Fortune Tellers

Fortune Tellers were one of those bands that gave the Oklahoma music scene its own distinct identity during the 1980s. Based in Oklahoma City, they built a reputation as a fierce live act, combining hard-driving rhythm and blues with garage rock energy and a deep love for the roots of American rock'n'roll. While plenty of bands of the period chased commercial trends, Fortune Tellers stayed committed to the sounds that inspired them, drawing from artists such as Bo Diddley, Muddy Waters and Link Wray. Their dedication earned them a loyal local following and eventually attracted the attention of the French label New Rose Records, which released the group's three albums during the second half of the decade. 

The classic line-up featured Basile Kolliopoulos on vocals and rhythm guitar, his younger brother Miho Kolliopoulos on lead and slide guitar, Mike Newberry on drums and Victor Goetz on bass. Basile and Miho had grown up in Greece before settling in Oklahoma, bringing with them a passion for American blues and rhythm and blues that had fascinated them since childhood. Basile's gritty vocal delivery and commanding stage presence were perfectly complemented by Miho's expressive guitar work, which could shift from sharp, concise leads to wild, wah-infused solos. Meanwhile, the rhythm section of Mike Newberry and Victor Goetz provided the powerful, danceable groove that became one of the band's trademarks. 

Between the mid and late 1980s, Fortune Tellers released three albums: 'Fortunes Told For Free', 'Musick Without Tears' and 'Lively Up!'. Although the records captured part of their appeal, those who saw the group on stage often described the live performances as the real experience. The band became a fixture of the Oklahoma City club circuit, sharing bills with touring acts and even backing legendary performers such as Bo Diddley on occasion. Their refusal to compromise stylistically may have limited their commercial reach, but it also helped establish them as one of Oklahoma's most respected underground rock acts. 

Even after their original run came to an end around 1990, the reputation of Fortune Tellers continued to grow among collectors and local music historians. Basile went on to lead The Reverb Brothers, while Miho, Victor and Mike remained active in various projects connected to the Oklahoma scene. Basile Kolliopoulos passed away in 2013, but the recordings and the stories surrounding the group have ensured that Fortune Tellers remain remembered as one of the most distinctive and beloved rock'n'roll bands to emerge from Oklahoma during the 1980s. Their legacy rests not on chart success, but on years of electrifying performances and an unwavering commitment to playing the music they loved. 

Nervous Eaters

The Nervous Eaters were one of the key groups to emerge from Boston's fertile late-1970s underground scene, helping to shape a local movement that stood shoulder to shoulder with what was happening in New York and London. Formed around singer, guitarist and principal songwriter Steve Cataldo, the band developed from earlier projects before settling into the Nervous Eaters name and making their live debut in Boston during the mid-1970s. The classic early line-up featured Cataldo alongside Rob Skeen on bass and Jeff Wilkinson on drums, with several guitarists passing through the ranks during the band's formative years. 

Although they were regularly labelled a punk band, the Nervous Eaters always had a broader musical outlook. Their sound mixed the urgency and attitude of punk with the swagger of classic rock'n'roll, garage rock and rhythm and blues. Steve Cataldo drew inspiration from artists such as Link Wray, Chicago blues legends and British guitar heroes like Jeff Beck and Jimmy Page, resulting in songs that were energetic and rough around the edges while remaining deeply rooted in traditional rock craftsmanship. 

The band's reputation grew quickly thanks to their association with Boston's legendary club The Rathskeller, better known simply as "The Rat." As one of the venue's house bands, the Nervous Eaters became fixtures of the city's thriving alternative scene and shared stages with an impressive list of artists including The Ramones, The Police, Patti Smith, Iggy Pop, The Pretenders and The Go-Go's. Their first single, "Loretta," released on Rat Records in 1976, became a local favourite and remains one of the defining songs of Boston punk. A follow-up single, "Just Head," further cemented their standing among fans of high-energy rock'n'roll. 

As their popularity expanded beyond New England, the Nervous Eaters caught the attention of major labels. A set of demos produced by Ric Ocasek of The Cars helped secure a deal with Elektra Records, leading to the release of their self-titled debut album in 1980. Despite strong expectations and the band's formidable live reputation, the album failed to achieve significant commercial success. Internal frustrations and the pressures of the music business eventually led to the group's breakup in 1981. 

