia it is, no prisoners are taken. "Perry" is another definite nutter, with Haynes or somebody talking about this and that to his "baby" over a slow, organ-heavy groove. This said, the trick about Pussyhorse, and arguably why it's slightly lesser than Psychic...Powerless, is its overall subtlety in comparison. Things are more dark and gloomy throughout, downright gothic, even, with the organ start and whispery lyrics of "Strangers Die Everyday" being a good example. Leary keeps his playing low and strange throughout, fitting in with new bassist Pinkus rather well as a result. Get past the slight surprise of not always hearing the Surfers going near-all out most of the time, though, and Pussyhorse is still mighty fine, whether talking about the drony guitar weirdness opening "Whirling Hall of Knives" or the echo-treated reprise of "In the Cellar." CD versions of Pussyhorse conveniently include the Cream Corn From the Socket of Davis EP.

1.	Creep in the Cellar	2:05
2.	Sea Ferring	3:59
3.	American Women	5:32
4.	Waiting for Jimmy to Kick	2:20
5.	Strangers Die Everyday	3:09
6.	Perry	3:31
7.	Whirling Hall of Knives	4:44
8.	Mark Says Alright	4:07
9.	In the Cellar	3:18
10.	Moving to Florida (Bonus Track)	4:32
11.	Comb (Bonus Track)	4:57
12.	To Parter (Bonus Track)	4:20
13.	Tornadoes (Bonus Track)	2:37

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The Weirdos

Band: Weirdos
Album: Demos & Rehearsals
Country: USA
Release Date: 197?

1.	Bad [Demo]	2:20
2.	It Means Nothing [Demo]	2:33
3.	Scream Baby Scream [Demo]	1:55
4.	We Got the Neutron Bomb [Demo]	2:10
5.	Life of Crime [Demo]	2:17
6.	Teenage [Demo]	2:38
7.	Why Do You Exist? [Demo]	1:46
8.	Destroy All Music [Demo]	1:36
9.	Do the Dance [Demo]	1:20
10.	Message From the Underworld [Demo]	2:15
11.	Go Kid Hugo [Demo]	2:03

DownloadBand: Weirdos
Album: Weird World Volume 1
Country: USA
Release Date: 1991

It's rather ironic that while Los Angeles was the capitol of the American recording industry in the mid-to-late '70s, most of the seminal bands of the original New York punk rock scene (the Ramones, Television, Patti Smith, Talking Heads) were able to score major-label contracts, but nearly all of their West Coast contemporaries were ignored, having to rely on fledgling independent labels like Dangerhouse or What? if they wanted to be heard on plastic. Consequently, several important bands, such as Crime and the Screamers, managed to slip through the cracks without ever releasing a proper album, and the Weirdos, who were one of the first major bands to emerge from the L.A. punk underground, broke up in 1981 without making an LP. (They did reunite for a spell in the 1990s, recording an album called Condor with the help of friend and fan Flea.) Fortunately, the Weirdos did manage to release a handful of singles and EPs during their 1977-1981 heyday, as well as demoing plenty of material that never saw release, and Weird World, Vol. 1 collects 14 superb cuts that set the record straight -- the Weirdos were, quite simply, one of the best and brightest American bands of punk's first wave. Dix Denney's hard, angular guitar lines suggested melody without sacrificing any of his propulsive punch, while the various rhythm sections were invariably tight, hard-driving, and energetic (the band went through four drummers and five bassists in five years; one of the group's bass players, Cliff Roman, was originally their rhythm guitarist, and wrote a handful of superb songs, including "Teenage" and "Life of Crime"). And vocalist John Denny was a genius frontman; manic, funny, and just a little disturbing, John could pour a world of passion and meaning into a nonsense lyric like "Bop helium bar tonight!," and his more coherent numbers, like "We've Got the Neutron Bomb" and "Pagan" were as hilarious as the Ramones but with a genuinely ominous undercurrent their funny-punk brethren couldn't touch (check the claustrophobic "Solitary Confinement"). Weird World, Vol. 1 is hardly the final word on this great band, but if you want concrete proof that the Weirdos were the great unsung heroes of L.A. punk, you could hardly do better.

