"miedo"
Year: 1982
Country: Spain
City: Madrid
Label: DB Belter
Format: CD, LP
Tracks: 12
Time: 26 min.
Genre: rock
Style: Punk New Wave
Thursday 17 October 2024
Monday 30 September 2024
THE BUSINESS
"no mercy for you"
Year: 2001
Label: Burning Heart
Format: CD, LP
Tracks: 16
Time: 34 min.
Genre: rock
Style: Oi!
Year: 1997
Country: UK
City: London
Label: Burning Heart
Format: CD, LP
Tracks: 14
Time: 34 min.
Genre: rock
Style: Oi!
"keep the faith"
Year: 1994
Label: Century Media
Format: CD, LP
Tracks: 12
Time: 34 min.
Genrre: rock
Style: Oi!
"welcome to the real world"
Year: 1988
Label: Link
Format: CD, LP
Tracks: 12
Time: 34 min.
Genre: rock
Style: Oi!
"saturdays heroes"
Year: 1985
Label: Harry May
Format: CD, LP
Tracks: 11
Time: 35 min.
Genre: rock
Style: Oi!
"suburban rebels"
Year: 1983
Label: Secret
Format: CD, LP
Tracks: 13
Time: 30 min.
Genre: rock
Style: Street Punk
Wednesday 4 September 2024
THE GONADS
"revolution now!"
Year: 2023
Country: UK
City: London
Label: Randale
Format: CD, LP
Tracks: 13
Time: 34 min.
Genre: rock
Style: Oi!
"London bawling"
Year: 2016
Label: Randale
Format: CD
Tracks: 15
Time: 40 min.
Genre: acoustic
Style: Acoustic Punk
pass: freepunk77
"built for destruction"
Year: 2013
Label: Randale
Format: CD, LP
Tracks: 15
Time: 34 min.
Genre: rock
Style: Oi!
pass: freepunk77
"live free, die free"
Year: 2009
Label: Empty
Format: CD
Tracks: 16
Time: 34 min.
Genre: rock
Style: Oi!
pass: freepunk77
"old boots no panties"
Year: 2006
Label: Captain
Format: CD
Tracks: 12
Time: 34 min.
Genre: rock
Style: Oi!
pass: freepunk77
"schiz-oi!-phrenia"
Year: 2001
Label: Knock Out
Format: CD, LP
Tracks: 12
Time: 36 min.
Gennre: rock
Style: Oi!
pass: freepunk77
"Oi! back and barking"
Year: 1999
Label: Captain
Format: CD
Tracks: 13
Time: 36 min.
Genre: rock
Style: Oi!
pass: freepunk77
The Blood / The Gonads
Year: 1988
Label: Link
Format: LP
Tracks: 14
Time: 34 min.
Genre: rock
Style: Punk
pass: freepunk77
"the revenge of the..."
Year: 1982
Label: Link
Format: LP
Tracks: 16
Time: 34 min.
Genre: rock
Style: Punk Rock
Wednesday 28 August 2024
ONE WAY SYSTEM
"all systems go"
Year: 1983
Country: UK
City: Lancashire
Label: Anagram
Format: CD, LP
Tracks: 13
Time: 40 min.
Genre: rock
Style: Punk
"writing on the wall"
Year: 1983
Label: Anagram
Format: CD, LP
Tracks: 10
Time: 36 min.
Genre: rock
Style: Punk
"waiting for zero"
Year: 1999
Label: GMM
Format: CD, LP
Tracks: 13
Time: 40 min.
Genre: rock
Style: Punk
Tuesday 20 August 2024
TDeK
"bomba H por el culo"
Year: 2023
Country: Spain
City: Madrid
Label: Potencial HC
Tracks: 12
Time: 26 min.
Genre: rock
Style: Hardcore Punk
Year: 1989
Label: La General
Format: CD, LP
Tracks: 9
Time: 27 min.
Genre: rock
Style: Hardcore Punk
"a toda prisa"
Year: 1987
Label: La General
Format: CD, LP
Tracks: 8
Time: 27 min.
Genre: rock
Style: Hardcore Punk
"carnevision"
Year: 1986
Label: La General
Format: CD, LP
Tracks: 13
Time: 26 min.
