jueves, 6 de agosto de 2020

The Rezillos

Although frequently aligned with the punk movement, The Rezillos' (later known as The Revillos) irreverent glam rock image and affection for campy girl group iconography set them distinctly apart from their peers. Formed in 1976 in Edinburgh, Scotland, the group was initially a fluid and highly informal collective centered around lead vocalists Eugene Reynolds (born Alan Forbes) and Fay Fife (Sheila Hynde), and fleshed out by lead guitarist Luke Warm (Jo Callis), second guitarist Hi-Fi Harris (Mark Harris), Dr. D.K. Smythe on bass, drummer Angel Paterson (Alan Patterson), and backing vocalist Gale Warning

The Rezillos' early repertoire contained material from the likes of Screaming Lord Sutch, The Dave Clark Five, and the Sweet. The success of their 1977 debut single, 'I Can't Stand My Baby', was unexpected, especially by the bandmembers themselves, who never considered the group much more than a lark; as a result of the more serious pressures now exerted on The Rezillos, Harris, Smythe, and Warning all departed, while bassist/saxophonist William Mysterious (born William Donaldson) signed on as a permanent member. 

After signing to major-label Sire, the quintet reached the U.K. Top 20 with a single titled, ironically enough, 'Top of the Pops'. After releasing their 1978 debut LP, 'Can't Stand the Rezillos', Mysterious was replaced by Simon Templar, but internal problems continued to plague the group, and following a farewell tour, they disbanded in December 1978. Paterson, Warm, and Templar continued on as Shake, while Reynolds and Fife, promised they could be released from their contract if they dropped The Rezillos name, formed The Revillos

Rejoined by Harris as well as onetime Pork Dukes drummer Rocky Rhythm, bassist Felix, and backing vocalists Babs and Cherie (aka The Revettes), the first incarnation of The Revillos recorded a pair of singles, 'Where's the Boy for Me?' and 'Motorbike Beat'. In mid-1979, Harris left to become an architect, and was replaced by 17-year-old guitarist Kid Krupa in time to record 1980's 'Rev Up'. Following the usual lineup fluctuations (Felix was replaced by Vince Spik, and Babs was replaced by singer Drax), The Revillos signed to the Superville label and issued the single 'She's Fallen in Love with a Monster Man' and the 1983 LP 'Attack!'

After a pair of self-financed U.S. tours, the band split in 1985; Reynolds formed Rockatomic and Planet Pop, while Fay joined Destroy All Men. The Revillos re-formed in 1994 to play a series of concerts in Japan, ultimately recording the 'Live and on Fire in Japan' album and the 'Yeah Yeah' EP. In 1996, they issued a rarities compilation, 'From the Freezer', and played some live dates in Britain. By 2001, The Rezillos were once again a going concern, touring regularly in the U.K. and Europe with a lineup featuring Fife, Reynolds, guitarist Jim Brady, bassist Chris Agnew, and drummer Angel Paterson. After releasing a pair of singles in 2009 and 2011, in 2015 The Rezillos finally got around to cutting a second studio album, 'Zero'. [SOURCE: ALLMUSIC

miércoles, 5 de agosto de 2020

Plastic Trash

Plastic Trash is a perfect name for an '80s group. Their sound alchemies were based on guitar, keyboards, rhythm section, and solemn, evocative vocals. Some kind of synthesis not too romantic, not too dark, not too pop with a very inspired songwriting style and a sound that was more professional than most of the Italian tapes and records of the period. They appeared on 'A White Chance', a compilation of local artists moving in their orbit: Go Flamingo!, Intelligence Dept., and Plastic Trash, contributing with three tracks. They released a third demo with four tracks, again with no title: the same old formula seemed to be enriched by a saxophone leading towards some kind of more commercial (new) wave. The wish of breaking through to a wider audience seemed to be a pretentious dream of glory that never came true; after some more concerts, most of them with a new drummer, in 1990 Plastic Trash realized that the time had come to give up. [SOURCE: FORCED EXPOSURE

martes, 4 de agosto de 2020

Ollie Olsen

Ollie Olsen is an Australian multi-instrumentalist, composer and sound designer. He has performed, recorded and produced rock, electronic and experimental music since the mid-1970s. His post punk groups included Whirlywirld (1978–80), Orchestra of Skin and Bone (1984–86) and No (1987–89). Olsen joined with Michael Hutchence (of INXS) to form a short-term band, Max Q, which issued an album in 1989. He co-founded, Psy-Harmonics, with Andrew Till, as an alternative electronic music record label. In 2014 he formed Taipan Tiger Girls

Ollie Olsen was born in Melbourne. He developed an interest in electronic music as a teenager in the mid-1970s, studying with Felix Werder. Olsen has issued a range of work from experimental to film and television soundtracks, pop and dance music, installation projects and has established record labels. 