1.	Weird World	3:02
2.	Arms Race	2:21
3.	Pagan	1:29
4.	Helium Bar	3:22
5.	Rhythm Syndrome	2:22
6.	Fallout	2:25
7.	Fort U.S.A.	3:12
8.	Happy People	2:33
9.	Message From the Underworld	2:35
10.	Teenage	2:22
11.	I'm Not Like You	2:36
12.	We Got The Neutron Bomb	2:59
13.	Solitary Confinement	2:30
14.	Life Of Crime	2:19

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Band: Weirdos
Album: Weird World Volume 2
Country: USA
Release Date: 2003

A mere 12 years after Weird World, Vol. 1, volume two (with We Got the Neutron Bomb given as the dominant title) appeared to mop up odds and ends that hadn't appeared on the first anthology of material by the early L.A. punk band the Weirdos. As you might expect from a band that recorded infrequently and sporadically, there's a ragtag feel to this compilation. Ten of the 16 tracks, indeed, were previously unreleased; also tacked on are the late-'70s singles "We Got the Neutron Bomb" and "Destroy All Music," "Skateboards to Hell" (the B-side of a 1979 Denney Brothers single), "Hey Big Oil" (from the Denney Brothers' 1981 LP), and two songs from the 1990 Weirdos LP Condor. Although the material spans a dozen years (with a big gap between 1982 and 1988), the sound actually doesn't change much. It's straightforward ominous snarling punk, not quite hardcore but getting there, not too big on melody but not one-chord thrash either. A bit of experimental industrial rock creeps into the Denney Brothers' instrumentals "Hey Big Oil" and "Skateboards to Hell," and some rockabilly revivalism into the 1980 live-in-the-studio covers of Link Wray's "Fat Back" and Hank Mizell's "Jungle Rock." It's the late-'70s material that fans will probably be most hungry for, though, including not just the "We Got the Neutron Bomb" and "Destroy All Music" singles, but also a live 1978 track and two slightly crudely recorded 1977 live-in-the-studio numbers. Those are the freshest-sounding cuts on the set, "We Got the Neutron Bomb" sounding a little like a gallows Ramones in its sardonicism, though it all seems a lot less shocking and novel than it did back in the day.

1.	Terrain	3:06
2.	Cyclops Helicopter	2:02
3.	7 & 7 Is	1:50
4.	Shining Silver Light	3:22
5.	What Will You Do?	2:29
6.	Hey Big Oil	2:20
7.	It Means Nothing	2:36
8.	The Hideout	3:34
9.	Jungle Rock	2:45
10.	Fat Back	2:14
11.	Skateboards to Hell	3:42
12.	Barbaric Americana	3:37
13.	We Got The Neutron Bomb	2:58
14.	Destroy All Music	1:37
15.	I Want What I Want	2:41
16.	I'm Not Like You	3:10

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The Cramps - How To Make A Monster

Band: The Cramps
Album: How To Make A Monster
Country: USA
Release Date: 2004

Part of the beauty of the Cramps is the consistency of their vision -- since 1976, their body of work has been one long fever dream of kinky sex, bug-eyed monsters, and switchblade-wielding juvies, married to the primal twang of an electric guitar and the malevolent thud of a drum kit. While the quality of their work has run through some peaks and valleys over the years (they've made plenty of good records, but just a few great ones), they seem to have known what they were shooting for from the very beginning. How to Make a Monster, a two-disc collection of demos, rehearsal tapes, and live recordings, documents the band's formative years (for the most part), and while a few of these takes push the boundaries of the word "primitive," this is the Cramps, alive and oozing, from the very first lo-fi run-though of "Quick Joey Small." The first two sets of recordings, from 1976, are plenty crude (in terms of both performance and audio quality), but the band's energy and abandon are already in place, and while later tapes (from 1981 through 1988) are cleaner, the band ultimately doesn't sound that much different, just tighter and better at what it's doing. While Lux Interior sounds a bit subdued in some of the earlier studio stuff, he's a live wire all through disc two, which preserves two early live shows, one at Max's Kansas City in 1977 and the other from CBGB's in 1978. The band has to put up with a too-cool-for-school audience for the Max's show, which periodically heckles the band (gotta wonder what those "hipsters" are up to today), but Poison Ivy Rorschach's deadly guitar is already on the case, and by the time the CBGB's gig rolls up, the Cramps sound loud and proud, and the crowd is with 'em all the way. How to Make a Monster is hardly the definitive Cramps anthology (this is one band that has earned a box set by now), but it's a fun and fascinating look at their early days, and if you subscribe to the notion that the older the Cramps record is, the better, then this little item's a must. Great notes from Lux and Ivy, too, along with some classic flyer art and provocative photos.

