Mark Andrews hailed from Portsmouth and began his musical career as a drummer, switched to
acoustic guitar, and while making the rounds of folk clubs began writing his own material. In time he
added electricity and formed a rock band with a keyboard man and electric violin “for Frank Zappa
excursions.” That aggregate evolved into a cabaret band called Edward Bear with a lad named Joe Jackson
on piano. Edward Bear became Arms and Legs (with Joe Jackson) and had a couple of airplay hits including
“Any More Wine.”
When Jackson departed to launch his solo career, Andrews decided to give it another shot as Mark Andrews And The Gents. The band consisted of Larry Toltree on drums, Martin Sawtell on bass, Jap Kemp on
organ and bass and Barry Lines on lead guitar.
Manager Jazz Summers heard an early demo tape which he immediately took to Mike Nobel, who
headed up A&M for A&M U.K. The resulting album, 'Big Boy', was produced by Simon Boswell.
Following the fragmentation of their previous band in 1977, John Clay, Keith Newby and Rob Hampson brought in the youthful and talented Ash Aisthorpe to play bass in a new band to be called The Classics.
Based in Lincolnshire / South Humberside -specifically Scunthorpe and Grimsby- the first few months into 1978 were pretty tempestuous -it became apparent after a fair number of gigs that Keith and Rob were not entirely committed to things so Ash and John split and found a new drummer in Mick Freer from Grimsby, whilst retaining the name of The Classics. At the same time fellow Scunthonian Steve Robinson joined on Guitar and Vocals for a brief period but his time was short lived due to a preoccupation with all things American or The Rolling Stones, hardly credible leanings for a budding Punk / New Wave band.
It wasn't long before the band became a 3 piece for a short period after Steve's departure, until they came across Shaun Ashworth from Doncaster who joined on keyboards (Shaun later went on to tour the world with Edwin Starr).
This period between 1978 and 1980 saw the band at their most creative when most of the original material was written and they gigged regularly in the Yorkshire / Lincolnshire / Humberside and Nottinghamshire region where they were good crowd pullers. Early in 1980 Shaun, a talented but volatile personality left the band and The Classics became a 3 piece yet again.
Demoing 3 songs at Fairview Studios in Hull -"Check Her Alibi", "New Generation" and "Zero Ambition"-, the tapes led to a single deal with Future Earth Records from Doncaster. The band went back into Fairview and recorded the single "Zero Ambition" and "In The Night" (with Terry Wincott from Amazing Blondel of all people guesting on keyboards) for subsequent release on 18th Oct 1980, under the new guise of Backseat Romeos. The name change was due to another band operating under the name of The Classics.
Over the Christmas period of 1980 John had two lengthy auditions with Magazine in London and was asked to go back for a full week with a view to joining the band, work commitments prevented this and the opportunity was lost, although Magazine split themselves only a few months later.
Sadly Mick left Backseat Romeos in early 1981 and his place was taken by Trev Fearnley, John's old drummer from Seagull days in the early 70's. This led to a rockier sound but whilst this line up was potentially the strongest the band had, things were getting tired and by late 1981 we decided to split. [SOURCE: BORED TEENAGERS]
Formed by Pete McShane (guitar, vocals), Graham "Bandy" Cartwright (bass, vocals) and Mike Briggs (drums, vocals), The Smith were from Taunton, United Kingdom. Their only record, the 7" single "Here Comes My Baby" (a typical pieced of mod pop, and a spirited rendition of the Cat Stevens classic) was produced by Graham Sclater, an accomplished songwriter and musician, that has been featured in a number of arts and musical programmes and has performed and recorded with artists including Jimi Hendrix, Fats Domino, Ritchie Blackmore, James Taylor, Elton John and numerous name musicians.
The Questions formed in the summer of 1977 at St. Augustine's High School in Edinburgh, and performed their first gig in December of that year at St. Margaret's Church Hall in Davidson's Mains, a suburb of Edinburgh. The following year, they sent a demo tape of rehearsals to Bruce Findlay of Bruce's Record Shop, which led to signing a recording contract with Zoom Records in Edinburgh in 1978.
The band's first single was "Some Other Guy" backed with "Rock & Roll Ain't Dead" (August 1978). They were crowned Young Band of the Year by Southern Television on Saturday Banana in December 1978. "I Can't Get Over You" b/w "Answers" followed in January 1979. The band subsequently left school in June 1980 and came to the attention of Paul Weller, with "Get Away From it All", a track that was never officially released.
The band supported The Jam at the Edinburgh Playhouse Theatre on the first of many occasions in October 1980, and signed to Weller's fledgling Respond Records in 1981. The Questions contributed three songs to Respond's 'Love the Reason' album -"Work and Play", "Building on a Strong Foundation" and "Give It Up Girl". They also contributed to the track "Mama Never Told Me" with Tracie Young as Tracie & The Questions. Many tours, TV appearances and singles followed, including "Work and Play", "Tear Soup" and "Price You Pay".