In the late 1970s Olsen formed two punk, post-punk bands, as leader and vocalist, as well as being a key figure in the Melbourne little band scene. His punk bands included The Reals and The Young Charlatans. Aside from Olsen on guitar, The Reals' line-up was Peter Cave on drums, Gary Gray on lead vocals and Chris Walsh on bass guitar. At the end of 1977 he formed The Young Charlatans with Janine Hall on bass guitar, Rowland S. Howard on guitar (ex-Obsessions) and Jeffrey Wegener on drums (ex-Saints). Howard had written his iconic song "Shivers" while with The Young Charlatans, it was later recorded and released by a group Howard joined soon afterwards, The Boys Next Door. Young Charlatans recorded the first (and second) version of "Shivers" as part of their unreleased demos, which were made by Bruce Milne for a future single on his Au Go Go Records label.  

The Young Charlatans broke up in May 1978 and Olsen, on lead vocals, synthesiser, clarinet and saxophone, formed Whirlywirld, with Andrew Duffield on synthesiser, John Murphy on drums (ex-The News), Dean Richards on guitar and Simon Smith on synthesiser. Their debut self-titled three-track extended play was released in June 1979 via Missing Link Records. Olsen wrote two tracks and co-wrote the third with Murphy. The group issued a second self-titled EP in February 1980. The first 500 copies also included a bonus single, "Sextronics", but Whirlywirld disbanded before it appeared.

Olsen and Murphy relocated to the United Kingdom in early 1980 on the recommendation of Iggy Pop. The duo formed The Beast Apparel, which later became Hugo Klang, and released a single, 'Grand Life for Fools and Idiots', in 1982. Olsen returned to Australia in the following year and continued Hugo Klang with Alan Bamford, Tom Hoy and Laughton Ellery, before this group split up in 1983.

In 1984 Olsen on vocals and guitar, Marie Hoy on keyboards and vocals and Murphy as drummer formed "an avant-garde outfit", Orchestra of Skin and Bone. Marie Hoy had been an instigator of the Melbourne 'little bands' scene, as a member of Too Fat to Fit Through the Door and others. Other musicians associated with Orchestra of Skin and Bone included David Hoy on cello, Tom Hoy on saxophone, Lochie Kirkwood on vocals and saxophone, Dugald McKenzie on vocals and harmonica, James Rogers on trumpet and Peter Scully on guitar. They issued a self-titled album in 1986 and disbanded soon afterwards. 

The following year, Ollie formed No, with Olsen on keyboards, vocals, drum machine and sampler, Marie Hoy on keyboards, vocals, samples alongside Kevin McMahon on bass guitar and Michael Sheridan on guitar in 1987. 

Film director Richard Lowenstein asked Olsen to appear in and work as music director for his feature film, "Dogs in Space" (December 1986). Olsen supervised the reforming of acts from the late 1970s little band scene and produced music recordings for the soundtrack. He re-recorded material by Whirlywirld including two singles, 'Win/Lose' (April 1987) as a solo effort, and 'Rooms for the Memory' (February) by the film's star, Michael Hutchence (of INXS). The film also featured Marie Hoy singing "Shivers". In 1989 Olsen and Hutchence collaborated on a musical project, Max Q, producing a self-titled album combining electronic music with orchestra, bass, guitar and backing vocals. The Max Q band included John Murphy (drums), Bill Mc Donald (bass), Arne Hanna (guitar) Michael Sheridan (guitar), and Gus Till (keyboards). After recording Olsen and Hutchence travelled New York City to mix the tracks with DJ Todd Terry.

Olsen returned to Australia and turned his attentions to trance music, co-founding Australian electronic music label, Psy-Harmonics with Gus Till's brother, Andrew Till, and recording under the name Third Eye. From the 1990s onwards, he has worked increasingly in sound design and score for film and score for television. Olsen has lectured on and taught electronic music at various universities and symposia, and has also performed with a wide variety of international artists. 