The story didn't end there. The Nervous Eaters reunited several times over the following decades, returning in the mid-1980s to record the 'Hot Steel and Acid' EP and later issuing new material and archival releases that introduced their music to younger audiences. Steve Cataldo remained the driving force behind these revivals, keeping alive a catalogue that had earned cult status among fans of American punk and garage rock. In more recent years, updated versions of the band have continued to perform and record, proving that the raw spirit that first made them local heroes in Boston hasn't faded with time. 

What makes the Nervous Eaters stand out is how naturally they bridged different eras of rock music. They had the speed and attitude associated with first-wave punk, but also the hooks, guitar work and melodic instincts of the bands that inspired them. For many listeners, they represent the distinctly Boston approach to punk rock: tough, unpretentious and deeply connected to rock'n'roll tradition. While they may never have achieved the widespread recognition of some of their contemporaries, their influence on the city's music scene and their enduring cult following have secured them a well-deserved place in the history of American underground rock. 

Dino Lee

Dino Lee is one of those figures who has been part of the Austin, Texas music scene for years without necessarily becoming a household name outside of it. A musician, singer and bandleader, he built his reputation through a hands-on approach to performing and leading groups, drawing on the city's rich tradition of roots music, rock and rhythm-driven sounds. His work reflects the spirit of Austin itself: independent, energetic and deeply connected to live performance. 

 
Over the years, Dino Lee has also been credited under the names Robert Dino Lee Bird and Dino Lee Bird, which can occasionally make tracing his musical activities a bit of a treasure hunt for collectors and dedicated fans. Regardless of the name used, his contributions reveal an artist committed to his craft and to the communal aspect of making music. Whether fronting a band or stepping into the spotlight as a vocalist, he has remained an active presence within the Texas music community. 

 
Austin has long been a breeding ground for distinctive personalities and genre-crossing artists, and Dino Lee fits comfortably within that tradition. Rather than chasing mainstream trends, his career has been shaped by the local club circuit, collaborations with fellow musicians and the enduring appeal of authentic live music. For those digging through regional releases and uncovering lesser-known stories from the Texas scene, Dino Lee represents another fascinating thread in Austin's endlessly diverse musical tapestry.

 

The Orson Family

The Orson Family were one of those obscure early-1980s British groups that seemed to exist at the crossroads of psychobilly, rock’n’roll and gothic rock, drawing inspiration from the raw energy of 1950s rockers as well as the darker underground sounds that were emerging at the time. Despite their name, they were not actually a family, although the group revolved around the close partnership of vocalists and guitarists Vernon Orson, Ruby Orson and John Orson. Vernon and Ruby lived together and were engaged for a period, which may have helped fuel the misconception behind the band's name. They were joined by Vincent on bass and David O. on drums, the latter also known as Brewster. Before long, the line-up expanded with the addition of a trumpet player named Kevin, who went by the nickname “Elmer.”

 
Formed in England around 1982, The Orson Family developed a sound that mixed the swagger of classic rock ’n’ roll with the eerie atmosphere of gothic rock and the wild edge of psychobilly. Their influences reflected that broad approach, with names such as Hank Williams, Link Wray, Bunker Hill, Gene Vincent, Eddie Cochran, Lou Reed, The Jam and The Cramps all cited as important inspirations. The result was a style that could shift from twanging rockabilly rhythms to darker, moodier territory without losing its sense of urgency. 

Although their lifespan was relatively brief, they managed to leave behind a small but intriguing catalogue. Their first release was a self-financed three-track EP, followed by the six-song mini-album 'The River of Desire', which helped establish their reputation on the underground scene. They continued with the 12-inch release 'No-One Waits Forever' and later issued the live album 'Bugles, Guitars & Amphetamine', a record that captured the group's energetic and unpredictable stage performances. 

The final chapter of the band's story came with the single 'The Sweetest Embrace'. By this point, the group's original vocalist Skully had either departed or been dismissed shortly before the recording sessions, leading to a change in personnel and marking a different phase in their short history. Not long afterwards, The Orson Family faded from view, but their recordings remain an interesting snapshot of a time when psychobilly, post-punk and gothic influences were colliding in underground clubs across Britain. Their records may be hard to find today, yet they still hold a certain fascination for collectors and fans of the darker corners of early-1980s rock’n’roll revivalism. 