In 1983, band members Paul Barry and John Robinson penned the Top 10 hit "The House That Jack Built" for fellow Respond Records label mate Tracie Young. They would go on to write three additional songs -"I Can't Hold on Till Summer", "Moving Together" and "What Did I Hear You Say"- for Young's debut LP, 'Far From the Hurting Kind'. In 1984, 'Belief', the band's only full-length album, was finally released. "Tuesday Sunshine" and "A Month of Sundays" were released as singles. The album did not sell well, and the band played its final concert on 30 November 1984, at the 100 Club in Oxford Street, London. After a twelve-year wait, 'Belief' was issued on CD by the Japanese label Trattoria Records. The re-issue included the album's original eleven songs, plus eight previously unreleased tracks. [SOURCE: WIKIPEDIA]
In 1977 singer songwriter Ronnie Mayor teams up with lead guitarist John Hole to form the punk band Tours. With the addition of Steve Jeff (bass) and Mark Spiers on drums they set about creating their own sound, establishing their own venue at the Brewers Arms Poole and recording their early demos in Arnys Shack. In 1979, after 1 1/2 years in the band John Hole leaves and the replacement guitarist Richard Smith Mazda joins. 6 months later it was all over, however the band managed to record at Misty Studio, tour the UK and release one of John Peel's all time favourite records 'Language School' b/w 'Foreign Girls', recorded at Spaceward Studios in Cambridgeshire which Peel plays 50 nights in a row. They signed an eye watering £225,000 six-album deal for Virgin Records and songwriters Ronnie Mayor and Richard Mazda are proclaimed “the punk Lennon-McCartney”.
In 1980, after the Tours split, Ronnie and John re-grouped to form Power Pop band Da Biz with Ian Sandy (bass) and Nick Buckle (drums). They recorded at Rockfield Studios and released a single on Ronnie's own label Small Operations produced by Pat Moran, 'On the Beach' b/w 'This Is No Audition'. Tiring of the 'buzz saw ' guitar sound Ronnie and Ian threw the doors of the rehearsal room open and expanded the band into Biz Internationale with Ian Sandy (bass), Nick Buckle (drums), Paul Beavis (percussion), Bob Harder (keyboards). They became one of the best local live bands, recording at Misty Studios and signing to Warner Bros lead to the release of the single 'Stay True b/w Just A Thought Of A Love Affair'.
All four tracks from Tours and Da Biz re-surface on 'The Apprentices Dance' compilation album of Dorset based bands including in addition Contacts, Surfin Dave, Paul Chambers (former singer of 7even), Hollows and Cava Cava. Financed and compiled by Ronnie under the name Small Operations the album was distributed in America in 1981 by New Jersey based Sounds Interesting Records. In 1981 Ronnie Mayor releases solo pop anthem 'Can't Wait Till The Summer Comes' b/w 'Holiday Theme' on Do It Records. Recorded at Rockfield Studios and produced by Pat Moran and John David, again receiving great air play. In 1983, having been sacked from Biz Internationale,Ronnie returns to the 24 track Misty Studio with various Biz band members and producer Mark Eden to record further unreleased 24 track masters including "Stranded" (co-written with Blue Rondo's Chris Sullivan) featuring stunning guitar from legendary local guitar hero Paul Stacey and a great brass arrangement from the Purbeck Horns before exiling himself to Australia to clean windows to supplement a career as a club DJ.
In 2004, after 20 years, Ronnie returns to UK to play a comeback gig backed by Peter Christie and Conrad Barr at the Blue Boar pub in Poole. In 2018 Ronnie Mayor and John Hole (in response from an approach from Mark, Steve and Richard) reform Tours for a one-off gig at the King Charles pub in Poole supported by Surfin' Dave and Pete Christie. [SOURCE: MISTY STUDIO ONLINE]
The Symptoms (aka The Original Symptoms) were from Springfield, Missouri and evolved into The Morells, The Skeletons and aside from their own career, have recorded and played with the likes of Dave Alvin, Syd Straw, Eric Ambel, Bo Diddley and Jonathan Richman. Members
Ron Gremp (drums), Maralie Whitney (keyboards, vocals), Donnie Thompson (guitar, vocals), Jim Wunderle (lead vocals) and Lou Whitney (bass, vocals).
Wunderle was known not only known as a dynamic singer and the “consummate front man” for a long series of bands, as his longtime friend Dale McCoy dubbed him, but also for the thick network of loyal friendships he sustained throughout his life.
He began his career at Parkview High School (class of 1971) with Bubble, a band he started in 1969 with McCoy, Jimmy Frink, David Evans and David March.
Around 1980, he formed The Dog People, perhaps Wunderle’s signature band, with Terry Wilson, Michael “Supe” Granda and Tom Whitlock. The band stopped playing regularly in 1983 when Wilson and Whitlock departed to pursue music careers in Los Angeles but had been reuniting faithfully at least once a year.
