Brian James

Brian James was both a journeyman rock guitarist and one of the founding fathers of British punk. As guitarist with the Damned, he wrote "New Rose," the first British punk single, contributing the song's irresistible buzzsaw guitar riff. James' run with the Damned was short, and he formed Tanz Der Youth and played guitar with Iggy Pop before he co-founded The Lords of the New Church in 1981, releasing their self-titled debut album in 1982. James put out a solo album in 1990, 'Brian James', and would record and perform with a wide variety of artists over the next three decades. 

Brian James was born Brian Robertson in Hammersmith, London, England on February 18, 1955; he adopted the name Brian James when he began playing guitar and wanted to avoid confusion with the Thin Lizzy member of the same name. Soaking up the influences of Chuck Berry, the Rolling Stones, and Peter Green of Fleetwood Mac, he became a professional musician as a rhythm guitarist with a band called Train, whose sole recording, "Whitchi Tai To" b/w "Speakin' My Mind," was released under the group name Taiconderoga. In 1973, after becoming a fan of the Stooges, he formed a harder-edged band called Bastard, who enjoyed some success in Belgium but had a hard time getting bookings at home. In 1975, James joined the band London SS, a proto-punk band who never recorded or gigged, but whose lineup also included Mick Jones before he joined The Clash, and Tony James, who went on to form Generation X. James' breakthrough came when he co-founded the Damned in 1976 with singer Dave Vanian, bassist Captain Sensible, and drummer Rat Scabies. With James playing guitar and writing most of the material, the band quickly made a splash on the burgeoning London punk scene, and they were soon signed to an upstart indie label, Stiff Records. Their debut single, "New Rose" b/w "Help!" was the first British punk single, beating the Sex Pistols' "Anarchy in the U.K." by five weeks. It was a modest hit, and their second single, "Neat Neat Neat" b/w "Stab Yor Back," actually made the charts. The Damned's frantic, rough-edged sound made them one of punk's leading acts, and their first album, 'Damned Damned Damned', released in February 1977, became a surprise hit. The Damned also became the first British punk band to tour the United States, but they rushed out a second album, 'Music for Pleasure', which arrived in shops in November 1977. It was a commercial and critical disappointment, and in February 1978, they broke up. In 1979, the Damned reunited, but James opted not to join them. 

Only a few months after the collapse of the Damned, James debuted a new group, Tanz Der Youth. They delivered a single, "I'm Sorry, I'm Sorry" b/w "Delay," in September 1978, but fell apart before they could make a follow-up. James joined Iggy Pop's road band in 1979, and that same year he released his first solo single, "Ain't That a Shame" b/w "Living in Sin" and "I Can Make You Cry," with Stewart Copeland of The Police on drums. In 1981, James co-founded The Lords of the New Church with former Dead Boys vocalist Stiv Bators; the initial lineup also included former Sham 69 bassist Dave Tregunna and ex-Barracudas drummer Nick Turner. Their sound was a polished blend of goth, hard rock, and punk, and after signing with Illegal Records in the U.K. and I.R.S. in the United States, they put out their first LP, 'The Lords of the New Church', in 1982. The band would tour heavily and release two more studio albums, 1983's 'Is Nothing Sacred' and 1984's 'The Method to Our Madness', and scored minor hits with "Live for Today," "Dance with Me," and a gritty cover of Madonna's "Like a Virgin." The band broke up after a chaotic gig in May 1989. Bators died in 1990. James and Tregunna assembled a new version of the band in 2001, but they broke up again in 2003. 

After playing a one-off reunion show with the Damned in 1988, James began work on his first solo LP. Simply titled 'Brian James', it was issued by the French label New Rose in 1990. His next project was The Dripping Lips, a group based in Brussels, Belgium, that also included vocalist Robbie Kelman, bassist Alan Lee Shaw, and drummer Paul Zahl. Their first album was the soundtrack to the 1993 film "Abracadabra", while a second album, 1998's 'Ready to Crack', was produced by Jimmy Miller, best known for his work with the Rolling Stones. In 2001, James teamed with former MC5 guitarist Wayne Kramer to form an ad hoc group called The Racketeers, which also featured Guns N' Roses bassist Duff McKagan, Stewart Copeland, Clem Burke of Blondie, and Brock Avery trading off on drums. The Racketeers issued an album, 'Mad for the Racket'; it was reissued in 2004 with the artist credit changed to Wayne Kramer & Brian James. James and his former Lords of the New Church bandmate Dave Tregunna took on a new project, The Brian James Gang, with drummer Steve Murray. The trio cut an album for the British Easy Action label, 2006's 'The Brian James Gang'. 

