Tall Dwarfs - 'Slugbucket Hairy Breath Monster' 12"

Tall Dwarfs are a New Zealand rock band formed in 1981 by Chris Knox and Alec Bathgate who, through their do-it-yourself ethic, helped pioneer the lo-fi style of rock music. The duo formed out of the ashes of Toy Love.

The band lacked a drummer but would use household objects and handclaps to act as percussion. Either member can play guitar; with 12 strings and bass guitar often heard on their records. Both can play organ as well, which has been utilised on some of their songs.

Their debut was the EP Three Songs (1981), and for many years they released EPs only. The album Weeville (1990) was their first full-length album. They did, however, release a number of full-length compilations of their EPs, like The Short And Sick Of It, Hello Cruel World and Fork Songs/Dogma.

On their album 3 EPs (1994) (which contrary to what the name would suggest was a full-length album and not a collection of 3 EPs at all) they asked for listeners' rhythm tracks ("send us your idea of a great T.D. throb"). The responses came from many different countries and were used for the next album, Stumpy (1997) (that's why it was credited to "The International Tall Dwarfs").

Bands who have claimed to be influenced by the Tall Dwarfs include Elf Power, Neutral Milk Hotel and Olivia Tremor Control. In 2005 they did a small number of concerts in the USA, playing with the Olivia Tremor Control.

Why listen to the Tall Dwarfs, Chris Knox or Alec Bathgate? Why listen to music at all? Their music is incisive, quirky, bizarre, interesting, definitely lo-fi, irresistible and beautiful. It is a cohesive sweet blend of pop and noise. This is the DIY ethic of punk (recorded at home) done well. The quirkiness is apparent in both the lyrics and the sounds themselves. In particular, the use of looped “non-music” or even toy instrument sounds is used to great effect.

http://rapidshare.com/files/86952658/Tall_Dwarfs_-_Slugbuckethairybreathmonster.rar

The Scientists - Heading For A Trauma

The Scientists 'Heading For A Trauma' (recorded 1982-84, released 1985)

"With (this) we finally "put out the garbage" and give you Scientists fans what you've been wanting, a retrospective/compilation thing. You'll (also) find four new recordings which are without a doubt the group's most powerful and compelling to date. So here it is then. Eleven songs, all gassed up and ready. Some wild, fun and real gone rock 'n' roll to set you slime hounds salivating! Dig in!!" - From liner notes by David Laing.

http://rapidshare.com/files/86938254/Scientists-_Heading_for_a_Trauma.rar

Screaming Trees - Even If and Especially When (1987)

The Screaming Trees 'Even If and Especially When' (1987)

The Trees debut album on SST "is the proverbial quantum leap where the band discovered its voice. Dropping the baby fat (well, some of it) without compromising the trademark garagey roar, the band hit on a sound it would gradually refine on each successive release. (It) sounds like an album made by guys who had just turned 20 — which they actually had." - Trouser Press

http://www.mediafire.com/?52m3ytmxumo

The Saints - 'One Two Three Four' EP (1977)

The Saints 'One Two Three Four' EP (1977)

The original members of the band were schoolmates Chris Bailey (singer-songwriter, later a guitarist); Ed Kuepper (guitarist-songwriter); and Ivor Hay (drummer). Their musical inspiration came from sources as diverse as 1950s rock 'n' roll such as Little Richard and Elvis Presley (an early incarnation of the group was called Kid Galahad and the Eternals) and 1960s proto-punk bands like The Stooges and MC5.

In September 1976, with bass player Kym Bradshaw, The Saints independently recorded and distributed copies of their debut single "(I'm) Stranded". In the UK, Sounds magazine declared it "Single of this and every week", and the band was signed to a three-album contract with EMI. Later the same year they recorded their first LP, released in February 1977, also called (I'm) Stranded.

In mid-1977 the band moved to the UK, where it became apparent that they and their label had different ideas as to how they should be marketed. EMI planned to sell The Saints as a typical punk band, complete with ripped clothes and spiky hair. The Saints insisted on maintaining a more downbeat image. Nevetheless one single, "This Perfect Day", showed potential of a commercial breakthrough when it made #34 in the UK; further movement up the charts was frustrated by EMI's failure to press enough copies of the record to satisfy demand.

