Turbines came together in Roxbury, Massachusetts, in 1983, bringing together a solid mix of bluesy rock, bar-band grit and straight-ahead guitar-driven energy. The original lineup featured John Hovorka on vocals and guitar, Jack Hickey on guitar, Fred Nazzaro on drums and Dave Shibler on bass. Their sound drew heavily from classic American rock and blues traditions, combining strong riffs with a raw, no-frills approach that fit comfortably alongside the roots-rock revival of the decade.
The band's first big opportunity arrived when they signed with Big Time Records (America) Inc., an independent label that was building a reputation for working with rock and alternative acts during the mid-1980s. Expectations were promising, but things never developed as hoped, and after releasing their debut album the group parted ways with the label before they had the chance to establish a wider audience.
Rather than calling it a day, Turbines pressed on and found a new home with the French independent label New Rose Records, a company well known for championing garage rock, punk, roots rock and American underground artists. Their second and final album appeared through New Rose, giving the band one last opportunity to showcase their blues-infused rock to an international audience. Although their recording career was brief, Turbines left behind a pair of albums that captured the spirit of hard-working American rock bands of the 1980s, earning them a small but loyal following among collectors of overlooked roots-oriented rock.
LMNOP is Stephen Fievet, an Atlanta native whose deceptively sweet vocal style and fondness for near-bubblegum melodies partially hides about the most twisted, perverse sense of humor in rock & roll history. Along with his musical activities, Fievet publishes the deliberately offensive comic "Babysue", designs handbill-sized posters (his "missing dog head" poster became a sensation in Internet circles in the mid-'90s, and although this bizarre deadpan joke about a poodle named Ling-Ling was eventually traced back to Fievet, it still travels the World Wide Web among people who believe it's real), and writes nakedly autobiographical, painfully intimate poetry and prose that may or may not be one giant deadpan joke. It's impossible to tell, and Fievet likes it that way.
LMNOP first hit the pop underground with three self-released cassettes, 1982's 'LMNOP', 1984's 'LMNOP LMNOP', and 1985's 'LMNO3'. Fievet's most accessible work, these tapes are ultra-catchy pop with clever lyrics, hooks aplenty, and Fievet's most deceptively innocent vocals. Fievet re-recorded some tracks from these three tapes for his first two vinyl albums, 1986's 'Elemen Opee Elpee' and 1987's 'Pony', which sound like a cross between R. Stevie Moore and The Three O'Clock.
LMNOP's darker and more "difficult" period started with 1989's 'Numbles'; on this album, the arrangements are a bit more stripped down and Fievet starts examining more unsettling emotions in his often depressed-sounding lyrics. 'Pony' and 'Numbles' were released by the French label New Rose, but when that label went under, Fievet returned to his cassette-only roots, releasing 1993's 'Mnemonic', which is basically "Numbles Part Two", and 1994's 'The Tiny Cupcake Dilemma', a retrospective disc containing 24 live solo acoustic performances of songs from all the preceding LMNOP releases.
Fievet released two full-length CDs in the mid-'90s. 1995's 30-track 'Camera-Sized Life' is even more lyrically despairing than 'Numbles' or 'Mnemonic', and the songs are progressively more stripped down and fragile, often dispensing with drums and bass entirely. 1996's 'Pound' adds another ten songs -barely over a quarter of the 40 songs break the two-minute mark- and strips down the instrumentation even further, and the lyrical content has largely mutated from the depressive into the downright strange, with an increasingly hostile and alienated lyrical tone made even more disturbing by the fact that Fievet's singing style is as sweet and cuddly as ever.