Wunderle was instrumental in forming the annual Imagine Concert and serving as MC for the event commemorating John Lennon and raising money for Springfield nonprofits.
In addition to performing, Wunderle did production work for studio owner Lou Whitney and for many years at Associated Video Producers. He also wrote film reviews for the Springfield Business Journal.
Lou Whitney was also producer and owner of The Studio, Springfield.
Died in October 07, 2014, kidney cancer, he was 72.
After his death in 2014 Whitney's longtime assistant Eric Schuchmann purchased The Studio, Springfield and changed its location to the Southwest side of Springfield, Missouri.
Maralie Whitney was born October 22, 1930 and died August 30, 2013.
She started piano lessons at the age of 6 and classical trained for 12 years. After marrying she formed the band, Maralie and the Marathons. After moving to Ohio, she played for a dinner club and raised her 3 daughters. In the 1960's, She moved to Springfield and played at the Kentwood Arms and various sing along bars. In 1972, She was selling real estate and met Lou Whitney who she later married and they formed various bands playing current and oldies along with original works!
They started as The Symptoms and later became The Morells which was formed in 1978.
Admittedly the waves aren't too good in the Midwest, but that didn't prevent Lawrence Lange from preparing an anthem, just in case this ever changes. The 7" single "Surfin' Kansas City" (1985, Titan!), their only record, includes many surf homages for a clever pastiche that avoids novelty status by virtue of a preformance that doesn't take itself too seriously. The group inlcuded Lawrence Lange (naturally, guitars, vocal, background vocals), Hy Mayer (drums), Dean Vallis (bass), Dianne O'Neill (piano) and Mark Smith (background vocals). This was recorded at Playwright Presentations Inc, NYC.
Starting out like a Yardbirds "Train Kept A Rollin", New York's The Rousers has a great shout along chorus and wailing hamornica. Gotta love the trippy space noises as well. Featuring Jerry O'Connell (drums), Tom Milmore (lead guitar), Jeff Buckland (vocals), Bill Dickon (rhythm guitar), and John Hannah (bass). Perhaps it's most interesting point is that their only single "Party Boy" (1981), was produced by Wayne Kramer of the MC5.
Not too much there on Royal Oak, Michigan The Service, so for now all we can really say is that the group featured Lou Zasuwa (vocals), Gary Zasuwa (guitar, vocals), Pat Conaton (bass, vocals), and Kyle Kleckner (drums). "Time Release" (Tremor, 1980) was written by the band and was their only release.
What it is with Los Angeles and powerpop trios? They're all great! The Question, Chardon Square and, of course, The Key, ruled the LA mod scene alongside ska faves The Untouchables, for much of the mid 80's, packing them in at locations like Fender's Ballroom in Long Beach. "Evolution" is from the band's debut EP, 'Trashin' Power Pop' (Smash-A!, 1986) -has an EP title ever summed up a band's sound so succintly? The La Verne (an LA suburb), CA group featured Shane Ries (guitar / lead vocals), Henry Chavez (bass / vocals), and David White (drums, also of The Question and later The Untouchables, he was replaced in The Key by Mike Young). They later released an album on London mod label Unicorn Records and also appeared on their 'Unicorn Two ... Modern Times' compilation. Perhaps more importantly the band appeared on Anthony "Squire" Meynell's Hi Lo Records compilation 'American Heart And Soul' and were included on the label CD retrospective 'It's A Mod Mod World'. Shane now runs a hip hop label, Base 9.
Consisting of a pair of brothers, Bill (keyboards / sax) and Scott Evans (bass), plus Bob (lead vocals) and Jack DeStefano (guitar) as well as George Messina (drums) and Joe Hosey (guitar), The Shades originally sprung from the New Jersey band Nobody Special, and though they drew label attention, "Hello Mr. Robinson" (Go Go Records, 1979) would be their only release. Scott Evans also performed with The Rettmans and released a holiday single, "Credit Card Christmas".
Based around just two clubs, Max’s Kansas City and CBGB’s, The Ramones, Blondie, Talking Heads, Television and Patti Smith laid down the framework for the enduring genre of music known as punk. By 1978 those bands were all recording and touring and a new wave of bands were emerging from those same streets and playing in those same clubs.
One of those bands was The Colors. Formed in 1978 when native New Yorkers Tommy Cookman (vocals) and Paul Sass (guitar) began playing together, they were joined in early 1979 by Australian bassist Robert Vickers.Their first shows were at a small but now legendary Soho club called Tier 3. Soon after they asked neighbor Ed East to play drums and built a rehearsal room in his storefront on Rivington Street a few blocks from CBGBs. It was at thistime that Paul appeared in the Robert Stigwood flop turned cult classic, "Times Square".