CD 1
1-Quick Joey Small
2-Lux's Blues
3-Love Me
4-Domino
5-Sunglasses After Dark
6-Subwire Desire
7-TV Set
8-Sunglasses After Dark
9-I Was A Teenage Werewolf
10-Can't Hardly Stand It
11-Sweet Woman Blues
12-Rumble Blues
13-Rumble Blues (False Start)
14-Rumble Blues
15-Rumble Blues
16-Lonesome Town
17-Five Years Ahead Of My Time
18-Call Of The Wighat
19-Hanky Panky
20-Journey To The Center Of A Girl
21-Jackyard Backoff
22-Everything Goes
23-All Women Are Bad
24-(Untitled Track)
Summer 1976 (1-8), Oct. 1976 (9-10), 1981 Rehearsal (11-16), 1982 A&M Studio (17-19), 1988 Rehearsal (20-22), 1988 Home Demo (23)

CD 2
1-Don't Eat Stuff Off The Sidewalk
2-I Was A Teenage Werewolf
3-Sunglasses After Dark
4-Jungle Hop
5-Domino
6-Love Me
7-Strychnine
8-TV Set
9-I'm Cramped
10-The Way I Walk
11-Love Me
12-Domino
13-Human Fly
14-I Was A Teenage Werewolf
15-Sunglasses After Dark
16-Can't Hardly Stand It
17-Uranium Rock
18-What's Behind The Mask
19-Baby Blue Rock
20-Subwire Desire
21-I'm Cramped
22-TV Set
Live at Max's Kansas City 1/14/77 (1-9), Live at CBGB 1/13/78 (10-22)

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Wire - Third Day

Band: Wire
Album: Third Day
Country: UK
Release Date: 2000

These are five songs from the third rehearsal of Wire's recent, stunning comeback, recorded at the Ritz in London, November 29, 1999. And regrettably, The Third Day is only a limited edition, 1000-copies EP the group peddled at its 2000 tour gigs, because frankly, it's jaw dropping. As those who attended the tour could attest, the four original members declined to replicate their 23-year-old versions. Instead, as seen here on a mind-blowing "Pink Flag" (two ashen versions for good measure) and an equally wicked "Mercy," the group hurls a viscous cacophony the old recordings always hinted at -- like on 154's later "A Touching Display." In place of the underground-touchstone scratchy guitars on the Pink Flag and Chairs Missing classics that launched a thousand bands, Bruce Gilbert and Colin Newman are all roaring thrust, all dense wall of sound eruption. Recall, Wire-heads, My Bloody Valentine doing "Only Shallow" on the Loveless tour in 1992, and you're in the fuming, exploding, deafening, needles-screaming-in-the-red ballpark. Right in step, bassist Graham Lewis doubles the solidity into a distorted, crunching slam of a sound. Yikes. Even tap-tap-tap master Robert Gotobed sounds as if his kick drum's a howitzer and his snare's a tommy gun. 154's more gaseous "Blessed State" is similarly reinvigorated (though it had less far to go; sadly, this wasn't subsequently performed live), and "Art of Persistence" is a great find. Speaking of "find," how does one find this surprisingly must-have document? Alas, Wire probably sold all copies by tour's end, but try at www.pinkflag.com.

1.	Pink Flag (r1)	3:56
2.	Blessed State	3:22
3.	Mercy	5:28
4.	Art Of Persistence (1st draft)	4:33
5.	Pink Flag (r2)	3:35

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Polysics - Polysics or Die!!!!