Since those two mammoth endeavors, Fievet has seemingly put LMNOP on hold, putting most of his time into his comic book and an online record review site. He has, however, embraced the home digital revolution by reissuing all of his early LP and cassette releases on CD-Rs, available through his website. [SOURCE: ALLMUSIC]
A delightful curiosity during the serene '80s, Pianosaurus played juvenile pop songs on -what else?- rinky-dink pianos, plastic horns, and a full array of children's toys. Bandmates Alex Garvin, Bianca "Flystrip" Miller, and Steve Dansiger came together in New York State in the early '80s, and self-released their first two albums, both recorded live and issued in 1985. Two years later, Rounder Records released Pianosaurus' proper debut, 'Groovy Neighborhood', produced by Peter Holsapple (of The dB's) and featuring covers of Chuck Berry and John Lee Hooker. In 1988, the trio appeared in Francis Ford Coppola's "New York Stories", guesting on the soundtrack as well, and were ready to release their second album, 'Back to School', when Garvin left the band (apparently under mental strain). Tragically, the LP remains unissued. [SOURCE: ALLMUSIC]
Reptiles At Dawn were one of those bands that blurred geographical lines in the underground rock scene of the late 1980s. Although the group's members originally came from New Zealand, they relocated to Sydney, Australia, where they spent the early years of their career building a reputation on the local circuit. The move placed them in the middle of a vibrant independent music community and helped shape the band's identity during a period when alternative rock, garage sounds and post-punk influences were constantly intersecting.
At the centre of the group were vocalist Tony Collins and guitarist Anthony Norman, both veterans of New Zealand's fiercely independent punk scene. Before forming Reptiles At Dawn, the pair had played together in The Henchmen, a band known for its rough-edged, Stooges-inspired sound and uncompromising attitude. Their musical partnership stretched back even further to Dum Dum Boys, whose 1981 album 'Let There Be Noise' is often recognised as one of the earliest full-length punk records to emerge from New Zealand. Collins' forceful vocal style and Norman's raw, Detroit-influenced guitar work became defining features throughout each stage of their musical journey.
Operating under the name Reptiles At Dawn throughout the latter half of the 1980s, the band carved out its own place within the independent music landscape. Their background gave them a distinctive perspective, combining the spirit of the New Zealand underground with the opportunities offered by Sydney's thriving live scene. While they never became a household name, Reptiles At Dawn remain an interesting chapter in the trans-Tasman story of alternative music, representing a generation of musicians who followed their instincts and carried their sound wherever the next stage happened to be.
Fortune Tellers were one of those bands that gave the Oklahoma music scene its own distinct identity during the 1980s. Based in Oklahoma City, they built a reputation as a fierce live act, combining hard-driving rhythm and blues with garage rock energy and a deep love for the roots of American rock'n'roll. While plenty of bands of the period chased commercial trends, Fortune Tellers stayed committed to the sounds that inspired them, drawing from artists such as Bo Diddley, Muddy Waters and Link Wray. Their dedication earned them a loyal local following and eventually attracted the attention of the French label New Rose Records, which released the group's three albums during the second half of the decade.
The classic line-up featured Basile Kolliopoulos on vocals and rhythm guitar, his younger brother Miho Kolliopoulos on lead and slide guitar, Mike Newberry on drums and Victor Goetz on bass. Basile and Miho had grown up in Greece before settling in Oklahoma, bringing with them a passion for American blues and rhythm and blues that had fascinated them since childhood. Basile's gritty vocal delivery and commanding stage presence were perfectly complemented by Miho's expressive guitar work, which could shift from sharp, concise leads to wild, wah-infused solos. Meanwhile, the rhythm section of Mike Newberry and Victor Goetz provided the powerful, danceable groove that became one of the band's trademarks.
Between the mid and late 1980s, Fortune Tellers released three albums: 'Fortunes Told For Free', 'Musick Without Tears' and 'Lively Up!'. Although the records captured part of their appeal, those who saw the group on stage often described the live performances as the real experience. The band became a fixture of the Oklahoma City club circuit, sharing bills with touring acts and even backing legendary performers such as Bo Diddley on occasion. Their refusal to compromise stylistically may have limited their commercial reach, but it also helped establish them as one of Oklahoma's most respected underground rock acts.