As of 2006, Olsen was working on a number of recording projects -mostly electro-acoustic pieces- with artists from Australia, Japan and South Africa, for performance and release in 2006. Olsen's musical output that year consisted of the release of the album, 'I Am The Server' (13 February 2006), through the Greek record label, Creative Space, and the release of an electro-acoustic album, entitled 'Simulated'. 'I Am The Server' was composed, recorded and engineered by Olsen, with additional music from Bill McDonald and Peter Luscombe; the album was mastered by Simon Pool at LGM studios and the album artwork was produced by Maro Kassoti. 'Simulated' was composed, performed and engineered by Olsen, between 1999 and 2006, mastered by Simon Pool at LGM studios, in January 2006, and the album artwork was, again, produced by Maro Kassoti

In January 2019, Olsen announced his retirement from music via Facebook. Olsen announces publicly online on making a return to music and the release of the 'Whirlywirld Complete Discography 1978-80' LP on HoZac Records due out in June, 2020. [SOURCE: WIKIPEDIA

lunes, 3 de agosto de 2020

Negative Trend

Negative Trend was an early San Francisco punk rock band, active between 1977 and 1979. Before they disbanded, the band released one self-titled EP in September 1978. The former members of Negative Trend would go on to start a number of other notable western US punk bands. Soon after the breakup of Negative Trend, bassist Will Shatter and early drummer Steve DePace went on to be founding members of Flipper, while guitarist Craig Gray and drummer Tim Mooney were among the founding members of the Toiling Midgets. Former vocalists Rozz Rezabek and Rik L Rik went on to become notable punk singers in their own right. 

Grand Mal was a short-lived band which formed in July 1977. Its first lineup consisted of Don Vinil on vocals, Craig Gray on guitar, V. Vale (of "Search & Destroy" punk zine) on bass, and Todd Robertson on drums. Due to his magazine commitments, Vale quickly left the band and Will Shatter replaced him, despite having no previous musical experience. The quartet played only three gigs, sharing bills with bands such as The Avengers, The Dils, and The Dead Boys. During their last show at the Mabuhay Gardens in San Francisco, California on November 7, 1977, Rozz Rezabek stepped in as the band's new vocalist, after jumping on stage, not allowing Vinil to continue performing. Vinil then left the band to start The Offs, and Grand Mal became Negative Trend.

On December 14, 1977, the band played their first show under the name Negative Trend at the Mabuhay Gardens. Rozz Rezabek was now the singer of the band, and the rest of the lineup remained the same. During a show with the Avengers at Iguana Studios Rezabek broke his arm while performing on stage after tripping over a microphone cord. Rezabek was notorious for his electrifying performances, oftentimes jumping onto tables and throwing drinks onto the floor. On January 14, 1978, after playing six shows in the southern United States, The Sex Pistols played their final show at Winterland Arena in San Francisco, California. The day before the show, someone spray painted the walls of Winterland with the words "Negative Trend". Before The Sex Pistols went on, Malcolm McLaren demanded that Bill Graham, who set up the show, allow Negative Trend to go on before The Sex Pistols. Before the show had started, McLaren asked Howie Klein who the worst band in San Francisco was, and Klein responded saying that it was Negative Trend. McLaren told Graham that if the band were not allowed to play, The Sex Pistols would refuse to play. Graham agreed to let Negative Trend go on after The Sex Pistols. However, by the time The Sex Pistols left the stage and Negative Trend got set up, there was nobody left in attendance, so Negative Trend never got to play.

In March 1978, Rezabek quit the band, and Shatter and Gray decided to find a new drummer, as Robertson had failed to show up to a few shows. Mikal Waters would end up replacing Rezabek after the band auditioned a few singers at Iguana Studios, and Steve DePace would replace Robertson on drums. This new version of Negative Trend played their first gig on June 1, 1978. It was this version of Negative Trend that recorded the band's first studio recordings. The eponymous 7" EP was produced by Debbie Dub. While the record is much more famous now, Dub and the band had a hard time giving the record away when it was produced. The record was released in September 1978 by the label Heavy Manners. Side one of the record included the tracks "Mercenaries" and "Meathouse", while side two had the tracks "Black and Red" and "How Ya Feelin". The record has been re-released two times, once in December 1983 by Subterranean Records, and again in April 2006 by 2.13.61. 