Their rise on this small, closely watched scene was quick. They were renowned for their brief but intensely exciting live sets and weredeemed "Local Band Most Likely Destined for Commercial Success" by The Soho Weekly News in 1979. They were young, attractive and played energetic pop/punk with very short melodic songs that appealed to an equally young audience. After a playing only a few shows they signed a management deal with CBGB’s owner Hilly Kristal and became the house band there, opening for people like John Cale and Levi and The Rockats and headlining weekend shows.
Tracks were recorded for ‘Live at CBGBs Vol. II’ but the album was never released. Instead they signed with local indie label, Infinite Records. Clem Burke of Blondie, an early supporter, agreed to produce. At this point the relationship with Hilly Kristal was dissolved and Ed East left the band. Clem Burke stepped in to play drums with them, live and on the record, and took over management. A second guitarist, Charly Pip, formerly of The David Johansen Band was also added.
The EP, ‘Rave It Up’ was recorded at Electric Lady studios with Jay Burnett (Planet Rock) engineering, and released in 1980. Many great shows followed, opening for The Undertones, Eddie and the Hot Rods, The Bay City Rollers, The Plasmatics, etc. The Colors built a loyal and enthusiastic fan base in New York and ventured out to tour the East Coast. Despite this being pre-MTV, two videos were made for the EP. Produced by Ed Steinberg of Rock America, Diane Harvey directed both. Three graffiti artists were hired to do a back drop for the party scenes in the videos. One of them, "Samo" under his real name, Jean-Michel Basiquat, later became an internationally renowned artist.
A new drummer, known only as The Elf, was recruited and The Colors began doing TV shows such as The Uncle Floyd Show and New York Dancestand as well as interviews on the fledgling college radio circuit that in the 90s would play such an important part in independent music. They played Chicago, regularly toured the East Coast and ventured deep into New Jersey. They also began working on an album for Infinite, recorded at Intergalactic Studios in New York with the same production team. A song was even written for them by a member of The Bay City Rollers and recorded during these sessions although it did not make the album.
Unfortunately Infinite folded during the recording and the album, ‘The Colors’ came out in early 1983 on Dirt Records too late to save the band from breaking up. Paul Sass had left and Robert Vickers soon left to join Australian band The Go-Betweens in London. The Colors had a brief existence, less that four years in total, but their star shone brightly during that time;villuminating the murky grim of the old Bowery and the dimly lit side streets of a low rent, crime ridden Manhattan that disappeared so completely in the boom of the late 80s. This album is a snapshot of that time, of boundless youthful optimism in a bankrupt city on the edge of America. [SOURCE: MYSPACE]
The Penetrators, founded by guitarist Scott Harrington and drummer Joel Kmak, turned up frequently in the late 1970s at SD punk venues like downtown's Skeleton Club.
The Pens got a big break in 1978 by opening for the Ramones at SDSU's Montezuma Hall, even though original guitarist Scott Harrington quit over the gig, feeling the band wasn't ready. Music writer Steve Esmedina at the Reader teamed up with KGB-FM DJ Jim McInnes to increase public awareness of the band.
When their first EP was released, Chris Davies had replaced guitarist Scott Harrington, having learned the songs by sneaking a tape recorder into Penetrators' concerts. Gary Heffern (Monotone & the Nucleoids) joined up, as did keyboardist-turned-drummer Dan McLain, who operated Monty Rockers Records on El Cajon Boulevard and replaced original drummer Joel Kmak, who had joined the Hitmakers (and would later be a Beat Farmer). McLain would later found The Snuggle Bunnies and become known as Country Dick Montana, leader of The Beat Farmers.
In 1980, while recording at Western Adio Studios in Kearny Mesa and selling out local venues as large as Golden Hall, The Penetrators were Gary Heffern, Chris Sullivan, Jim Call, Chris Davies, and Dan McLain (aka Country Dick Montana). At the time, only Chris Davies made his living solely as a musician. Heffern worked for the phone company, Sullivan worked at a radio station, and Call managed a Pacific Beath theater, where McLain was a snack bar clerk.
The band split in 1984, with its members going on to play in The Beat Farmers, The Jacks, and others. Most of the members still live in San Diego, other than Heffern, who lives in Finland; McLain died in 1995. Former PenetratorChris Sullivan joined latterday Beat Farmer Buddy Blue in The Jacks -as of 2009, both he and Penetrator Joel Kmak play in the re-formed Beat Farmers, now known as the Farmers. Jim Call plays keyboards with Zirk Ubu Circus, while Chris Davies ran the music shop Cow Records in Ocean Beach. Scott Harrington produced the first record by Manual Scan (who later evolved into The Shambles). [SOURCE: SAM DIEGO READER]
Founded by keyboard player Eric Denton and bass player Bob "Monroe" Davis, the San Diego quintet The Monroes mildly flirted with success as the result of the infectious single "What Do All the People Know." With a lineup that was rounded out by singer Jesus Ortiz, guitarist Rusty Jones, and drummer Jonnie Gilstrap, The Monroes record, a five-song EP, was released in 1982 through Japanese label Alfa. When Alfa folded, "What Do All the People Know," which had been gaining momentum, stalled at number 59 on the pop charts. Little more would be heard from the band, although Denton and Davis soldiered on for the remainder of the decade and "What Do All the People Know" began appearing on new wave compilations during the '90s. [SOURCE: ALLMUSIC]
Not to be confused with Minnie Ripperton's Gems who also recorded during the 70's, these Gems were a powerpop trio from Kansas City and had a pub rock sound that somehow crosses Elvis Costello with Steve Miller. 'Save Your Money' (Titan!, 1978) would be this band's only single, produced by C.M. Allen and featuring Gary Charlson on the guitar solo. Under the name J.P. McClain & The Intruders they contributed 3 tracks to Titan's 'Just Another Pop Album' 1980 compilation.