Band: Polysics
Album: Polysics or Die!!!!
Country: Japan
Release Date: 2005

Polysics aren't cute, and they don't have their own cartoon show. (Although it might be interesting -- I'm thinking Ren & Stimpy, but weirder.) What they do have is a thoroughly original, bizzarely entertaining sound.
What do they sound like? A friend of mine suggested techno punk, but that description is too glib. Imagine the bastard child of Devo and a hardcore punk group, fronted by a guy who, umm, hasn't been keeping up with his meds, and you start to get the idea.
The music is braindead fun, spastic, and thoroughly addictive. Chief Polysic Hiroyuki Hayashi (once known only as Poly-1) mugs and wails off key over a bed of thrashing guitars, bleeping synthesizers, and the sugary sweet harmonies of keyboardist Kayo and bassist Fumi. The few non-Japanese songs are more Engrish than English, but it all fits somehow. This isn't brain surgery music.
Sure, Hayashi's over-the-top style can wear on you, and they do love their vocoders. Some songs don't work -- a "live in the studio" re-recording of the single "Black Out Fall Out" (found on Japan For Sale Vol 3, for the curious) introduces unnecessary elements and loosens the songs tight charm. But the sped up, vocoded cover of "My Sharona" deserves to be on everyone's list of alltime bizzare songs, and numbers like "Kaja Kaja Goo", "Lookin' Looin' Gaa" (with its childlike verse chants), "Peach Pie On The Beach" (just TRY not singing along -- pippikippippippi!) and "Code4" really do show off the band at its hyperactive, geeky finest.

1. Buggie Technica
2. Hot Stuff
3. New Wave Jacket
4. Plus Chicker
5. Kaja Kaja Goo
6. Black Out Fall Out
7. My Sharona
8. Making Sense
9. Lookin’ Lookin’ Gaa
10. Commodoll
11. For Young Electric Pop
12. XCT
13. Peach Pie on the Beach
14. Each Life Each End
15. Code 4
16. Modern
17. Urge On !!
18. ENO

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Wire - Read & Burn EP series

Band: Wire
Album: Read & Burn 01
Country: UK
Release Date: 2002

With the 1990 departure of Robert Gotobed (now Robert Grey), Wire ceased to exist, becoming the trio WIR. A decade later, however, the unpredictable foursome reunited for a series of concerts. Playing together again, the bandmembers realized Wire still had something to say. Tracks from 1999 rehearsals appeared on The Third Day, but the band began recording completely new material in late 2001. That first studio collaboration since Manscape resulted in Read & Burn 01. It's appropriate that this release from British punk's most innovative band should coincide with punk's Silver Jubilee. But although Read & Burn 01 evokes the taut and abrasive, pared-down rush of Pink Flag -- before the more experimental departures of Chairs Missing and 154 -- this isn't empty nostalgia. On the vintage foundation of simple, minimal patterns repeated to often-hypnotic effect, Wire builds a beefed-up, contemporary wall of sound. In keeping with the title, this material is urgent and intense, feelings conveyed by the music's sheer pace. The three-chord wonder "In the Art of Stopping" kicks things off frantically and the band goes into overdrive on the deconstructed speed metal/hardcore onslaught of "Comet," with Grey's characteristically relentless, rigid beat at the center of the sonic maelstrom; aside from Colin Newman's trademark sneer, this could be an outtake from Motörhead's Overkill. Although there's a respite on the shouty "I Don't Understand," with its ominous, lumbering groove recalling "Lowdown," elsewhere Wire sustains the amphetamine pace. They end with a bang on "The Agfers of Kodack," an assaultive number enveloped in Bruce Gilbert's swarm-of-bees guitar. During a 1977 Wire gig at London's Roxy, a heckler shouted at the band after every number, "That's better, now louder and faster." Read & Burn 01 suggests that 25 years later, Wire might still be hearing that voice egging them on.

1.	In the Art of Stopping	3:34
2.	I Don't Understand	3:17
3.	Comet	3:17
4.	Germ Ship	1:51
5.	1st Fast	1:41
6.	The Agfers of Kodack	3:14

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Band: Wire
Album: Read & Burn 02
Country: UK
Release Date: 2002