In November 1978, Negative Trend needed to find another singer to replace Waters. Gray and Shatter heard that the band F-Word had broken up, and decided to recruit former F-Word singer Rik L Rik for Negative Trend. Gray and Shatter also asked drummer Tim Mooney, previously of the band The Sleepers, to take over for DePace. Shortly after the formation of this version of Negative Trend, the band went to Los Angeles to record five demos for Posh Boy Records. However, the only tracks released under the name Negative Trend from the recordings with Posh Boy Records were "Mercenaries" and "I Got Power" on the 'Tooth and Nail Compilation' LP, released by Upsetter Records in 1979. However, all five of the tracks recorded by Negative Trend for Posh Boy Records were released under the name Rik L Rik on the compilation album 'Beach Blvd.'

After only a few gigs with the third version of Negative Trend, Shatter quit the band and was replaced by 16-year-old Jonathan Henrickson. After traveling to Austin, Texas to play two shows, Rik decided leave band. The final three Negative Trend shows had guest singers. The final Negative Trend show took place on April 27, 1979 at Mills College in Oakland, California with The Queer and Dead Kennedys. Ricky Williams did most of the singing at this final show. Mooney, Williams, and Gray would go on to form the band Toiling Midgets

In July 2008, DePace put together a version of Negative Trend with himself on drums, Gray on guitar, Paul Hood on bass, and Paul Casteel singing. Rezabek was not asked to perform with the reformed version of the band. After the first gig, Tom Mallon took over Hood's position as bass player. After the second gig, DePace was forced to stop playing due to his commitments with the band Flipper. Tony Sales then replaced DePace on drums. The band went on to play a few more shows before splitting up in 2010. [SOURCE: WIKIPEDIA

jueves, 30 de julio de 2020

Metal Y Ca.

Metal y Ca. formed in 1981, when Curro Rodríguez, aka "El Humano Mecano", joined with Fernando Cabello and Fernando Cañada. After releasing 'Datos' in the spring of 1982, Ana Villacorta y Ana Valenzuela joined the group for chorus. After three more releases, always in 7" vinyl format, Metal Y Ca. disbanded in 1984. [SOURCE: DISCOGS

miércoles, 29 de julio de 2020

The Jam

The Jam were the most popular band to emerge from the initial wave of British punk rock in 1977; along with The Sex Pistols, The Clash, and The Buzzcocks, The Jam had the most impact on pop music. While they could barely get noticed in America, the trio became genuine superstars in Britain, with an impressive string of Top Ten singles in the late '70s and early '80s. The Jam could never have a hit in America because they were thoroughly and defiantly British. Under the direction of guitarist/vocalist/songwriter Paul Weller, the trio spearheaded a revival of mid-'60s mod groups, in the style of The Who and The Small Faces. Like the mod bands, the group dressed stylishly, worshipped American R&B, and played it loud and rough. By the time of the group's third album, Weller's songwriting had grown substantially, as he was beginning to write social commentaries and pop songs in the vein of The Kinks. Both his political songs and his romantic songs were steeped in British culture, filled with references and slang in the lyrics, as well as musical allusions. Furthermore, as The Jam grew more popular and musically accessible, Weller became more insistent and stubborn about his beliefs, supporting leftist causes and adhering to the pop aesthetics of '60s British rock without ever succumbing to hippie values. Paradoxically, that meant even when their music became more pop than punk, they never abandoned the punk values -if anything, Weller stuck to the strident independent ethics of 1977 more than any other punk band just by simply refusing to change. 

Weller formed The Jam with drummer Rick Buckler, bassist Bruce Foxton, and guitarist Steve Brookes while they were still in school in 1975; Brookes quickly left the band and they remained a trio for the rest of their career. For the next year, the band played gigs around London, building a local following. In February 1977, the group signed a record contract with Polydor Records; two months later, they released their debut single, 'In the City', which reached the U.K. Top 40. The following month, the group released their debut album, also called 'In the City'. Recorded in just 11 days, the album featured a combinations of R&B covers and Weller originals, all of which sounded a bit like faster, more ragged versions of The Who's early records. Their second single, 'All Around the World', nearly broke into the British Top Ten and the group embarked on a successful British tour. During the summer of 1977, they recorded their second album, 'This Is the Modern World', which was released toward the end of the year. 'The Modern World' made it into the Top 40 in November, just as The Jam were beginning their first American tour. Although it was brief, the tour was not successful, leaving bitter memories of the U.S. in the minds of the band.