Genre: rock
Style: Hardcore Punk
"esto es una empresa capitalista"
Year: 1985
Label: La General
Format: CD, LP
Tracks: 8
Time: 15 min.
Genre: rock
Style: Hardcore Punk
Monday 12 August 2024
DECIBELIOS
Year: 1984
Country: Spain
City: El Prat
Label: Warner
Format: CD, LP
Tracks: 11
Time: 34 min.
Genre: rock
Style: Oi! Ska
Decibelios was an Oi! group from El Prat (Barcelona, Spain) formed in 1980 and disbanded ten years later. They recorded eight albums and several singles. They are considered the first Oi! group in Spain and largely responsible for the introduction of this movement in the country. In 2014 they returned to the stage with the tour "¡A por ellos! 2014".
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"Oi!"
Year: 1985
Label: Warner
Format: CD, LP
Tracks: 9
Time: 24 min.
Genre: rock
Style: Oi! Ska
"vacaciones en El Prat"
Year: 1986
Label: Warner
Format: CD, LP
Tracks: 17
Time: 36 min.
Genre: rock
Style: Oi! Ska
"con el tiempo y una caña"
Year: 1989
Label: Warner
Format: CD, LP
Tracks: 11
Time: 34 min.
Genre: rock
Style: Hard Rock
"insurgents"
Year: 2018
Label: none
Format: CD, LP
Tracks: 11
Time: 34 min.
Genre: rock
Style: Punk Ska
Friday 9 August 2024
PRO-PAIN
"voice of rebellion"
Year: 2015
Label: SPV
Format: CD, LP
Tracks: 17
Time: 40 min.
Genre: rock
Style: Hardcore
The New York quartet Pro-Pain require little introduction. Since their trailblazing debut album Foul Taste Of Freedom, which was nominated for a whole range of awards in the early 1990s, the band surrounding vocalist/bassist Gary Meskil has earned the affection and respect of countless fans worldwide and is rightly considered to be a true hardcore metal legend. Every Pro-Pain album is a paragon of intensity, inspiration, honesty and unwillingness to compromise. Their 15th studio recording Voice Of Rebellion marks the band’s return to their old form.
Meskil & Co. have always been quite the opposite of everybody’s darlings. Since their 1992 debut Foul Taste Of Freedom, the subsequent The Truth Hurts (1994), which turned out no mellower, and their international breakthrough Contents Under Pressure (1996), which catapulted the band into the headliner slot at the legendary Dynamo Open Air in Eindhoven/Netherlands, Pro-Pain have continued to openly confront smug officials. Band mastermind Gary Meskil is an idealist, in musical as well as political terms, who continued to stand by his uncompromising attitude on subsequent in-your-face releases such as Pro-Pain (1998), Act Of God (1999), Round 6 (2000), Fistful Of Hate (2004), Absolute Power (2010), Straight To The Dome (2012) and The Final Revolution (2013).
"the final revolution"
Year: 2013
Label: SPV
Format: CD, LP
Tracks: 12
Time: 40 min.
Genre: rock
Style: Hardcore
"absolute power"
Year: 2010
Label: Continental
Format: CD
Tracks: 10
Time. 40 min.
Genre. rock
Style: Hardcore
"fistful of hate"
Year: 2004
Label: Candlefight
Format: CD, LP
Tracks: 12
Time: 40 min.
Genre: rock
Style: Hardcore
"run for cover"
Year: 2003
Label: Spitfire
Format: CD, LP
Tracks: 14
Time: 40 min.
Genre: rock
Style: Hardcore
"straight to the dome"
Year: 2012
Label: Sunny Bastards
Format: CD
Tracks: 11
Time: 40 min.
Genre: rock
Style: Hardcore
Sunday 4 August 2024
STEVE JONES
"fire and gasoline"
Year: 1989
Country: UK
City: London
Label: Universal
Format: CD, LP
Tracks: 12
Time: 36 min.
Genre: rock
Style: Hard Rock
Stephen Philip Jones (born 3 September 1955) is an English guitarist, best known as a member of the punk band Sex Pistols. Following the split of the Sex Pistols, he formed the Professionals with former bandmate Paul Cook. He has released two solo albums, and worked with Johnny Thunders, Iggy Pop, Cheap Trick, Bob Dylan and Thin Lizzy. In 1995, he formed the short-lived supergroup Neurotic Outsiders with members of Guns N' Roses and Duran Duran. He played with Suicidal Tendencies frontman Mike Muir's Cyco Miko, which is still an ongoing project. Jones was ranked #97 in Rolling Stone's 2015 list of the "100 Greatest Guitarists of All Time".