On their post-millennial return to the studio, Wire rediscovered no-nonsense noisemaking, trashing the art component of their pioneering art punk identity and throwing themselves headlong into a fast, loud, and bilious new philistinism. The band's first salvo, Read & Burn 01, was a stomping, short, sharp shocker, the aural equivalent of getting jumped in a dark alley by a bunch of irate, amphetamine-addled pensioners (well, Bruce Gilbert was nearing 60 when the CD appeared). A few months later, with listeners still cowering in the corner groping about for their glasses and checking for broken bones, the thuggish quartet came back to put the boot in again. Grounded in the three Rs (repetition, repetition, and repetition), Read & Burn 02 shares its predecessor's hit-and-run aesthetic: it's a post-industrial punk rock barrage of buzzing, stinging guitars; chunky basslines; and clockwork beats littered with terse, strangled vocals that fall somewhere between bolshy, pre-brawl aggression and football-terrace chants. The sound of Wire 2002 rarely lets you catch your breath. From the title track's deconstructed glam rock rhythms to the metallic rush of "Nice Streets Above" to the hectoring speedcore of "Raft Ants," these numbers seem fueled by a "last-one-to-the-end-of-the-song's-a-sissy" competition among the bandmembers. But while the overriding feel is one of menace and urgency, there are some less-fraught moments. It's a good cop/bad cop routine: Amid the general sonic onslaught, part of "Trash/Treasure" sees Colin Newman trading his heckling delivery for almost soothing vocals and Wire playing pop in a way that recalls their better '80s material. Still, Gilbert, Grey, Graham Lewis, and Newman have never had much time for nostalgia, and the new level of assaultive energy here emphasizes that the band is still reinventing itself. Read & Burn 02 is the sound of Wire not so much looking back as looking forward in anger.

1.	Read and Burn	2:35
2.	Spent	4:43
3.	Trash/Treasure	5:07
4.	Nice Streets Above	2:50
5.	Raft Ants	2:05
6.	99.9	7:42

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Band: Wire
Album: Read & Burn 03
Country: UK
Release Date: 2007

Having spent the four-and-a-half years since the May 2003 release of Send, their last full length studio album, consolidating and reappraising their back catalogue (by means of CD and DVD releases and re-releases of their '70s material) and for the most part remaining out of the public eye, Wire have nonetheless not been creatively idle. Although drawing on a resource pool of material developed over the entire post-Send period, Read & Burn 03 benefits substantially from a concentrated creative effort and newly defined aesthetic sense developed since mid-2006. Wire, ever multi-layered, ever redefined, is evolving yet again. No greater indication of the seismic shift in Wire's intentions can be given than the very fact that the first track on the band's first utterance for almost five years is nearly 10 minutes long!

The fertile creative seam hit over the latter part of 2006 continues to be mined, and although Read & Burn 03 stands as a body of work in its own right, it is but the finished part of the larger set of material from which Wire will draw the next album. Note, however, that no material from Read & Burn 03 will be included on the next Wire album. Read & Burn 03 is NOT a part installment: it stands in its own right.

1.	23 Years Too Late	9:46
2.	Our Time	4:33
3.	No Warning Given	5:26
4.	Desert Diving	5:34

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Wire - Cabaret Metro (Send Bonus CD)

Band: Wire
Album: Cabaret Metro (Send Bonus CD)
Country: UK
Release Date: 2003

A great performance of Wire live at the Cabaret Metro in Chicago on 14th September 2002 give out as a bonus with some early release of Send.

1. 99.9
2. Germ Ship
3. Mr Marx's Table
4. First Fast
5. Read And Burn
6. The Agfers Of Kodack
7. Comet
8. In The Art Of Stopping
9. Spent
10. I Don't Understand

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Alberto Y Los Trios Paranoia - Snuff Rock EP

Band: Alberto Y Los Trios Paranoia
Album: Snuff Rock EP
Country: UK
Release Date: 1977

Les Alberto y Los Trio Paranoias sont un groupe de rock humoristique fondé en 1973 à Manchester. Ils ont conçu une comédie musicale à la fin des année 1970 nommée Sleak au sujet d'une vedette rock qui est amené à se suicider sur scène. Ils ont enregistré quelques chanson de se spectacle pour en faire le Snuff Rock EP.

Alberto y los Trios Paranoias was a comedy rock band formed in Manchester, England, in 1973 They mounted a play, Sleak, about a rock star talked into committing suicide on-stage and they recorded some of the song from that play and put them on the funny Snuff Rock EP. It's a nice document of what's been a succesful stage show and a nice spot-on parody of punk rock.

1. Kill
2. Gobbing On Life
3. Snuffin' Like That
4. Snuffin' In A Babylon

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The Clash - Théatre Le Palace 1980

Band: The Clash
Album: Théatre Le Palace (Chorus TV)
Country: UK
Release Date: 1980

Un excellent concert de l'époque London Calling des Clash. Le groupe s'y trouve enthousiaste et énergique et a droit à une excellente réponse du public parisien.