'This Is the Modern World' peaked in the British charts at number 22, yet it received criticism for repeating the sound of the debut. The band began a headlining tour of the U.K., yet it was derailed shortly after it started when the group got into a nasty fight with a bunch of rugby players in a Leeds hotel. Weller broke several bones and was charged with assault, although the Leeds Crown Court would eventually acquit him. The Jam departed for another American tour in March of 1978 and it was yet another unsuccessful tour, as they opened for Blue Öyster Cult. It did nothing to win new American fans, yet their star continued to rise in Britain. Bands copying the group's mod look and sound popped up across Britain and The Jam itself performed at the Reading Festival in August. 'All Mod Cons', released late in 1978, marked a turning point in The Jam's career, illustrating that Weller's songwriting was becoming more melodic, complex, and lyrically incisive, resembling Ray Davies more than Pete Townshend. Even as their sound became more pop-oriented, the group lost none of their tightly controlled energy. 'All Mod Cons' was a major success, peaking at number six on the U.K. charts, even if it didn't make a dent in the U.S. Every one of the band's singles were now charting in the Top 20, with the driving 'Eton Rifles' becoming their first Top Ten in November 1979, charting at number three. 

'Setting Sons', released at the end of 1979, climbed to number four in the U.K. and marked their first charting album in the U.S., hitting number 137 in spring of 1980. At that time, The Jam had become full-fledged rock stars in Britain, with their new 'Going Underground' single entering the charts at number one. During the summer, the band recorded their fifth album, with the "Taxman"-inspired 'Start' released as a teaser single in August; "Start" became their second straight number one. Its accompanying album, the ambitious 'Sound Affects', hit number two in the U.K. at the end of the year; it was also the band's high-water mark in the U.S., peaking at number 72. 'That's Entertainment', one of the standout tracks from 'Sound Affects', charted at number 21 in the U.K. as an import single, confirming the band's enormous popularity. 

'Funeral Pyre', the band's summer 1981 single, showed signs that Weller was becoming fascinated with American soul and R&B, as did the punchy, horn-driven 'Absolute Beginners', which hit number four in the fall of the year. As The Jam were recording their sixth album, Weller suffered a nervous breakdown, which prompted him to stop drinking. In February 1982, the first single from the new sessions -the double A-sided 'Town Called Malice/Precious'- became their third number one single and the band became the first group since The Beatles to play two songs on BBC's Top of the Pops. 'The Gift', released in March of 1982, showcased the band's soul infatuation and became the group's first number one album in the U.K. 'Just Who Is the 5 O'Clock Hero' hit number eight in July, becoming the group's second import single to make the U.K. charts. 

Although The Jam was at the height of its popularity, Weller was becoming frustrated with the trio's sound and made the decision to disband the group. On the heels of the number two hit 'The Bitterest Pill', The Jam announced their breakup in October of 1982. The band played a farewell tour in the fall and their final single, 'Beat Surrender', entered the charts at number one. 'Dig the New Breed', a compilation of live tracks, charted at number two in December of 1982. All 16 of the group's singles were re-released by Polydor in the U.K. at the beginning of 1983; all of them recharted simultaneously. Bruce Foxton released a solo album, 'Touch Sensitive', and Rick Buckler played with The Time UK; neither of the efforts were as noteworthy as The Jam biography the two wrote in the early '90s, which contained many vicious attacks on Weller

Immediately after the breakup of The Jam, Weller formed The Style Council with Mick Talbot, a member of the Jam-inspired mod revival band The Merton Parkas. After a handful of initial hits, The Style Council proved to be a disappointment and Weller fell out of favor, both critically and commercially. At the end of the decade he disbanded the group and went solo in the early '90s; his solo albums were both artistic and popular successes, returning him to the spotlight in the U.K. The legacy of The Jam is apparent in nearly every British guitar pop band of the '80s and '90s, from The Smiths to Blur and Oasis. More than any other group, The Jam kept the tradition of three-minute, hook-driven British guitar pop alive through the '70s and '80s, providing a blueprint for generations of bands to come. [SOURCE: ALLMUSIC