Jones co-founded The Strand (named after a Roxy Music song) with Paul Cook and Wally Nightingale in the early 1970s but later changed its name to The Swankers. After the band dropped Nightingale in August 1975 they reformed as the Sex Pistols with Jones, Cook, Glen Matlock, and John Lydon. Jones was the oldest member of the band.
In October 1976, Jones was filmed as an extra in the movie The Squeeze, released in 1977.
Jones is a self-taught guitar player, primarily playing Gibson Les Paul electric guitars in his early years. He had allegedly only been playing for three months before his first Sex Pistols gig, and has said that practising under the influence of black beauties helped him focus well on learning the instrument.
His usual guitar was a cream-coloured Gibson Les Paul Custom which Malcolm McLaren had acquired from Sylvain Sylvain of The New York Dolls. According to the Sex Pistols documentary The Filth and the Fury, he had stolen equipment from a truck parked behind the Hammersmith Odeon where David Bowie was playing the Ziggy Farewell concerts, when he and some of his friends posed as road-crew members, stealing amplifiers and other equipment.
Bill Price, the engineer on Never Mind the Bollocks, Here's the Sex Pistols, called Jones one of the tightest guitar players he has ever worked with; this is due to his "chuggy" playing in the studio as Price described it as having very little sustain and echo, which required overdubs to hide.
Due to bassist Sid Vicious's musical incompetence, Jones played the primary bass-guitar parts for "Bodies" and "Holidays in the Sun" on Never Mind the Bollocks (a part played by Vicious is buried in the mix on "Bodies" and Matlock appears on the other songs as they had previously been recorded as singles and B-sides).
When the Sex Pistols were interviewed by Bill Grundy on the Thames Television's local news Today programme on 1 December 1976, Jones swore at Grundy after being goaded to do so, assisting the notoriety of the band.
Jones (right) with the Sex Pistols in 1977. After the Sex Pistols broke up in 1978, Jones and drummer Paul Cook co-founded the Professionals. They released four singles, recorded a self-titled LP that was shelved until 1990, and released I Didn't See It Coming in November 1981. The band's American tour to promote the album was cut short when band members Paul Cook, Paul Myers, and Ray McVeigh were injured in a car accident. While the Professionals did return to America in the spring of 1982 after recovery, Jones's and Myers's drug problems further hampered the band's prospects. They declined an opening spot offer on tour for The Clash, and broke up.
"mercy"
Year: 1987
Label: Universal
Format: CD, LP
Tracks: 10
Time: 36 min.
Genre: rock
Style: Hard Rock
The debut solo album Mercy, issued in 1984 was a somewhat surprising statement from a man who had previously been viewed as a maverick guitar hero. Choosing to focus on songs and melody, this is entirely different then his work with Sex Pistols. Produced by Bob Rose (Miami Vice Soundtrack) and Jones, the album is built primarily around melodic rock songs (written mostly by himself). These tracks provide a solid foundation for Steve to unleash some blazing lead guitar, however, the emphasis is not on power chords but carefully executed solos, helping to support the melody rather than burying it beneath mountainous riffs. Rock Candy salutes Steve Jones (*review by Arizona Don).
Wednesday 24 July 2024
JUDGE
Year: 1992
Label: Lost And Found
Format: CD, LP
Tracks: 14
Time: 30 min.
Genre: rock
Style: Hardcore
Monday 15 July 2024
BEASTIE BOYS
"licensed to ill"
Year: 1986
Country: US
City: New York
Label: Sony
Format: CD, LP
Tracks: 13
Time: 40 min.
Genre: rock, electronic
Style: Hip Hop
Beastie Boys were an American hip hop / rap rock group from New York City, formed in 1981. The group was composed of Adam "Ad-Rock" Horovitz (vocals, guitar), Adam "MCA" Yauch (vocals, bass), and Michael "Mike D" Diamond (vocals, drums, programming). Beastie Boys were formed out of members of experimental hardcore punk band The Young Aborigines, which was formed in 1979, with Diamond on drums, Jeremy Shatan on bass guitar, John Berry on guitar, and Kate Schellenbach later joining on percussion. When Shatan left New York City in mid-1981, Yauch replaced him on bass and the resulting band was named Beastie Boys. Berry left shortly thereafter and was replaced by Horovitz.