Blackmarketclash review:
The TV programme begins at Jimmy Jazz presumably because it took 3 songs to recover from the initial surge of the audience. The Clash appear to have played a normal set, the TV Director deciding which songs to edit out of the 40 minute programme. The Paris audience are very lively and enthusiastic and The Clash, now rejuvenated respond with a terrific performance.

Jimmy Jazz kicks off the programme in superb style with Joe prowling the stage, dropping to his knees and then singing on his back lying on the stage at one point. Mick chokes back the guitar, only coming in a jamming funky way giving it a real laid back feel. You can hear Mickey Gallagher's keyboards carry the tune along. Joe’s pigeon French intros and ad-libs are a delight here and throughout often switching back amusingly into English when it gets too hard.

London Calling next followed by the usually lightweight Protex Blue but which here really rocks. An edit into another Mick vocal on Train In Vain featuring some great lead guitar. It cuts off immediately after the last chord with Koka Kola edited in with the opening chords. Joe puts in another energetic vocal and then the song segues into I Fought the Law.

Joe gets carried away with his linguistics and starts talking in French introducing Spanish Bombs. Its quite funny when he continues his pigeon French at the next break, but in a linguistic rut, he pauses, and in rough cockney bleats out, "“Very good, tres bien mes amis, fuckin’ tres bien! Maintenant, it’s the wrong ‘em boyo mate!”

The sound fluctuates near the end of an excellent Wrong ‘Em Boyo and the band are obviously enjoying themselves. Joe clearly is knackered at this stage. Mick comes in on the vocals to rescue Joe and carry the song forward. Mick performs a strong Stay Free explaining mid song “its Brixton, a penal colony”

There is little or no chatter here on as the gig really cranks up into Janie Jones, Paul and Mick joining Joe on the vocals. Then Topper’s bass drum and drum rolls sound out before Mick’s guitar crashes into a superb Complete Control. Mick was getting lots of stick in the press at the time for being a detached guitar hero but his playing here is terrific building the tension to the song as Joe rants his adlibs over an extended ending.

There is a probable edit next before Joe calls for Tommy Gun but Topper proceeds into a passionate Garageland and then the band finish with a rousing finale of Tommy Gun with Joe really fired up “Don’t wanna go to war”.

1. Jimmy Jazz
2. London Calling
3. Protex Blue
4. Train In Vain
5. Koka Kola
6. I Fought the Law
7. Spanish Bombs
8. Wrong `Em Boyo
9. StayFree
10. Jane Jones
11. Complete Control
12. Garageland
13. Tommy Gun

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Ludwig Von 88 - Live

Band: Ludwig Von 88
Album: Live
Country: France
Release Date: 1997
Label: Bondage

Le Groupe

Après des débuts aux alentours de 1983, leur premier véritable disque sort en 1986 : Houlala. Il s'agit là de leurs premiers cris face à notre société en déroute. On les connaît pour avoir composé de nombreuses chansons au second (voire huitième ou vingtième degré) sur des vedettes : Louison Bobet, Ceausescu, Maria Callas, Jacques Chirac, ... Maniant l'ironie et dénonçant les travers et les clichés de la société, le groupe aura marqué le rock français. Leur nom, malgré la consonance allemande et l'utilisation du nombre 88, n'a strictement aucun rapport avec Adolf Hitler (la lettre H étant la huitième de l'alphabet, le nombre 88 est souvent utilisé par des mouvements nazis pour symboliser le Heil Hitler, HH, 88). Le "88" a plusieurs sens. Selon une interview de Karim, ce serait un pastiche du "77", nombre fétiche du mouvement punk, ou selon une autre interview de Nobru, il ferait référence au nombre de constellations recensées dans le ciel terrestre... entre autre. Il n'a, cependant, rien à voir avec le département des Vosges, le groupe étant originaire de Paris et de sa banlieue.

Leur humour décapant et surréaliste aborde parfois des thèmes plus sérieux tel que la guerre (Libannais raides, Hiroshima), la drogue (Le Manège enchanté, Kaliman) ou la misère (LSD for Ethiopie, In the Ghettos) toujours avec détachement et ironie.