martes, 28 de julio de 2020

Jane's Addiction

Los Angeles quartet Jane's Addiction were one of the most influential and iconic alternative rock bands of the late '80s and early '90s. Hotly pursued when they first debuted in the mid-'80s, they released a pair of landmark albums before dissolving in 1991. Subsequent reunions yielded additional efforts while they maintained their cult status into the 2000s. Flamboyant frontman Perry Farrell, formerly of the band Psi Com, had an undeniable charisma and an interest in provocative art (he designed the band's album covers), and Jane's Addiction played a hybrid of rock music: metal with strains of punk, folk, and jazz. The quartet, comprised of Farrell, bassist Eric Avery, drummer Stephen Perkins, and guitarist Dave Navarro, had already released its debut album as well, in the form of a live recording from the Roxy in Hollywood. Finally, Warner Bros. won the bidding war and released 'Nothing's Shocking' in 1988. The band's abrasive sound and aggressive attitude (typified by the nude sculpture on the cover) led to some resistance, but Jane's Addiction began to break through to an audience -the album spent 35 weeks on the charts. 

'Ritual de lo Habitual' followed in 1990 and was the band's commercial breakthrough, reaching the Top 20 and going gold. Farrell designed the traveling rock festival Lollapalooza as a farewell tour for Jane's Addiction. After the tour was completed at the end of the summer of 1991, the group split. Farrell would continue to be involved with the organization of the annual Lollapalooza festival for the next several years; he also formed Porno for Pyros with Perkins in 1992, releasing their debut record the following year. After a couple of quiet years -which included forming Deconstruction, a band that didn't release any records until 1994, with Avery- Navarro joined Red Hot Chili Peppers at the end of 1993. 

By 1997, Perkins and Farrell had dissolved Porno for Pyros, while Navarro was about to resign from Red Hot Chili Peppers. After Navarro began playing with his two former bandmates again during Porno for Pyros' final tour, a Jane's Addiction reunion tour was announced for the fall of the same year. The only catch was that Chili Peppers bassist Flea replaced Avery (Avery refused to participate, as he concentrated on his new band, Polar Bear). To coincide with the short tour, the newly reunited Jane's Addiction issued the album 'Kettle Whistle', which compiled classic live performances and demos alongside a few newly recorded tracks. The album didn't fare well on the charts, but the reunion tour was a rousing success. It didn't lead to a permanent re-formation, however, as members went their separate ways once more after its completion. A planned film documentary of the reunion tour failed to materialize, as a best-of compilation that chronicled Farrell's work (with Jane's, Porno, and a few new solo tracks) was issued in 1999, titled 'Rev'. His first solo full-length, 'Song Yet to Be Sung', saw the light of day in 2001. Navarro's debut solo effort, 'Trust No One', was issued a month earlier than Farrell's, as another Jane's Addiction reunion was announced the same year. Avery again refused to participate, with his spot being filled by former Porno for Pyros bassist Martyn Lenoble

Several years later, Jane's Addiction readied themselves to do it again. In mid-2002, Farrell, Navarro, and Perkins headed back into the studio for their first album of new material in over a decade. Bass player Chris Chaney (Tommy Lee, Alanis Morissette) was added to the group and Bob Ezrin (Pink Floyd, Kiss, Aerosmith) signed on to produce the new record. Capitol prepped for the release of 'Strays' in July 2003 while Farrell resurrected Lollapalooza after a six-year break. 

Around 2004, Jane's Addiction announced they had broken up yet again and the members began work on several other music projects. Navarro, Perkins, Chaney, and vocalist Steve Isaacs formed the band The Panic Channel, and released the album '(One)' in 2006. Also in 2006, Navarro co-hosted the CBS reality music competition "Rock Star: Supernova", in which contestants vied to become the lead singer for a supergroup featuring drummer Tommy Lee, bassist Jason Newsted, and guitarist Gilby Clarke. In early 2007, The Panic Channel and Supernova toured together. Meanwhile, Farrell and his wife Etty Lau Farrell, along with former Extreme guitarist Nuno Bettencourt, formed the band The Satellite Party and released the album 'Ultra Payloaded' in 2007. 