After achieving local success with the 1983 comedy hip hop single "Cooky Puss", Beastie Boys made a full transition to hip hop, and Schellenbach left. They toured with Madonna in 1985 and a year later released their debut album, Licensed to Ill (1986), the first rap album to top the Billboard 200 chart. Their second album, Paul's Boutique (1989), composed almost entirely of samples, was a commercial failure that later received critical acclaim. Check Your Head (1992) and Ill Communication (1994) found mainstream success, followed by Hello Nasty (1998), To the 5 Boroughs (2004), The Mix-Up (2007), and Hot Sauce Committee Part Two (2011).
Beastie Boys have sold 20 million records in the United States and had seven platinum-selling albums from 1986 to 2004. They are the biggest-selling rap group since Billboard began recording sales in 1991. In 2012, they became the third rap group to be inducted into the Rock and Roll Hall of Fame. In the same year, Yauch died of cancer and Beastie Boys disbanded.[8] The remaining members have released several retrospective works, including a book, a documentary, and a career-spanning compilation album.
"Paul's boutique"
Year: 1989
Label: Sony
Format: CD, LP
Tracks: 15
Time: 40 min.
Genre: electronic, rock
Style: Hip Hop
"check your head"
Year: 1992
Label: Sony
Format: CD, LP
Tracks: 20
Time: 40 min.
Genre: rock, electronic
Style: Hip Hop
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"some old bullshit"
Year: 1994
Label: Sony
Format: CD, LP
Tracks: 14
Time: 20 min.
Genre: rock
Style: Punk Hardcore
"Ill Communication"
Year. 1994
Label: Universal
Format: CD, 2 x LP
Tracks: 20
Time: 40 min.
Genre: electronic, rock
Style: Hip Hop
"hello nasty"
Year: 1998
Label: Universal
Format: CD, LP
Tracks: 22
Time: 67 min.
Genre: rock, electronic
Style: Hip Hop
Even more so than career high-point Paul's Boutique, Hello Nasty tries to squeeze in every interesting record, old or new, that passed through the Beastie Boys' orbit at its time of recording. So why is one album considered a masterpiece while the other belongs in the bottom end of the band's catalog, just above the tedious instrumental EPs and second-rate hardcore? For one thing, Hello Nasty lacks the energy of almost every other Beasties album. It's got all these sounds to work with, that little-bit-of-everything agglomeration that characterized the late-1990s underground's listening habits: electro, drum'n'bass, lounge, folk, turntablism, tropicalia, dub. Basically anything you'd find in the collection of a given member of Tortoise. But the further the album strays from straight-up hip-hop, the less excited it sounds to do anything with these new influences.
That makes it sound like a chore, and it is, albeit intermittently. At 22 tracks, Hello Nasty is less boundary-pushing, carefully collaged risk-taking than the excess that comes from unlimited home studio time and no fear of mercenary label owners or turncoat audiences. "Song for the Man" is the first real evidence of the trio's slide into overextended, self-satisfied slackness. When you take the kitchen-sink approach to making an album, you better make damn sure you bring your A-game to each idea you try. It's not like the Beasties lacked the chops or wit to turn "Song for the Man" into something worth listening to. And there's nothing wrong with froth for frat boys, provided there's a hook. But this little-too-laid-back hip-hop lite is barely a song. Even the Beastie's post-Paul's instrumental funk noodles had more bite.
It sounds all the weaker coming from a band whose prime draw was a exuberance, even mania. Sounding lazy rather than effortless or playful is a bad look for any band-- especially when you've previously prided yourself on proving a don't-give-a-fuck-attitude is compatible with hardcore studio experimentation and pop savvy. If the Beasties anticipated so much of the cut-and-paste hip-hop sound on Paul's Boutique, then why does their contribution to the downtempo glut, passably whimsical instrumental interlude "Sneakin' Out the Hospital", sound less like elders schooling their disciples than three aging magpies trying to keep up with the Ninja Tunes and Mo' Waxes?