Even after their original run came to an end around 1990, the reputation of Fortune Tellers continued to grow among collectors and local music historians. Basile went on to lead The Reverb Brothers, while Miho, Victor and Mike remained active in various projects connected to the Oklahoma scene. Basile Kolliopoulos passed away in 2013, but the recordings and the stories surrounding the group have ensured that Fortune Tellers remain remembered as one of the most distinctive and beloved rock'n'roll bands to emerge from Oklahoma during the 1980s. Their legacy rests not on chart success, but on years of electrifying performances and an unwavering commitment to playing the music they loved.
The Nervous Eaters were one of the key groups to emerge from Boston's fertile late-1970s underground scene, helping to shape a local movement that stood shoulder to shoulder with what was happening in New York and London. Formed around singer, guitarist and principal songwriter Steve Cataldo, the band developed from earlier projects before settling into the Nervous Eaters name and making their live debut in Boston during the mid-1970s. The classic early line-up featured Cataldo alongside Rob Skeen on bass and Jeff Wilkinson on drums, with several guitarists passing through the ranks during the band's formative years.
Although they were regularly labelled a punk band, the Nervous Eaters always had a broader musical outlook. Their sound mixed the urgency and attitude of punk with the swagger of classic rock'n'roll, garage rock and rhythm and blues. Steve Cataldo drew inspiration from artists such as Link Wray, Chicago blues legends and British guitar heroes like Jeff Beck and Jimmy Page, resulting in songs that were energetic and rough around the edges while remaining deeply rooted in traditional rock craftsmanship.
The band's reputation grew quickly thanks to their association with Boston's legendary club The Rathskeller, better known simply as "The Rat." As one of the venue's house bands, the Nervous Eaters became fixtures of the city's thriving alternative scene and shared stages with an impressive list of artists including The Ramones, The Police, Patti Smith, Iggy Pop, The Pretenders and The Go-Go's. Their first single, "Loretta," released on Rat Records in 1976, became a local favourite and remains one of the defining songs of Boston punk. A follow-up single, "Just Head," further cemented their standing among fans of high-energy rock'n'roll.
As their popularity expanded beyond New England, the Nervous Eaters caught the attention of major labels. A set of demos produced by Ric Ocasek of The Cars helped secure a deal with Elektra Records, leading to the release of their self-titled debut album in 1980. Despite strong expectations and the band's formidable live reputation, the album failed to achieve significant commercial success. Internal frustrations and the pressures of the music business eventually led to the group's breakup in 1981.
The story didn't end there. The Nervous Eaters reunited several times over the following decades, returning in the mid-1980s to record the 'Hot Steel and Acid' EP and later issuing new material and archival releases that introduced their music to younger audiences. Steve Cataldo remained the driving force behind these revivals, keeping alive a catalogue that had earned cult status among fans of American punk and garage rock. In more recent years, updated versions of the band have continued to perform and record, proving that the raw spirit that first made them local heroes in Boston hasn't faded with time.
What makes the Nervous Eaters stand out is how naturally they bridged different eras of rock music. They had the speed and attitude associated with first-wave punk, but also the hooks, guitar work and melodic instincts of the bands that inspired them. For many listeners, they represent the distinctly Boston approach to punk rock: tough, unpretentious and deeply connected to rock'n'roll tradition. While they may never have achieved the widespread recognition of some of their contemporaries, their influence on the city's music scene and their enduring cult following have secured them a well-deserved place in the history of American underground rock.
Dino Lee is one of those figures who has been part of the Austin, Texas music scene for years without necessarily becoming a household name outside of it. A musician, singer and bandleader, he built his reputation through a hands-on approach to performing and leading groups, drawing on the city's rich tradition of roots music, rock and rhythm-driven sounds. His work reflects the spirit of Austin itself: independent, energetic and deeply connected to live performance.
Over the years, Dino Lee has also been credited under the names Robert Dino Lee Bird and Dino Lee Bird, which can occasionally make tracing his musical activities a bit of a treasure hunt for collectors and dedicated fans. Regardless of the name used, his contributions reveal an artist committed to his craft and to the communal aspect of making music. Whether fronting a band or stepping into the spotlight as a vocalist, he has remained an active presence within the Texas music community.