Leur configuration musicale est celle de beaucoup de groupes de l'époque, développé par Métal Urbain et repris notamment par Bérurier Noir: guitare, boîte à rythme, chant et raïa derrière.

Le groupe a connu des formations diverses et variées mais se stabilise à la fin des 80's avec au chant Karim Berrouka, à la gratte Nobru (Bruno Garcia), à la basse Laurent puis Charlu, aux "machines" Jean-Mi. Ils sont alors connus pour leurs concerts survoltés qui durent des heures, leur sens de la déconne et leur costume « à l'arrache » (maillots de cyclistes, bonnets ridicules, équipements de plongée, ponchos mexicains...).

Si le groupe n'a jamais officiellement splité, il n'en reste pas moins en standby prolongé depuis janvier 1999. Nobru (Bruno Garcia de son vrai nom), le guitariste, officie désormais dans Sergent Garcia et Jean-Mi alias Junior Corny s'est lancé dans le dub. On le retrouve également derrière les machines de Béru.

L'album

Cet album fut enregistré quelques part dans les années 90 dans un lieu inconnu et diffusé par leur label sans le consentement du groupe.

The Band

Started mostly as a reaction to the Bérurier Noir (they preferred to choose goofyness insted of slogans), but they shared the same kind of music (punk with a beatbox) and stage madness. The band started somewhere in 1983 and release their first record in 1986 (Houlala). Their first 4 records, Houlala, Houlala II, Ce Jour Heureux Est Plein d'Allégresse and Tout Pour Le Trash are all essential french punk. Think Toy Dolls or the Dickies, but with a beatbox....

The album
This live album was recorded somewhere during the 90's in an unkown location and released without the band consent by their label. Still it's a good snapshot of the band!

1- LAPINBILLY S'EN VA-T'EN GUERRE (Billy The Rabbit Go To War)
2- NOUS SOMMES DES BABAS (We Are "Babas")
3- HLM
4- SUR LA VIE D' MON PERE (About My Father Life)
5- ASSEZ (Enough)
6- LOU ROSSIGNOL CANTOU
7- VANESSA UND FLORENT (Vanessa And Florent)
8- MON COEUR S'ENVOLE (My Heart Takeoff)
9- TYPIQUE MEXICAIN (Typical Mexican)
10- BILBAO
11- ZAMBEZE
12- FISTFUCK PLAYA CLUB
13- SOUS LE SOLEIL DES TROPIQUE (Under The Tropic Sun)
14- CS 137
15- PARIS BRULE T-IL ? (Is Paris Burning?)
16- MARCHE ! (Walk!)
17- SUR LES SENTIERS DE LA GLOIRE (On The Path To Glory)
18- CE JOUR HEUREUX EST PLEIN D'ALLEGRESSE (This Happy Day Is Full Of Joy)
19- CASSAGE DE BURNE (Breaking Of Ball)
20- POUSSIERE D'EMPIRE (POUSSE DE BAMBOU) (Empire Dust)
21- LOUISON BOBET FOR EVER
22- UTDM / SHE'S GONE
23- HOULALA
24- HLM (house mix)
25- LET IT BE
26- VENGEUR MASQUE (disco mix) (Masked Avenger)

Link

The Clash Videos

The Clash In Munich (Complete Control & Hate And War)



The Clash (Rude Boy Movie) - Safe European Home & Complete Control


The Clash - 1977

The Clash - Deadly Serious

Band: The Clash
Album: Deadly Serious
Country: UK
Release Date: 2003
Label: Red Light Records

This wonderful bootleg 2 cd-set should be rename The Clash UK 30th Anniversary Legacy Editions !! It contains everything related to the first LP Clash that is not on it... demos, live and rare tracks. Highly Recommended !!!