Richard X. Heyman is one of the sadly overlooked pop craftsmen of the '90s, but his albums are widely regarded in power pop circles as instant classics. Heyman began recording in the late '80s in the tradition of the studio nerd/one-man band, playing all instruments himself in his upper west side Manhattan apartment living room, named Brontasaurus, presumably after the classic song by The Move. He released the independent 'Actual Size' EP in 1987 and followed with the full-length 'Living Room!!' in 1988. Considerable word-of-mouth exposure led to the album being reissued by Cypress Records in 1990 in slightly modified form. He signed to Sire in 1990 and released one album for the label, the Andy Paley-produced 'Hey Man!' in 1991. Poor sales led to him being dropped by the label, but he has continued recording (several albums' worth by his estimations) while shopping for the elusive new deal. 'Cornerstone' was completed by 1996, but it wasn't released nationally until early 1998 by Permanent Press Records. In late 2000 Heyman issued 'Heyman, Hoosier & Herman', an EP featuring former Herman's Hermit Peter Noone on vocals for the title track and six outtakes from the 'Cornerstone' sessions. 'Basic Glee' arrived in 2002, followed by the 'Rightovers' compilation a year later. Heyman reissued the 'Actual Size' EP in 2007 with 14 previously unreleased tracks. [SOURCE: ALLMUSIC]
Raised by his adoptive parents in southern New Jersey, D.L. Byron (born David Leigh Byron) became enamored with The Beatles, The Byrds, and Bob Dylan at an early age. When he wasn't busy getting thrown out of a string of exclusive prep schools, Byron formed several teenage garage bands and won a number of poetry competitions. Deciding to pursue his music career in earnest, Byron moved to New York City in February of 1971. After working briefly at the Colony Record shop (located on the ground floor of the Brill Building) and living in a $45 per week fleabag hotel, Byron managed to catch the tail-end of Tin pan alley, procuring a $75-a-week job as a staff writer for E.H. Morris. While there, he met and was influenced by greats like Harold Arlen, and began to perform at open mike nights around New York. In 1979, Clive Davis and Arista discovered Byron and signed him, hoping to find success with an American version of Elvis Costello or Graham Parker. In 1980, Byron released 'This Day and Age', which became an instant power pop classic. [SOURCE: DL BYRON]
From Buffalo, New York, The Jumpers released two 7" singles, adding a sixties garage feel to its pop punk core. Another band ripe for rediscovery. The band featured Terry Sullivan (vocals), Scott Michaels (guitar), Craig Meylan (bass), Roger Nicol (drums) and Bob Kozak (guitar). They also contributed a song, "Hello Girl", to BOMP's 'Waves - An Anthology Of New Music Vol. 2 - Spring 1980' compilation.
Los Angeles’ Code Blue may be best remembered for the fact that its first album was released encased in a blue plastic bag; the group, which actually had talent, fell victim to the post-Knack backlash against Angelino power pop. The brainchild of original Motels guitarist Dean Chamberlain, Code Blue came together after the first version of the Motels disbanded in 1977, with drummer Randall Marsh and bassist Gary Tibbs (Vibrators, Roxy Music) completing the lineup. Despite three good musicians, some decent material and lofty artistic aspirations, the combination of the Knack-lash and the lack of any really killer tracks doomed their LPs to prompt oblivion. [SOURCE: TROUSER PRESS]
Pop / soul is the mix from Boston's David Finnerty And The Jackals. The "Hold On" 7'' single (Deli Platters, DP-2, 1980), their only record, comes across well, with a nice Rascals flavor to the title track. The band featured the aforementioned Mr. Finnerty on guitar and vocals, as well as Tony Gilroy (guitar), Wally Jay (keyboards), Michael Walsh (bass) and Jean-Do Sifantus (drums). Produced by Michael Golub at Triton Studios, Boston, although the Deli Platters label is from New York. David later placed songs on Peter Frampton's 'Breaking All The Rules' album amongst others.
The Speedies were a late 1970's New York Based Power Pop band. Four of the members hailed from Brooklyn, the bass player John Carlucci was from Queens.