Austin has long been a breeding ground for distinctive personalities and genre-crossing artists, and Dino Lee fits comfortably within that tradition. Rather than chasing mainstream trends, his career has been shaped by the local club circuit, collaborations with fellow musicians and the enduring appeal of authentic live music. For those digging through regional releases and uncovering lesser-known stories from the Texas scene, Dino Lee represents another fascinating thread in Austin's endlessly diverse musical tapestry.
The Orson Family were one of those obscure early-1980s British groups that seemed to exist at the crossroads of psychobilly, rock’n’roll and gothic rock, drawing inspiration from the raw energy of 1950s rockers as well as the darker underground sounds that were emerging at the time. Despite their name, they were not actually a family, although the group revolved around the close partnership of vocalists and guitarists Vernon Orson, Ruby Orson and John Orson. Vernon and Ruby lived together and were engaged for a period, which may have helped fuel the misconception behind the band's name. They were joined by Vincent on bass and David O. on drums, the latter also known as Brewster. Before long, the line-up expanded with the addition of a trumpet player named Kevin, who went by the nickname “Elmer.”
Formed in England around 1982, The Orson Family developed a sound that mixed the swagger of classic rock ’n’ roll with the eerie atmosphere of gothic rock and the wild edge of psychobilly. Their influences reflected that broad approach, with names such as Hank Williams, Link Wray, Bunker Hill, Gene Vincent, Eddie Cochran, Lou Reed, The Jam and The Cramps all cited as important inspirations. The result was a style that could shift from twanging rockabilly rhythms to darker, moodier territory without losing its sense of urgency.
Although their lifespan was relatively brief, they managed to leave behind a small but intriguing catalogue. Their first release was a self-financed three-track EP, followed by the six-song mini-album 'The River of Desire', which helped establish their reputation on the underground scene. They continued with the 12-inch release 'No-One Waits Forever' and later issued the live album 'Bugles, Guitars & Amphetamine', a record that captured the group's energetic and unpredictable stage performances.
The final chapter of the band's story came with the single 'The Sweetest Embrace'. By this point, the group's original vocalist Skully had either departed or been dismissed shortly before the recording sessions, leading to a change in personnel and marking a different phase in their short history. Not long afterwards, The Orson Family faded from view, but their recordings remain an interesting snapshot of a time when psychobilly, post-punk and gothic influences were colliding in underground clubs across Britain. Their records may be hard to find today, yet they still hold a certain fascination for collectors and fans of the darker corners of early-1980s rock’n’roll revivalism.
One of the rowdiest and longest-tenured bands in the Austin scene, The LeRoi Brothers emerged in 1981 with a raucous sound macerated in blues, rockabilly, R&B, country, soul, zydeco, and garage rock. Starting as a trio with drummer Mike Buck (founding member of The Fabulous Thunderbirds), guitarist Don Leady (who later formed The Tail Gators), and guitarist Steve Doerr, the band issued their debut album, 'Check This Action', in 1983. As the years progressed, Doerr and Buck would remain the group's sole constant members, culminating in a handful of studio releases and plenty of sweaty live performances. While the band never found mainstream success, they remained legends in Austin, were inducted into the city's Music Hall of Fame in 2014, and continued performing live shows regularly.
The LeRoi Brothers' story begins with Steve Doerr, Don Leady, Mike Buck, bassist Alex Napier, and vocalist Lou Ann Barton, who played clubs under the alternating monikers the Headhunters and Lou Ann & the Fliptops. When Elektra Records started courting Barton, Doerr, Leady, and Buck began operating as the LeRoi Brothers, their frenzied and infectious live shows quickly began amassing supporters. They released an EP, 'Moon Twist', through Amazing Records in 1981, followed two years later by the full-length 'Check This Action' for Jungle Records. The latter effort, which featured Fabulous Thunderbirds bassist Keith Ferguson, became an underground hit, earning acclaim for its nervy energy and raw power and eliciting praise from contemporaries like Rank and File, The Blasters, and X. The band added Steve's brother Joe Doerr and bassist Jack Newhouse to the roster and inked a deal with Columbia, which put out a pair of EPs, 1984's 'Forget About the Danger' and 1985's 'The LeRoi Brothers'. Despite their best efforts, the band was unable to parlay their regional success into the mainstream, resulting in the departure of co-founder Don Leady, who went on to form the swamp rock power trio The Tail Gators.