In 2012, to the surprise of many, James cut an acoustic album, 'Chateau Brian', credited to Brian James and Grand Cru, featuring original songs and covers of several blues classics. He was on more familiar ground on his next LP, 2013's 'Damned If I Do', where he cut new versions of nine songs he wrote during his years with the Damned. That same year, he was a guest artist on the album 'On the Guest List', from veteran punks The Vibrators; other guests included Wayne Kramer, Ty Segall, Ross the Boss from the Dictators, and Hugh Cornwell of the Stranglers. Another tough rock & roll album followed, 2015's 'The Guitar That Dripped Blood'; the opening track, "Becoming a Nuisance," found James trading licks with Dead Boys guitarist Cheetah Chrome. In 2022, the original lineup of the Damned staged a short-term reunion, playing a five-date tour in the U.K. It proved to be one of James' last major concert appearances; he died on March 6, 2025, at the age of 70. [SOURCE: ALLMUSIC] 

The Loafin' Hyenas

Loafin' Hyenas was a short-lived but memorable American garage punk and cowpunk outfit that brought together musicians from several well-known underground bands during the mid-1980s. The group's lineup featured vocalist T. Tex Edwards, alongside guitarist Tom Blaylock, bassist Rob Ritter, drummer Ron Botelho, guitarist Hermann H. Senac, and Click Mort. Although the band never developed into a long-term project, it captured the rough, irreverent spirit of the American underground scene, mixing punk attitude with rockabilly, blues, garage rock, and country influences. 

T. Tex Edwards had already earned a reputation as one of the most unpredictable frontmen on the Los Angeles punk circuit. Around him, Loafin' Hyenas assembled musicians with equally impressive underground credentials. Rob Ritter had been a founding member of The Bags before joining The Gun Club, where his aggressive bass playing became an essential part of the band's early recordings. Ron Botelho had also spent time with The Gun Club, while Hermann H. Senac and Click Mort were active figures in the same network of musicians that crossed paths through Southern California's punk and garage scenes. 

Rather than following a polished or commercial direction, Loafin' Hyenas embraced a raw, loose approach that reflected the band's live chemistry. Their music drew equally from 1960s garage rock, early rock and roll, country, swamp blues, and punk, with Edwards' distinctive vocals tying everything together. The performances were known for their energy and spontaneity, often sounding as if they could fall apart at any moment while somehow staying completely under control. 

The band's recorded legacy is small but has attracted interest among collectors of American underground rock. Their best-known release is the 1991 self-titled LP 'The Loafin' Hyenas', issued by the independent label New Rose Records in France. The album captured the group's blend of ragged garage rock, rockabilly, blues, and cowpunk, featuring both original material and carefully chosen covers that reflected the members' deep appreciation for American roots music. Although the record received only limited distribution at the time, it later became a sought-after release among fans of the era's alternative rock and punk scenes. 

The various members of Loafin' Hyenas remained active in other projects before and after the band's existence. Rob Ritter continued to be remembered for his influential work with The Gun Club until his death in 1994, while T. Tex Edwards carried on recording and performing with different lineups, remaining a recognizable figure within the cowpunk community.

 

The Bent Backed Tulips

The Bent Backed Tulips was a short-lived alias adopted by the American alternative rock band Dramarama during the early 1990s. The pseudonym came about as a practical solution when the band's record label was unwilling to release more Dramarama material while they were still promoting the 1993 album 'Stuck in Wonderamaland'. Rather than let new recordings sit on the shelf, the group simply gave themselves a new name and issued the music independently of their main identity. 

Behind the alias were the same musicians who made up Dramarama, led by singer, songwriter and guitarist John Easdale, whose sharp lyrics and melodic songwriting had already earned the band a loyal following since the mid-1980s. By that point, Dramarama had built a reputation for blending garage rock, power pop and alternative rock with memorable hooks and a slightly offbeat sense of humor, releasing albums such as 'Cinéma Vérité', 'Stuck in Wonderamaland' and 'Vinyl'. 

The Bent Backed Tulips released the album 'Looking Through...', a record that sounded unmistakably like Dramarama despite the different name on the cover. It carried over the band's trademark mix of crunchy guitars, catchy choruses and wry storytelling, making it more of a hidden chapter in the Dramarama catalog than a separate musical venture. Although credited to The Bent Backed Tulips, the recordings featured the same creative approach, musicianship and songwriting that had defined Dramarama throughout their career, making the album an essential companion piece for anyone exploring the band's complete discography. 