Deadly Serious (Disc 1)
1.	Clash City Rockers [Demo]	3:46
2.	(White Man) In Hammersmith Palais [Live]	4:12
3.	I'm So Bored With the USA [Live]	2:22
4.	Janie Jones [Live]	1:54
5.	White Riot [Live]	1:59
6.	Complete Control [Live]	3:52
7.	(White Man) In Hammersmith Palais [Rock Against Racism]	3:59
8.	Career Opportunities [Polydor Demo]	2:00
9.	White Riot [Polydor Demo]	2:03
10.	Janie Jones [Polydor Demo]	2:13
11.	London's Burning [Polydor Demo]	2:06
12.	1977 [Polydor Demo]	1:48
13.	What's My Name [Live]	1:40
14.	Police & Thieves [Live]	5:28
15.	Garageland [Rude Boy Demo]	2:53
16.	White Riot [No Backing Vocal]	2:12
17.	I'm So Bored With the USA [Live]	2:18
18.	Hate And War [Live]	2:05
19.	48 Hours [Live]	2:06
20.	Deny	3:20
21.	Police & Thieves [Live]	6:41
22.	Cheat [Live]	2:08
23.	Capital Radio [Live]	2:26
24.	What's My Name [Live]	1:48
25.	Protex Blues [Live]	3:07
26.	Remote Control [Live]	2:47
27.	Garageland [Live]	4:10
28.	1977 [Live]	1:40
Track 2-5: Glasgow 4 July 1978 Tk 6, 13: Music Machine 27 July 1978 Tk 7: Rock Against Racism Tk 8-12: Polydor Demos Nov 1976 Tk 14: Birmingham 1 May 1978 Tk 15: Rude Boy Demo Tk 16: Beaconsfield Studio 26 Apr 1977 Tk 17-28: Leicester 28 May 1977 Deadly Serious (Disc 2)
1.	1977	1:47
2.	White Riot	1:49
3.	London's Burning	2:05
4.	Prisoner [Demo]	2:56
5.	Capital Radio [Live]	2:45
6.	Janie Jones [Live]	1:53
7.	What's My Name [Live]	1:33
8.	Garageland [Live]	2:58
9.	Studio Chat [Mickey Foote Demos]	6:34
10.	I'm So Bored With the USA [Mickey Foote Demos]	2:41
11.	London's Burning [Mickey Foote Demos]	2:11
12.	White Riot 1 [Mickey Foote Demos]	0:22
13.	White Riot 2 [Mickey Foote Demos]	1:56
14.	Career Opportunities [Mickey Foote Demos]	2:30
15.	1977 [Mickey Foote Demos]	1:38
16.	Janie Jones [Mickey Foote Demos - Instrumental]	2:07
17.	Deny [Live]	3:08
18.	1-2 Crush on You [Live]	2:25
19.	I Know What to Think About You [Live]	2:08
20.	I Never Did it [Live]	4:22
21.	How Can I Understand the Flies [Live]	1:42
22.	Protex Blues [Live]	2:26
23.	Janie Jones [Live]	6:05
24.	Mark Me Absent [Live]	4:23
25.	Deadly Serious [Live]	2:03
26.	48 Hours [Live]	1:44
27.	I'm So Bored With You [Live]	2:45
28.	Sitting at My Party [Live]	1:33
29.	London's Burning [Live]	2:06
30.	What's My Name [Live]	2:07
31.	1977 [Live]	2:07

Tk 1-3: Beaconsfield Studio 28 Apr 1977 Tk 4: Autumn 1977 Tk 5-8: Manchester 15 Nov 1977 (So It Goes) Tk 9-16: Mickey Foote Demos Jan 1977 Tk 17-31: The Roundhouse 5 Sept 1976


Part 1
Part 2
Part 3
Link (Artwork)

Iggy Pop Video

The Passenger at the Manchester Apollo 1977



Lust For Life at ToppPop (Dutch TV)



Sixteen live in 1978

Iggy Pop - Hippodrome 77

Band: Iggy Pop
Album: Hippodrome 77
Country: USA
Release Date: 1998
Label: Revenge

Vocals - Iggy Pop / Guitar - Stacy Heydon / Drums - Hunt Sales / Bass - Tony Sales / Guitar, Keyboards - Scott Thurston

Iggy Pop is at is best when on stage. This one was recorded at the Paris Hippodrome on september 23 1977. I like Iggy's late 70's period and this one give a new twist on classics like Lust For Life and The Passenger.

1.	Intro - Sixteen	3:59
2.	Lust For Life	4:11
3.	The Passenger	8:11
4.	I Got A Right	4:32
5.	Neighbourhood Threat	5:17
6.	Succes	4:33
7.	Fall In Love With Me	8:35
8.	Raw Power	4:06
9.	CC Rider - Jenny Take A Ride	2:42
10.	That How Strong My Love Is	6:25
11.	I Wanna Be Your Dog	5:01

Link