Replacing Leady was no easy task, but the band found a kindred spirit in D.C.-area six-stringer Evan Johns (The H-Bombs), whose spitfire guitar playing, howling vocals, and mischievous on-stage antics fit right in with the group's dynamic live shows. The LeRoi Brothers continued to release new material as the decades progressed -'Open All Night' (1986), 'Viva LeRoi' (1989), 'Rhythm & Booze' (1990), and 'Kings of the Catnap' (2000) saw them settle into a reliable rockabilly/country/R&B groove- but the stage was their true home, and their performances remained both wild and impeccable. In 2014, the band was inducted into the Austin Music Hall of Fame, and in 2019 Jungle reissued a definitive version of 'Check This Action', which included the group's 1981 EP 'Moon Twist'. [SOURCE: ALLMUSIC]
The Dead Beats were one of those early-1980s London groups that managed to blend the energy of the rockabilly revival with a deep love of classic pop, girl-group records and vintage rock’n’roll. The group revolved around vocalist and songwriter Suzy May, who moved from Florida to London in 1979 with the specific ambition of forming a band inspired by the sounds she loved growing up. After placing an advertisement in Melody Maker looking for like-minded musicians, she connected with bassist Kevin Green and guitarist Tony Berrington, two Nottingham musicians who shared her enthusiasm for Phil Spector productions, Brill Building pop, Gene Vincent, Merseybeat and early rock’n’roll.
The chemistry was immediate. The trio began writing original material and playing around London's thriving roots-rock scene, particularly around venues such as Dingwalls and the Hope & Anchor. Suzy May emerged as the principal songwriter, drawing inspiration from 1960s girl groups, Motown, surf music and pop singles of the era, while Green and Berrington helped shape those ideas into a distinctive sound that felt both nostalgic and fresh. After several drummers passed through the lineup, former Meteors drummer Mark Robertson joined and became a key part of the group's classic formation.
The Dead Beats first attracted attention with the independent single "Crazy Hound Dog" backed with "Crazy When I Hear That Beat". Their fortunes improved when Robertson's connections and fluency in French helped open doors in France, leading to tours and eventually a deal with the influential French independent label New Rose Records. The band recorded their debut album, 'On Tar Beach', with renowned producer Vic Maile, known for work with artists ranging from Motörhead to The Kinks. Determined to capture an authentic early-1960s atmosphere, the group used vintage instruments and recording equipment wherever possible.
Released in 1985, 'On Tar Beach' became a cult favorite, especially in France. The record mixed wall-of-sound pop, surf guitar, rockabilly rhythms and heartfelt girl-group influences, earning praise from critics who admired how convincingly The Dead Beats recreated the spirit of classic early-1960s records while still sounding contemporary. Songs such as "New Girl", "Bobby", "Don't Tell Joe" and "Sexy Sadie" showcased Suzy May's dramatic songwriting and the band's knack for catchy melodies and rich arrangements. Although commercial success remained limited in the UK, the album has since gained a reputation as one of the hidden gems of the 1980s roots-rock and garage-pop underground.
Despite the acclaim surrounding 'On Tar Beach', The Dead Beats never followed it with another studio album. That has only added to their mystique. Their recorded output remains relatively small, but the group's blend of rockabilly swagger, girl-group romance, surf guitar and classic pop craftsmanship continues to attract collectors and fans of retro-inspired music. More than four decades later, 'On Tar Beach' is still regarded as a remarkable snapshot of a band that successfully turned its passion for the sounds of the past into something memorable and uniquely its own.