Chris Burroughs

Chris Burroughs (October 11, 1958 – November 19, 2018) was an American guitarist, bassist, percussionist, singer, songwriter, recording engineer and producer whose career stretched across several decades of independent rock, garage, psychedelic and alternative music. Born in West Milford, New Jersey, he became known not only as a versatile musician but also as a key figure behind the scenes, helping countless recordings come to life through his work in the studio. His wide-ranging talents and collaborative spirit earned him a respected place within the American underground music community.

 
Burroughs first emerged during the vibrant garage revival and independent rock movement of the 1980s. He played with several bands over the years, most notably The Vipers, The Laughing Soup Dish, and The New Tragedies, bringing a distinctive mix of raw garage energy, psychedelic textures and melodic songwriting to each project. Rather than sticking to a single style, he was comfortable moving between garage rock, power pop, roots rock and experimental sounds, always serving the song instead of following trends. 

 
Alongside his work as a performer, Burroughs developed an impressive reputation as a recording engineer and producer. Based for many years in Tucson, Arizona, he became closely associated with the city's thriving independent music scene, working with local and touring artists alike. His productions were admired for their warm, organic sound, preserving the character of a performance instead of polishing away its personality. Musicians valued his technical knowledge just as much as his relaxed approach in the studio, making him a sought-after collaborator for bands looking to capture an honest and energetic recording. 

 
His songwriting reflected a deep appreciation for classic rock, folk, psychedelia and American roots music, while never sounding trapped by nostalgia. Whether playing guitar, bass, percussion or contributing vocals, Burroughs had an instinct for tasteful arrangements and memorable hooks. That versatility allowed him to move naturally between leading roles and supporting appearances, and his name can be found on a remarkably varied list of independent releases.

 
Chris Burroughs remained active in music until the final years of his life, continuing to record, perform and produce while mentoring younger musicians entering the Tucson scene. He passed away on November 19, 2018, in Tucson, Arizona, leaving behind an extensive body of work that reflects both his creativity and his generosity as a collaborator. 

 

The Corvairs

The Corvairs were a New York-based garage rock band that emerged at the turn of the 1980s, built around the talents of Phil Gammage, Miles Syken, Bill Van Dusen and Jon Cormany. Although the group would become closely associated with New York's underground rock scene, its roots actually stretched back to Boulder, Colorado, where Gammage and Syken first formed the band in 1978 while attending the University of Colorado. After establishing themselves on the local punk circuit, the band relocated to New York in 1979, where they found the perfect environment for their blend of garage rock, power pop, surf music and punk attitude.

 
Frontman Phil Gammage was already developing the songwriting style that would later define much of his career. Drawing inspiration from British Invasion groups, American garage bands and the raw energy of late-1970s punk, he helped shape a sound that felt authentic rather than nostalgic. The Corvairs shared the same musical spirit as many of the bands that helped fuel New York's garage revival, performing alongside like-minded acts who were rediscovering the excitement of 1960s rock while giving it a modern edge. Rather than simply copying the past, they combined jangling guitars, driving rhythms and memorable melodies with the grit and urgency of the city's independent music scene. 

Their first official release was the six-track 'Temple Fire' EP, recorded during the winter of 1982 and issued in 1983 on SourMash Records in the United States, with a French edition released by L'Invitation au Suicide. Produced by David Kaufman of The Ravers and The Nails, the EP captured the band as a trio after Miles Syken had left the lineup. Songs such as "Hands of Time," which had already become a live favourite during the Colorado years, highlighted the band's knack for combining chiming guitar hooks with a tough garage rock drive. The deliberately unpolished production suited the material perfectly, giving 'Temple Fire' the raw, energetic feel that garage rock fans continue to appreciate. 

The Corvairs continued to develop with the 'Sad Hotel' 12-inch EP in 1985, followed by their full-length album 'Rio Blanco' in 1987, produced by Keith Streng of The Fleshtones. The record expanded the group's sound without sacrificing its directness, balancing garage rock, psychedelic touches and power pop influences. Their final studio album, 'Hitchhiker', appeared in 1989 on the French label New Rose Records, reflecting the strong following the band and Phil Gammage had built across Europe, particularly in France, where many American underground acts found enthusiastic audiences during the decade.