Leroi Brothers

One of the rowdiest and longest-tenured bands in the Austin scene, The LeRoi Brothers emerged in 1981 with a raucous sound macerated in blues, rockabilly, R&B, country, soul, zydeco, and garage rock. Starting as a trio with drummer Mike Buck (founding member of The Fabulous Thunderbirds), guitarist Don Leady (who later formed The Tail Gators), and guitarist Steve Doerr, the band issued their debut album, 'Check This Action', in 1983. As the years progressed, Doerr and Buck would remain the group's sole constant members, culminating in a handful of studio releases and plenty of sweaty live performances. While the band never found mainstream success, they remained legends in Austin, were inducted into the city's Music Hall of Fame in 2014, and continued performing live shows regularly. 

 
The LeRoi Brothers' story begins with Steve Doerr, Don Leady, Mike Buck, bassist Alex Napier, and vocalist Lou Ann Barton, who played clubs under the alternating monikers the Headhunters and Lou Ann & the Fliptops. When Elektra Records started courting Barton, Doerr, Leady, and Buck began operating as the LeRoi Brothers, their frenzied and infectious live shows quickly began amassing supporters. They released an EP, 'Moon Twist', through Amazing Records in 1981, followed two years later by the full-length 'Check This Action' for Jungle Records. The latter effort, which featured Fabulous Thunderbirds bassist Keith Ferguson, became an underground hit, earning acclaim for its nervy energy and raw power and eliciting praise from contemporaries like Rank and File, The Blasters, and X. The band added Steve's brother Joe Doerr and bassist Jack Newhouse to the roster and inked a deal with Columbia, which put out a pair of EPs, 1984's 'Forget About the Danger' and 1985's 'The LeRoi Brothers'. Despite their best efforts, the band was unable to parlay their regional success into the mainstream, resulting in the departure of co-founder Don Leady, who went on to form the swamp rock power trio The Tail Gators. 

 
Replacing Leady was no easy task, but the band found a kindred spirit in D.C.-area six-stringer Evan Johns (The H-Bombs), whose spitfire guitar playing, howling vocals, and mischievous on-stage antics fit right in with the group's dynamic live shows. The LeRoi Brothers continued to release new material as the decades progressed -'Open All Night' (1986), 'Viva LeRoi' (1989), 'Rhythm & Booze' (1990), and 'Kings of the Catnap' (2000) saw them settle into a reliable rockabilly/country/R&B groove- but the stage was their true home, and their performances remained both wild and impeccable. In 2014, the band was inducted into the Austin Music Hall of Fame, and in 2019 Jungle reissued a definitive version of 'Check This Action', which included the group's 1981 EP 'Moon Twist'. [SOURCE: ALLMUSIC] 

 

Dead Beats

The Dead Beats were one of those early-1980s London groups that managed to blend the energy of the rockabilly revival with a deep love of classic pop, girl-group records and vintage rock’n’roll. The group revolved around vocalist and songwriter Suzy May, who moved from Florida to London in 1979 with the specific ambition of forming a band inspired by the sounds she loved growing up. After placing an advertisement in Melody Maker looking for like-minded musicians, she connected with bassist Kevin Green and guitarist Tony Berrington, two Nottingham musicians who shared her enthusiasm for Phil Spector productions, Brill Building pop, Gene Vincent, Merseybeat and early rock’n’roll. 

The chemistry was immediate. The trio began writing original material and playing around London's thriving roots-rock scene, particularly around venues such as Dingwalls and the Hope & Anchor. Suzy May emerged as the principal songwriter, drawing inspiration from 1960s girl groups, Motown, surf music and pop singles of the era, while Green and Berrington helped shape those ideas into a distinctive sound that felt both nostalgic and fresh. After several drummers passed through the lineup, former Meteors drummer Mark Robertson joined and became a key part of the group's classic formation.

 
The Dead Beats first attracted attention with the independent single "Crazy Hound Dog" backed with "Crazy When I Hear That Beat". Their fortunes improved when Robertson's connections and fluency in French helped open doors in France, leading to tours and eventually a deal with the influential French independent label New Rose Records. The band recorded their debut album, 'On Tar Beach', with renowned producer Vic Maile, known for work with artists ranging from Motörhead to The Kinks. Determined to capture an authentic early-1960s atmosphere, the group used vintage instruments and recording equipment wherever possible. 