In 2008, Jane's Addiction reunited, this time featuring the original lineup including bassist Avery, who had not performed with the band since 1991. The band quickly re-recorded two tracks, "Whores" and "Chip Away" -which had never officially been recorded in a studio- and joined Trent Reznor and Nine Inch Nails on tour. The lavish box set 'A Cabinet of Curiosities' appeared in 2009. In 2010, Avery announced he was leaving the band and was replaced by former Guns N' Roses bassist Duff McKagan. Originally added as a temporary member, McKagan ultimately signed on full-time and the band began working on new material. In May of 2010, the new-look Jane's Addiction with McKagan on bass premiered the song "Soulmate" during a Cinco de Mayo concert in Hollywood. McKagan left the group the following year, and was replaced by TV on the Radio multi-instrumentalist Dave Sitek, who also appeared on the band's fourth proper studio album, 2011's 'The Great Escape Artist'. For the supporting tour for 'The Great Escape Artist', Chris Chaney joined Jane's Addiction and stayed with the band for the next few years, a time which was marked by semi-regular concerts and festival appearances. In 2016, Jane's Addiction launched the Sterling Spoon Anniversary Tour which celebrated the anniversaries of Lollapalooza and 'Ritual de lo Habitual'. To accompany the tour, the group released a vinyl box set called 'Sterling Spoon'. [SOURCE: ALLMUSIC

lunes, 27 de julio de 2020

James Rays Gangwar

James Ray is a rock singer and band-leader, best known as a member of Andrew Eldritch's side-project The Sisterhood and for his own band James Ray's Gangwar. He was also a founding member of James Ray and The Performance, The MK Ultra, James Ray & The Longfolk, 4080peru and Black Hearted Riders

As mentioned previously, James Ray contributed vocals to The Sisterhood's 'Gift' EP, which was recorded between The Sisters of Mercy's 'First and Last and Always' and 'Floodland' albums after the departure of Gary Marx (who went off to form Ghost Dance), Wayne Hussey and Craig Adams (both of whom went on to form The Mission). Ray can also been seen "playing" keyboards during the Sisters' Top of the Pops performances promoting songs from 1987's 'Floodland'. 

After The Performance, Ray formed James Ray's Gangwar. Ray was still contracted to Merciful Release for one remaining album, so the band recorded 'Dios Esta De Nuestro Lado', a more aggressive sounding album, still with the southwestern American influence. The album's final track was a cover of Alvin Stardust's "[My] Coo Ca Choo". The opening track, "Rev Rev Lowrider", was released as a single. After this, Gangwar released 'Third Generation' on Surgery Records: it was a much more electronic album, with fewer guitars and a more trance-like feel. In 1997 Gangwar released 'Psychodalek' as a soundtrack to Ray's novella of the same name. [SOURCE: WIKIPEDIA

jueves, 23 de julio de 2020

Lucas Trouble

Lucas Trouble is a French musician, producer and engineer, born 1956, died 2016. who managed both the Nova Express Records and The Kaiser Studio. He was involved in many musical projects, along with Tango Luger, The Vietnam Veterans or Temple Gates and he continues his work together with The Mediums, The Gitanes and also by his personal releases. He had produced over 200 albums of bands like Cowboys from Outerspace, Holy Curse, Simon Chainsaw, Tony Truant or Dirteez. The Nova Express style combines garage tunes, punk, noise, experimental, psychedelic and extreme music, either completely deranged or annoyingly sophisticated, but made out of unknown, subtle and overwhelming strangeness. [SOURCE: LAST.FM

jueves, 16 de julio de 2020

Kevin Harrison

Kevin Harrison's music is guitar orientated. But treated and mutated. Harrison is no ordinary guitar hero: his playing shimmers like light reflected on water. His work is reminiscent of a cross between Brian Eno, Michael Rother and Eric Random. While in the ambient field, it balances a lot more in the direction of contemporary electronics and a heavier sound. Nevertheless, his influences are very clear. A minimal psychedelicist at heart, Harrison's is the music of the hypnotic state, of dream and trance. Its core is an obvious affection for the work of Terry Riley, Philip Glass, Kraftwerk and The Normal tempered with an awareness of oriental rhythms and harmonies which give the elemental electronics a warmer, human touch. With Harrison's deft handling his squeaks and buzzes, his synthesized loop tables and his drum machines 'Inscrutably Obvious' seems like it will prove horribly inaccessible. But once properly investigated it offers a sparklingly seductive selection of tracks wholeheartedly recommended to anybody looking for entertainment from the avant-garde. [SOURCE: FORCED EXPOSURE