 
Although The Corvairs never achieved widespread commercial success, they earned lasting respect within the underground rock community. Their career connected the late-1970s punk explosion with the garage revival that flourished throughout the following decade, and Phil Gammage would go on to become an important figure through his work with Certain General, The Scarlet Dukes and an extensive solo career.

Blake Xolton

Blake Xolton, born Roger Edward Bloomquist on December 25, 1953, was an American composer, recording artist and poet whose work developed far from the mainstream, following a deeply personal creative path. Throughout his life he combined music, spoken word and literary expression, building a body of work that reflected a fascination with atmosphere, introspection and experimental ideas rather than commercial success. 

 
As a musician, Xolton explored a wide range of sounds, moving comfortably between ambient textures, electronic music, experimental composition and avant-garde approaches. His recordings often blurred the boundaries between music and sound art, creating immersive pieces that rewarded careful listening. Rather than chasing trends, he preferred to develop his own artistic language, resulting in recordings that feel distinctive and uncompromising. 

 
Poetry was just as important to Xolton as music. His writing shared the same thoughtful and reflective qualities found in his recordings, with recurring themes of memory, spirituality, nature and the inner world. Whether working with words or sound, he approached each project with the same curiosity and willingness to experiment, treating both disciplines as complementary forms of expression. 

 
Although Blake Xolton never became a widely known name, his work found appreciation among listeners interested in independent, experimental and underground music. His recordings continue to attract collectors and adventurous audiences looking for artists who followed their own vision without compromise. Roger Edward Bloomquist passed away on September 17, 2017, leaving behind a diverse and deeply personal artistic legacy that continues to reward discovery. 

 

The Purple Helmets

The Purple Helmets was a fun and energetic side project that brought together a group of well-known musicians with a shared love for the raw excitement of 1960s garage rock and rhythm & blues. The band came together during breaks in the schedule of The Stranglers, giving bassist Jean-Jacques 'JJ' Burnel and keyboard player Dave Greenfield the chance to get back on stage and simply enjoy playing the songs that had inspired them in the first place. They were joined by guitarist John Ellis, who was still with The Vibrators at the time but would later spend a spell with The Stranglers, saxophonist Alex Gifford from the Stranglers' live horn section, and drummer Manny Elias, best known for his work with Tears for Fears.

 
Rather than concentrating on original material, The Purple Helmets celebrated the classic sounds of the British Invasion, garage rock and vintage R&B with a set packed full of well-loved covers. Their performances had a relaxed, party atmosphere, with the musicians clearly enjoying the chance to step away from their regular bands and revisit timeless songs by artists who had shaped their musical tastes.

 
That spirit was captured on their debut album, 'Ride Again', released in 1988 by New Rose Records. Recorded live at a party for friends and family, the album feels loose, spontaneous and full of energy, featuring spirited takes on classics such as "All Day and All of the Night", "Woolly Bully" and "Over Under Sideways Down". Instead of aiming for polished perfection, the recording preserves the atmosphere of a great night with a band playing purely for the fun of it. 

Although 'Ride Again' has never been widely available and can be difficult to track down, it has earned a loyal following over the years. Fans of The Stranglers and anyone with a taste for gritty 1960s garage rock will find plenty to enjoy, as The Purple Helmets captured the excitement and infectious spirit of the music that first inspired its members to pick up their instruments. 

The Hellcats

The Hellcats were part of the vibrant Memphis underground scene that flourished during the second half of the 1980s, blending garage rock, roots music, rockabilly and raw rhythm & blues into a distinctive sound. Formed in 1985, the group grew out of the circle surrounding Tav Falco and his Panther Burns, with guitarist Lorette Velvette bringing together vocalist Diane Green after seeing her perform with The Odd Jobs. Bassist Lisa McGaughran soon joined the lineup, and over the following years the band also featured drummer Giovanna Pizzorno, percussionist and later drummer Misty White, and keyboard player Su Ondine. Together they became a striking all-female presence in a scene better known for its eccentric characters than for conventional rock bands. 

Drawing inspiration from Memphis blues, vintage rock 'n' roll, garage punk and country soul, The Hellcats developed a loose, energetic style that felt equally at home covering artists such as Skip James, Slim Harpo or Ike Turner as it did performing their own originals. Their first recordings appeared on the 1986 compilation 'Swamp Surfing in Memphis', before the release of the 'Cherry Mansions' EP on the French New Rose label in 1988. Two years later they followed it with the full-length 'Hoodoo Train', an album that captured the band's gritty blend of American roots music and garage rock and earned positive reviews beyond the local scene.