Released in 1985, 'On Tar Beach' became a cult favorite, especially in France. The record mixed wall-of-sound pop, surf guitar, rockabilly rhythms and heartfelt girl-group influences, earning praise from critics who admired how convincingly The Dead Beats recreated the spirit of classic early-1960s records while still sounding contemporary. Songs such as "New Girl", "Bobby", "Don't Tell Joe" and "Sexy Sadie" showcased Suzy May's dramatic songwriting and the band's knack for catchy melodies and rich arrangements. Although commercial success remained limited in the UK, the album has since gained a reputation as one of the hidden gems of the 1980s roots-rock and garage-pop underground.

 
Despite the acclaim surrounding 'On Tar Beach', The Dead Beats never followed it with another studio album. That has only added to their mystique. Their recorded output remains relatively small, but the group's blend of rockabilly swagger, girl-group romance, surf guitar and classic pop craftsmanship continues to attract collectors and fans of retro-inspired music. More than four decades later, 'On Tar Beach' is still regarded as a remarkable snapshot of a band that successfully turned its passion for the sounds of the past into something memorable and uniquely its own. 

The Primevals

The Primevals are one of those groups that never quite fit neatly into any scene, which is probably why they've remained such a cult favourite for more than four decades. Formed in Glasgow in 1983 by vocalist Michael Rooney, guitarist Tom Rafferty, drummer Rhod Burnett, bassist Malcolm McDonald and guitarist Kevin Key, they emerged at a time when much of the Scottish music press was focused on jangly indie pop and post-punk. The Primevals headed in a completely different direction, drawing inspiration from the raw power of the MC5, The Stooges, The Gun Club, Captain Beefheart, The Cramps and the darker corners of American garage rock and blues. 

 
Their first single, “Where Are You?”, appeared in 1984 and quickly attracted attention from the French independent label New Rose Records. Over the next few years the group released a string of records including 'Eternal Hotfire', 'Sound Hole' and 'Live a Little', building a reputation for intense live shows and a sound that mixed fuzzed-out guitars, harmonica, saxophone and a swampy, almost psychedelic energy. They toured extensively across Europe, shared stages with acts such as The Cramps, and recorded several BBC radio sessions, including a much-loved session for John Peel in 1985.

 
Like many underground bands of the era, line-up changes were frequent. Tom Rafferty left during the mid-1980s, while later departures and arrivals gradually reshaped the group. By the end of the decade the original run had come to an end, although not before leaving behind a live album and a fiercely loyal following among garage rock fans across Britain and continental Europe.

 
After the split, several members remained active. Co-founder Rhod Burnett formed The Nutmeg City Group, a project that later included both Michael Rooney and Ady Gillespie. Meanwhile, Tom Rafferty teamed up with fellow Primevals associate John Honeyman in The Beat Poets, a group that explored some of the same influences while developing its own identity. 

 
The Primevals reunited briefly in 1990 and again in 1997 before returning for good in 2007. Rather than relying on nostalgia, they resumed recording new material and released a steady stream of albums including 'There Is No Other Life and This Is It', 'Disinhibitor', 'Tales of Endless Bliss', 'Dislocation', 'Second Nature' and 'New Trip'. One of the most notable moments of the reunion era came with 2012's 'Heavy War', which also marked the return of co-founder Tom Rafferty to the fold. 

 
What makes The Primevals stand out is their refusal to mellow with age. While many garage-rock revival acts became historical footnotes, they continued evolving while staying true to the fierce spirit that defined their earliest recordings. From the Glasgow underground of the early 1980s to ongoing releases and live performances today, they've remained one of Scotland's most enduring and distinctive garage rock exports.