Elsewhere, the Beasties fall into the usual traps that beset smart dudes with wide ears, a lot of heart, and plenty of industry clout: go-nowhere studio trickery (murky mumblefest "Flowin' Prose"); eye-rolling heart-on-sleeve earnestness (MCA channeling George Harrison's high guru era on "I Don't Know"); and of course your standard case of guest star-itis. If you can make it through the starstruck Boys' inability to reign in Lee "Scratch" Perry's ramblings on "Dr. Lee, PhD", well, you've got a stronger stomach for superstars kowtowing to their heroes than I do.
The good bits tend to stick to what the Beasties do best-- hyperactive rhyme-lobbing with more bad puns than a MAD magazine sub-editor and a brain-melting overload of one pop-cult ref after another-- with a pre-millennium dancefloor sheen. Thankfully pre-millennium dancefloors-- some of them, at least-- were increasingly in thrall to the recycled rigidity of old-school electro. So you get the Beasties keeping current by referencing the sounds that reared them when they were hip-hop obsessed hardcore kids. Unsurprisingly, the Boys rarely fumble when playing with a sound they'd been loving and perfecting over a decade.
It was also -- lest we forget -- the era of dunderheaded big beat and jungle's last gasp of crowd-pleasing jump-up dumbness. The Beasties were clearly trawling New York's import bins in the months before they laid down Hello Nasty, making the live-from-London remixes of tracks like Fatboy Slim's rework of "Body Movin'" (included on the bonus disc) almost superfluous. The original album tracks have all of the club-centric subgenres' antic energy, plus plenty of trademark Beasties stupid-unto-genius wordplay to make them more than dance comp filler. Ad-Rock rhyming, "I'm the king of Boggle/ There is none higher" with "quagmire" tends dangerously close to both being show-offy and plain cringeworthy. But I'm smiling as I roll my eyes, so I guess he wins.
Elsewhere things get odder, less predictable in the good way. "The Negotiation Limerick File" and "Electrify" don't fit the party-hard schema, but they're good reminders of the sonic diversity of the era's not-quite-mainstream hip-hop. And "Three MC's and One DJ", where Mix Master Mike offers a late-1990s turntablism master-class handily condensed to the length of a single, makes me long for that brief moment when Wire-reading avant-heads shared common ground with straight-up b-boys, the pleasure principle of hip-hop colliding with a noise head's preference for abstract expressionism.
The length of the bonus disc nearly rivals the original's length (21 tracks to the parent album's 22) and contains mostly cutting-room excerpts and drag-assy alternate mixes. Oh boy, an even more meandering "dub mix" of "Dr. Lee, PhD"! There are plenty of short snippets of heavy, kitschy jams where the Beasties indulge their love for the muddy, slo-mo funk of the mid-70s. Get ready for a lot of blaxploitation-in-two-minutes-or-less like "Dirty Dog" and "Aunt Jackie Poom Poom Delicious". As far as the bonus instrumentals go, only the porn-ready mystical mumbo-jumbo minimalism of "The Drone" and the pensive quasi-rock of "Creepin'" justify running the tape past two minutes. And the bulk of the remixes by other artists are inessential, save the stop-and-go stutter-funk Colleone and Webb's "Intergalactic", compelling because it never quite seems to gel with the original.
For an album already in need of a stern editor's hand, the bonus disc just reinforces the impression that the Hello Nasty-era Beasties were bursting with interesting starting points they never bothered to see to completion. I remember loving Hello Nasty at the time in part because it was so much, even the undercooked bits and gimpy hippie schlock. Hell, there were still plenty of tracks left to justify the sticker shock of the just-prior-to-MP3s new CD. But it's hard hearing the positives in such a shapeless mush of half-formed sorta-songs with the weary ears of the post-iTunes playlist compiler. Let alone bothering to pay for it again in full. As an object in itself, we've got the album we've got, and that means assessing the whole unshapely mass/mess, the of-the-moment experiments with the actual tunes worth keeping a decade-plus later. And that whole, less a glorious mess than the exhausting sort, is the least essential Beasties disc until we hit the new millennium (by Jess Harvell ).
"to the 5 boroughs"
Year: 2004
Label: Sony
Format: CD, LP
Tracks: 16
Time: 40 min.
Genre: electronic, rock
Style: Hip Hop
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