They were a favorite band at the legendary NY Punk Club, Max's Kansas City, where they were so popular they broke the house attendance records.
The Speedies were local media darlings, appearing in features in the SoHo Weekly News, Village Voice, NY Post, Life Magazine, The New Yorker, Hit Parader, New York Rocker and Crazy magazine. They won the NY Rocker's readers poll as the best unsigned band in America in 1979.
The often supported international touring acts, having appeared with The Jam, The Undertones, The Gang Of Four, Ultravox, The Members or The David Johanson Group, among others.
In 2005 The Speedies song "Let Me Take Your Photo" was featured in a nationwide TV commercial for Hewlett Packard. Jay Leno also uses the song as part of a re-curring skit called "The Photo Booth"
. [SOURCE: LAST.FM]
Four Eyes was a power pop/new wave quartet from San Diego, California, which was led by vocalist, bassist and songwriter Mark Decerbo. Active from 1977 to 1988, the group garnered some local success-even appearing on NBC’s ‘The Gong Show’ to cover Little Richard- but never managed to parley major label attention into a full album.
The Rattlers were an American rock band formed in the New York City in 1979. It was formed by guitarist / vocalist Mickey Leigh, who is the brother of Joey Ramone. The group released two singles on small independent labels and one album on PVC Records. Their 1979 debut single "On the Beach" featured Joey Ramone on vocals. The album 'Rattled!' has been widely ignored, although it got good reception. American music journalist Robert Christgau named it as one of his "Top 50 albums of 1985." [SOURCE: WIKIPEDIA]
This trio was said to be of American descent, but were apparently stationed in the UK. Indistinctive, but largely effective power pop/AOR in the mold of contemporaries The A's and Tommy Tutone. One of the few entries in the short-lived CBS NuDisk experiment of four- to five-song 10" EPs -Cheap Trick, New Musik, and The Nina Hagen Band were some of the other guinea pigs- "Fizz Pop (Modern Rock)" is the Continentals' one and only major label release. Their brand of gutsy power pop is on The Plimsouls / Last side of the equation, with noisier guitars and rougher vocals than you'd find on a Rubinoos or Raspberries album, but while ex-RamoneTommy Erdelyi's production sounds great, Thomas Doherty and William John Holliday's songwriting is frustratingly inconsistent. The two songs on side one, the anthemic title track and the similarly passionate "Walking Tall," are terrific. On the flip, the anti-radio rant "Housewives' Delight" and the puerile "Two Lips From Amsterdam" (note the seventh-grade-level pun) sound like second-rate Knack rejects, complete with obnoxious Doug Fieger-style smug vocals. Perhaps this is why CBS NuDisk failed (although the 12" mini-album stayed popular throughout vinyl's commercial lifetime). [SOURCE: POWERPOP OVERDOSE]
Untamed Youth was a Mod band from Dagenham, formed in early 1979 by Jamie O'Keefe (vocals), Pete Chamberlain (guitar), Jim Loveday (bass) and Tony Morris (drums). A single, self-financed single was recorded in September 1979 and released on their Hard Core label. The band disappeared the following year. A pleasant power pop single, but not essential. [SOURCE: OLD, WEAK, BUT ALWAYS A WANKER]
The Look, from Ely, Cambridgeshire and originally named The Kreed, changed their name to The Look when they moved to London. Their lead singer and frontman was Jonny Whetstone (born c. 1955). The band's 1980 debut single, "I Am the Beat" was a top 10 hit, peaking at No. 6 on the UK Singles Chart. After the less successful follow-up "Feeding Time" (No. 50, 1981), their third single "Tonight" failed to reach the charts. The singles, and self-titled album, were released on the MCA label. Further singles including "Three Steps Away" also missed the top 75. The group moved to Towerbell Records, an indie label. The Look disbanded in 1983. They returned after a long absence in April 2005 with a new album, entitled 'Pop Yowlin', on Angel Air Records. It received a warm critical reception. Bassist Gus Goad toured with Ian Hunter's Rant Band from 2000 to 2004.
A new album, 'Tunes and Stories' was released in 2012, featuring Alex Baird from The Jags on drums.
They had their first live show in seven years at The Water Rats in London on 26 March 2013, organised by GM Records Presents. [SOURCE: WIKIPEDIA]
The Monitors were four lads from Roan School in Blackheath, London -Lee Wellbrook (guitar, vocals), Chris Kitschin (vocals, guitar), Nick Bidgood (bass) and Gary Porter (drums). They rehearsed at Greenwich Baths. In 1979 they released the Power Pop 7" single "Telegram". After The Monitors split Wellbrook and Kitschin were together to form the skiffle band Big Table, releasing one single in 1981, "Patrick".