 
Although they frequently shared stages with Panther Burns and toured extensively across the United States, The Hellcats quickly established an identity of their own rather than remaining a side project. Their live performances were known for their spirited delivery, strong vocal harmonies and genuine love of classic American music, all filtered through the independent attitude of the 1980s underground. The changing lineup never altered the group's character, with each member contributing to a sound that balanced swagger with a deep appreciation for traditional blues and rockabilly. 

The band came to an end around 1990, but its members remained active in music. Lorette Velvette built a respected solo career and later worked with The Kropotkins and Alluring Strange, Lisa McGaughran continued playing in several Memphis projects, Giovanna Pizzorno became closely associated with Panther Burns, while Misty White and Su Ondine also stayed involved in new bands and recordings. 

John Felice & The Lowdowns

John Felice & The Lowdowns was a short-lived but memorable project led by American guitarist, singer and songwriter John Felice, a key figure in the Boston garage rock and power pop scene. After making his name with The Real Kids, Felice continued exploring the raw, hook-filled sound that had defined his earlier work, forming The Lowdowns during the late 1980s. The line-up brought together Billy Borgioli on bass, Martin Paul Rowland on guitar, Pete Taylor on drums, and Felice on vocals and guitar, creating a band that balanced tough, energetic rock with catchy melodies and a strong sense of classic songwriting.

 
Although the group never achieved widespread commercial recognition, John Felice & The Lowdowns built a solid reputation among fans of garage rock, power pop and punk-influenced rock. Their songs reflected Felice's lifelong admiration for British Invasion bands, American rock and roll and the raw spirit of the 1970s punk explosion, without sounding like a simple revival act. Tight performances and straightforward arrangements gave the music an immediacy that appealed to listeners looking for honest, guitar-driven rock. 

 
The band recorded only a small amount of material, making their releases sought after by collectors of independent rock from the era. Their recordings captured the chemistry between the four musicians and showed that Felice's songwriting remained as sharp as ever after his years with The Real Kids. Even with a relatively brief lifespan, the project stands as an interesting chapter in his long career, bridging the gap between his influential early work and his later solo recordings and collaborations.

 

Bruce Joyner

Bruce Joyner (August 9, 1952 – March 9, 2025) was an American singer, guitarist and songwriter from Fitzgerald, Georgia, whose career followed its own path, far away from the mainstream but deeply respected by fans of garage rock, rockabilly and roots-driven rock. His music blended the raw spirit of 1950s rock and roll with the energy of punk and garage, creating a distinctive sound that never felt like a nostalgic exercise. Instead, Joyner gave those classic influences a fresh edge, backed by an unmistakable voice that carried years of determination and experience. 

His life was marked by extraordinary resilience. As a child he suffered a series of serious accidents, including an incident that permanently affected his vocal cords and a car crash during his teenage years that left him partially paralyzed. Those physical challenges stayed with him for the rest of his life, often requiring him to perform seated or with the help of a cane, but they never stopped him from writing, recording or taking the stage. In many ways, those experiences added even more character to his performances, giving his voice a weathered quality that perfectly suited the emotional weight of his songs.

 
After moving to Los Angeles in the late 1970s, Joyner formed The Unknowns, a band that quickly earned a reputation on the city's underground scene. Their mix of rockabilly, garage rock, surf instrumentals and punk attitude fit perfectly alongside the emerging roots-rock revival, and their recordings for labels such as Bomp! and Sire became cult favorites. Although commercial success remained limited, the band built a loyal following and gained lasting respect among collectors and fans of American underground rock. 

During the following decades Joyner continued making music under several names, including Bruce Joyner & The Plantations and Bruce Joyner & The Tinglers. Albums such as 'Way Down South', 'Swimming With Friends', 'Slave Of Emotion' and 'Beyond The Dark' showed that he wasn't interested in repeating himself. Southern roots, blues, folk, country and garage rock all found their place in his songwriting, which often reflected memories of growing up in Georgia and the changing landscape of the American South. 

Away from music, Joyner also worked as a teacher and was a black belt judo instructor, balancing his artistic career with a life devoted to education and other interests. He passed away on March 9, 2025, in Atlanta, Georgia, at the age of 72. While he never became a household name, Bruce Joyner left behind a body of work that continues to be rediscovered by listeners who appreciate honest songwriting, gritty performances and artists who stayed true to their own vision regardless of trends.