 

R. Stevie Moore

One of the rock musicians who is most difficult to categorize, R. Stevie Moore is a true original. Bypassing the traditional recording industry more thoroughly than just about any internationally known singer/songwriter ever has, Moore self-released literally thousands of songs through the R. Stevie Moore Cassette Club, a mail-order operation with hundreds of individually dubbed cassettes and CD-Rs in its catalog. The handful of traditional LPs and CDs Moore has released since 1975 are primarily collections of the best songs from those cassettes. Moore's music, a blend of classic pop influences, arty experimentalism, idiosyncratic lyrics, wild stylistic left turns, and homemade rough edges, is one-of-a-kind, but entire generations of lo-fi enthusiasts and indie trailblazers, from Guided by Voices to the Apples in Stereo, owe much to Moore's pioneering in the field. 

 
The son of legendary Music City session musician Bob Moore (not Elvis guitarist Scotty Moore, as many articles mistakenly claim) and the older brother of Linda Moore, singer/bassist for '80s country-pop band Calamity Jane, Robert Steven Moore was born January 18, 1952, in Nashville, Tennessee. Growing up in a musical environment, Moore mastered several instruments as a child, including guitar, piano, bass, and drums. He formed his first band, The Marlborough, at the age of 15; armed with inspiration from the first two Mothers of Invention albums and an inexpensive four-track recorder he received for his 16th birthday, Moore began recording Marlborough performances, bizarre spoken-word pieces, comedic skits, and one-man band songs. This all-over-the-map D.I.Y. aesthetic would remain Moore's calling card throughout his career. 

 
After graduating from high school and dropping out of Vanderbilt University, Moore became a session musician and the president of his father's music publishing company, but did not excel at either; Moore's eccentric personal style and non-country musical influences, including Zappa, The Beatles, Brian Wilson, Todd Rundgren, and The Move, were determinedly out of step with Nashville's prevailing musical culture during the early '70s. Although Moore and his high-school friends gigged around town under a variety of band names, most of his time was spent writing and recording by himself, slowly developing an idiosyncratic but increasingly poppy personal style. Encouraged by his uncle Harry Palmer, who at the time was president of Atco Records, Moore pieced together his 1975 debut album, 'Phonography', from two years' worth of home recording sessions. Palmer issued 'Phonography' and its two follow-ups, 'Stance' and 'Delicate Tension', on his own HP Music label. Encouraged by the response his records were receiving in the nascent New York punk and new wave scene -Ira Robbins' Trouser Press magazine was particularly complimentary in its praise- Moore moved to northern New Jersey in early 1978. 

 
Aside from periodic bouts of gigging around New York, often backed by friends like Chris Butler and the Smithereens' Dennis Diken, Moore has remained a home-recording loner, creating new songs on an almost weekly basis in styles ranging all the way from hip-hop to Windham Hill-style piano instrumentals. A mid-'80s association with the French New Rose label resulted in his best-known albums, the two-disc retrospective 'Everything You Always Wanted to Know About R. Stevie Moore But Were Afra…' and the fruit of a rare session in a real recording studio, 'Teenage Spectacular'. Other albums and CDs, including an expanded digital reissue of 'Phonography' and a well-chosen but unfortunately named career overview called 'Greatesttits', came out on a variety of tiny American and European indies. 

 
Moore continued to record throughout the '90s and 2000s, seeing a spike in recognition by the late 2000s when emerging lo-fi artists such as Ariel Pink and John Maus cited Moore as a primary influence. This led to more exposure for his always-prolific recordings, as well as European touring and a cover story in The Wire, the end name for all experimental music mags. Amid a constant stream of new songs, releases, and his first ever concert tour, 2012 saw the release of yet another collection of his stronger work, 'Lo-Fi Hi-Fives... A Kind of Best Of', followed the next year by another, 'Personal Appeal'. That same year, he did a split single with the British band The Vaccines, covering their song "Post Break Up Sex." 

 
Along with more touring and curating his tape archive, next up for Moore were a couple of collaborations, with fellow prolific oddball Jad Fair on 2014's 'The Great American Songbook, Vol. 1' and with power pop maestro Jason Falkner on 2017's 'Make It Be'. In 2019, Bar/None Records released 'Afterlife', which brought together 14 gems from Moore's back catalog recut in new versions that, as the liner notes point out, were "recorded in the 21st Century in REAL recording studios." [SOURCE: ALLMUSIC]

 

The Dawgs

Coming out of Beverly, Massachusetts in the late ‘70s, The Dawgs were part of that rough-edged East Coast underground where garage rock, punk and straight-up rock’n’roll all crashed together. The lineup featured Bobby Cashman on drums, Phil Haynen on guitar and vocals, Punk Larcom on bass, and Rikki Helgason on guitar. Like a lot of bands floating around the Boston-area scene at the time, they took inspiration from raw ‘60s garage records and local heroes like the Real Kids, turning that influence into something louder, dirtier and packed with attitude. 