New Hearts were a British new wave band from London, England, active in 1977-78. They evolved out of the college band Splitz Kidz, who met in Loughton and consisted of Ian Page (vocals), David Cairns (guitar), John Harty (bass guitar) and drummer Rob Milne (who later drummed with The Clash on the "Anarchy in The UK" tour). Renaming themselves New Hearts, they were signed by CBS Records at the height of punk rock just two months after their debut gig and with an average age of just 17, directly by CBS' managing director, Maurice Oberstein, who had taken a personal interest in the band and attended eight gigs in a row. They appeared on the opening day of the 1978 Reading Rock Festival alongside The Jam, Ultravox and Sham 69.
New Hearts recorded two singles for CBS, "(Just Another) Teenage Anthem" and the Martin Gordon-produced "Plain Jane", inspired by acts like Dr. Feelgood and Eddie & the Hot Rods. They also supported The Jam during their lengthy UK Modern World tour, and accompanied them at the 1978 Reading Festival, where they were joined on stage by Hawkwind's guitarist, Huw Lloyd Langton.
Disillusioned, Page and Cairns ended New Hearts and set about creating a new band inspired by the dress code and musical stylings of the 1960s mod movement, changing their name to Secret Affair and leading the whole mod revival movement. In October 2009, a new CD containing 23 songs (20 for CBS and three pre-CBS demos) was issued by Cherry Red Records. [SOURCE: WIKIPEDIA]
The Negatives were from Sheffield England. They were around from the late 70's through the early 80's. "Electric Waltz / Mon£y Talk" was their only single. They made it onto the compilations 'New Wave From The Heart', and 'Bouquet Of Steel'. Band members were: Pete Eason (Vocals), Fraser "Snapper" Charles (Guitar, Piano), Brad Martini (Bass, Vocals) and Steve Wilmot (Drums, Vocals). [SOURCE: SHOTGUN SOLUTIONS]
We've all seen the TV show, so no points for this tune origin, but The Spys', "The Young Ones" is a great version. A rocked up, almost glam version (dig the Brian May guitar flourishes). This was this London band's only single. For years it was suggested by many that The Spys were actually the ever-struggling Swindon-based pop group XTC. Actually, the producer of this single was XTC producer John Leckie.
Graham Kin and John Williamson were playing local bars in Cork as a guitar duo called The Bandits. Howard Palmer and John Pike and a drummer named Andy were rehearsing Led Zeppelin covers in a band called The Rats. Before The Rats had managed a single gig, the drummer left for University and Graham Kin and John Williamson poached John Pike for The Bandits. They then asked Howard Palmer if he could play drums and thus The Banditz were born.
With three songwriters in the band (Kin, Williamson and Palmer) there was no shortage of original material and with good management behind them providing money for transport and a new PA, they became established very quickly. They were signed by Phaeton within a year of forming. Dave Fanning described them in In Dublin magazine as a "Cork based English band" because they were all English born but were all living in South West Cork when the band was formed.
The Banditz recorded three singles for Phaeton but only one was released: 'J.C.B' / 'Damage Your Health' became the second release on the Phaeton label in 1980. It was written by Graham Kin. It can be described as quirky, keyboards oriented angular new wave pop. Though it sold well, 'J.C.B' does not appear in the official charts of the time and there are no accurate sales figures. Howard Palmer recalls the charts being suspended due to corruption and manipulation at the time (there were five straight-to-number-1 entries in 1980, a suspiciously high number). John Pike left after 18 months. Howard Palmer switched to bass and Wayne Sheehy (then in Bantry band Exodus) became the drummer. This lineup toured solidly for 6 months and recorded the third single. On 18 March 1980 they played the Cork City Hall gig with a host of local bands which was recorded by Circa Records but unreleased. They also recorded a live album independently which was released on cassette. They played one of the last ever gigs at the Dandelion Market in Dublin on Saturday 22 March 1980. The bands lack of progress coupled with various setbacks -losing out on the support slot for The Police at Leixlip Castle on 27 July 1980 (it went to U2), Phaeton shelving the third single- took their toll. Their manager called it a day, taking back the van and P.A. back, and the band folded.
Howard Palmer moved back to England. John Williamson died of cancer five years after the band split. Graham Kin is believed to write film music but presumably under another name as there's no entry on IMDB. John Pike lives in Clonakilty. Wayne Sheehy was later in Driveshaft, 1990, Cactus World News and Hinterland. [SOURCE: IRISH ROCK DISCOGRAPHY]
The Lookalikes were undoubtedly one of the most popular Irish bands playing around Dublin and the rest of Ireland during the early 1980s. They had a massive loyal following, broke attendance records in every major music venue in Dublin and were one of the few bands that could tour the country playing original music. On the strength of some early demo recordings, written by lead singer Sean O’Connor, it wasn’t long before a steady stream of A&R personnel were making their way from London to Dublin to get The Lookalikes’ signature for their respective labels. In total the band were offered a staggering 13 recording contracts.
Eventually they signed to Riva Records, home to Rod Stewart and John Cougar, and the band were offered the opportunity to tour the UK with Thin Lizzy which they did with great success. The band released three singles on the Riva label, all of which were successful in the Irish charts, but due to “differences of musical opinion” they eventually parted ways with the label (One of those three singles is “Can I Take You Home Tonight?” which was an Irish No1 and still gets played on radio to this day).
They released the album “Daydreaming at Night” for Warner Music in Ireland, along with 3 more singles which were the final recordings by the band. After another successful tour with Thin Lizzy throughout Europe in 1982 the band eventually broke up shortly after their return to Ireland. [SOURCE: THE WORKMANS CLUB]
The Dazzlers was a four-piece power pop group from Cambridge in the U.K. They played in a very retro style deliberately reminiscent of British invasion groups such as The Who. The band released a lone LP in 1979. Charisma Records released three singles by them around the same time. [SOURCE: LAST.FM]
The Zeros were one of the early English punk groups. Originally a trio, they were led by Steve Godfrey (guitar/vocals, b.1959, Walthamstow, London), the cousin of Jerry Shirley of Humble Pie. The two other members were Phil Gaylor (drums/vocals) and Steve Cotton (bass/vocals). They released a single called "Hungry" in November 1977 on the Small Wonder Records label. "Hungry" was No 1 on the NME punk chart. That same month, they recorded four songs, including "Hungry", for BBC Radio 1 with John Peel. Paul Miller (guitar/vocals) joined in early 1978. The same year Hugh Stanley Clark became their manager and re-signed the band to "The Label". They released a second single a year later, "What's Wrong with Pop Group". Sometime in the 2000s, Steve Godfrey created a Myspace page, and posted the Zeros entire discography as well as a series of previously unheard recording sessions and demos. [SOURCE: WIKIPEDIA]
Protex are a Belfast punk band which formed in 1978. Their first records were issued on Good Vibrations records. They formed part of the first wave of Belfast punk bands along with label-mates The Undertones and Rudi. The original line-up was Paul Maxwell (bass/vocals), Owen McFadden (drums), David McMaster (guitar/vocals) and Aidan Murtagh (guitar/vocals).
Protex formed inspired by the band members experiencing first-hand The Clash’s landmark visit to Belfast in 1977, when their gig was cancelled at the last minute due to insurance problems. The Clash’s Belfast visit in 1977 is considered by many to be the catalyst for the punk movement in Northern Ireland. Protex was influenced by The Clash and took their original name, Protex Blue, from an album track on The Clash's eponymous debut album. The band did not realise The Clash song was about condoms.
Protex's debut live performance was in 1978 at Knock Methodist Church Hall in Belfast. Shortly after the show they shortened their name to Protex to avoid any confusion about being a blues band. They performed around Belfast and eventually secured a radio session with local station Downtown Radio. By regular gigging around the city the band soon came to the attention of Terri Hooley who they initially met at a gig at the Glenmachan Hotel in Belfast. Hooley prompted them to record a three track debut 45 which he released on his Good Vibrations record label in November 1978 as issue GOT6. The Belfast label had previously released singles by Rudi, Victim, The Outcasts and The Undertones. The single was later re-released on London-based Rough Trade Records.
Following good reviews from the NME writer Tony Parsons, and more radio air play the band secured a BBC Radio 1 session for the Kid Jensen show. This led to interest from Polydor Records who signed the band. The band were all still in sixth form at school when A&R men came over from London to see them play live at Chester’s in Portrush. At Easter 1979, Protex went to London to record their debut single for Polydor, "I Can't Cope".
Protex landed a UK support slot on an Adam and the Ants UK tour. The band members then moved to London and set up base at the Chessington house, once the residence of Genesis and The Boomtown Rats. "I Can Only Dream" was the next single released by Polydor. It was produced by Chas Chandler. Protex opened for The Boomtown Rats on their UK tour and on further tours in America and Canada in 1980. Three songs from the band's New York City concert at the Hurrah Club were filmed by John T Davis and made into a short film entitled "Shellshock Rock". Protex's final release for Polydor was the single "A Place In Your Heart", after which they were dropped by the label. The band did farewell shows at the Pound Club in Belfast before splitting in 1981.
In 2010, New York label Sing Sing Records unearthed unreleased Polydor recordings for an album that never happened, and released them on vinyl as 'Strange Obsessions'. This prompted renewed interest in the band. Original members Aidan Murtagh and David McMaster reformed the band with new members Norman Boyd on bass and Gordie Walker on drums. However, prior to Norman Boyd's addition in 2013, the reformed Protex played for a period of three years with the line up of Aidan Murtagh (vocals, guitar), David McMaster (guitar, vocals), Gordie Walker (drums) and Andrew Curliss (bass, vocals). This line completed two short tours in Spain and Japan in 2013. A live album was released following the latter Japan tour. Although having played on this album, for unknown reasons Andrew Curliss was never credited on the CD. In 2017, the band's current line-up was completed with the addition of Nine Lies bassist John Rossi. [SOURCE: WIKIPEDIA]