 
Their best-known release was the three-song EP issued on Greenline Records around 1979-1980, featuring tracks like “Shot Of Your Love,” “Main Street U.S.A.” and “Paper Moon.” The record had that perfect mix of power pop hooks and snarling punk energy that later made it a favorite among collectors digging through the KBD-style American punk underground. One cool detail attached to the single is that it was produced by Elliot Easton from The Cars, which gave the recordings a sharper punch without sanding off the grit. 

 
The Dawgs kept moving after the EP, putting out a full-length on Star-Rythm Records and later appearing on releases connected to the French label New Rose. Over the years their records became cult items among garage-punk and Boston rock collectors, especially as bootlegs and compilations started circulating. In 2009, the Italian label Rave Up gathered together rare and unreleased material for the anthology 'Outside Of Time', helping introduce the group to a newer wave of listeners obsessed with late ‘70s American punk obscurities. 

 
What makes The Dawgs stand out decades later is how naturally they bridged the gap between trashy garage rock and the tighter, hook-heavy side of early punk. There’s a swagger running through those recordings that feels completely tied to the bars, clubs and backstreet rehearsal spaces of working-class Massachusetts at the turn of the decade. They never became a household name, but among fans of Boston punk history and forgotten American underground rock, The Dawgs earned their place as one of those groups that captured the spirit of the era perfectly.

 

The Count

Joseph A. Viglione was the driving force behind The Count, a loose and unpredictable underground collective that drifted through the Boston rock scene during the late 1970s and into the 1980s. The project pulled together a rotating cast that included Bill Allen, Carolyn Casey, Chuck Chewning, Chuck Stanton, Fudge Keegan, Jay Roewe, Jeff Hill, Jim Surrette, Joe Tortelli, Mike Quinn and Todd Carnes, among others. Rather than functioning like a fixed lineup with a clean career trajectory, The Count operated more like an ongoing creative laboratory where punk, garage rock, new wave, psychedelic leftovers and experimental ideas all collided at once. 

The roots of the group can be traced back to Viglione’s obsession with underground culture. Before The Count properly emerged, he had already been publishing the Varulven fanzine as a teenager in Massachusetts, documenting outsider music and local scenes long before DIY culture became fashionable. That same restless energy spilled into music projects filled with fuzzed-out guitars, primitive recording techniques and a fascination with strange atmosphere. By the time The Count started recording and performing, the group had become connected to Boston’s fertile post-punk and independent rock world, sharing houses, rehearsal spaces and recording gear with other underground acts orbiting the city at the time. 

Their best-known release was the 1986 album 'New Changes', issued through the French label New Rose Records. The album captured the fragmented spirit of the project perfectly. Tracks moved between jangly garage pop, nervous art-rock, dreamy ballads and rough-edged punk with very little concern for consistency. Carolyn Casey contributed bass, keyboards and co-production work, while Joe Tortelli handled keyboards and Chuck Stanton appeared on drums. Viglione wrote the material, sang lead vocals and shaped the overall direction of the record. Recording sessions took place across several different Massachusetts studios, giving the album a patchwork quality that actually suited the music. 

What made The Count interesting was how unconcerned they seemed with fitting into any single scene. There were traces of glam, proto-punk, 1960s garage rock, experimental tape noise and outsider pop all tangled together. At moments they sounded like a band trying to hold itself together in real time, which gave the recordings a nervous charm. That unpredictability also explains why the group never became widely known outside collector circles and underground music obsessives. Their records circulated mostly through indie channels, fanzines and mail-order networks connected to the Varulven world. 

Over the years, The Count gained a small cult reputation among collectors interested in American underground rock from the pre-alternative era. Viglione himself stayed active through radio, writing, film work and archival projects, helping preserve the history of forgotten independent music scenes that major labels and mainstream rock histories usually ignored. The Count may never have been a household name, but their records document a corner of the 1980s underground where enthusiasm, experimentation and total independence mattered more than polish or commercial success.