This is a UK release "Lipstick on Your Collar" / "River Deep - Mountain High”/ “One Way Street”/"Demolition Girl”

http://rapidshare.com/files/86845543/Saints_-_1234.rar

The Dream Syndicate - Down Three EP (1982)

hank..... bet you haven't got this? Real little treasure....

The Dream Syndicate EP (1982)

While attending the University of California, Davis, Steve Wynn and Kendra Smith played together (with future True West members Russ Tolman and Gavin Blair) in The Suspects. Moving back home to Los Angeles, Wynn recorded a single under the name 15 Minutes (as in 15 minutes of fame) as his intended farewell to music. He did not follow that course. Rehearsing in a band called Goat Deity, Wynn met Karl Precoda, who had answered an ad for a bass player, and the two joined to form a new group, with Precoda switching to guitar. Smith came to play bass, and brought in drummer Dennis Duck, who had played in the locally successful Pasadena-based Human Hands.

Duck suggested the name "The Dream Syndicate" in reference to Tony Conrad's early 1960s New York experimental ensemble (better known as the Theater of Eternal Music), whose members included John Cale.

On February 23, 1982, The Dream Syndicate performed its first show at Club Lingerie in Hollywood. A four-song EP was recorded in the basement of Wynn's house and released on his own Down There label, and the band quickly achieved local notoriety for its often aggressively long, feedback-soaked improvisations. Obvious sources were The Velvet Underground (the Dream Syndicate could be called early VU revivalists) and Television, but echoes of the Quicksilver Messenger Service and Creedence Clearwater Revival could also be discerned. "It was an overnight thing," Wynn recalled of their success. "There was no dues paying. It was very weird, and it screwed us up in some ways."

http://rapidshare.com/files/86831346/Dream_Syndicate__The_-_Down_Three_EP.rar

The Scientists - 'Pissed On Another Planet (1989)

The Scientists 'Pissed On Another Planet' (1989)

These tracks, recorded in 1979 were originally released as The Scientists first single and the follow-up EP.

http://rapidshare.com/files/86845545/Scientists_-_Pissed_on_Another_Planet.rar

The Angels - Their Finest Hour

In 1975 an Adelaide band called ‘The Keystone Angels’ supported AC/DC during a South Australian tour. The band featured brothers John and Rick Brewster on guitar, Doc Neeson on bass and Charlie King on drums. Both John and Doc shared lead vocals. On the recommendation of Bon Scott and Malcolm and Angus Young, they were offered a publishing and recording deal with AC/DC’s Sydney label Alberts.

In 1976 Graham “Buzz” Bidstrup joined John, Rick and Doc in the band, renamed ‘The Angels’ in 1975. Later, with the addition of bass player Chris Bailey, the band began recording their first album, ‘The Angels’.

The musicians in the band worked tirelessly on the road and in the legendary King Street studios to shape and refine their sound under the guidance of George Young and Harry Vanda.

In 1978, following a recorded 2JJ concert at St Leonard's Park, ‘The Angels’ released their landmark album ‘Face to Face’, which remained in the charts for 76 weeks. Their popularity exploded throughout Australia with sell-out shows and stadium tours with Meatloaf and David Bowie.

Subsequently ‘No Exit’ in 1979 and ‘Dark Room’ in 1980 became major albums and were released in the USA, UK and Europe, where the band achieved success, both live and on radio.

These records contained many hits, including ‘Take a Long Line’, ‘Shadow Boxer’, ‘Marseilles’, ‘Straightjacket’, ‘Coming Down’, ‘I Ain’t the One’, ‘After the Rain’, ‘Be with You’, ‘Out of the Blue’, ‘Mr. Damage’, ‘Devil’s Gate’, ‘No Secrets’ and ‘Face the Day’.

Buzz left the ‘The Angels’ in 1981 and Chris in 1983. These two went on to be founding members of another iconic Australian band ‘GANGgajang’.

’The Angels’ popularity continued for the next 20 years or so with healthy record sales and a plethora of ’Angels’-related websites on the internet, and in 1998 they were admitted into the ARIA’s ‘Hall of Fame’.

But shortly after the Millennium Concert in Darwin in 2000, Doc announced he was quitting the band to pursue a solo career.

In 2001, a benefit show for another Alberts label colleague, Ted Mulry, brought John, Rick, Buzz and Chris, 4 of the original well known band, together for a one-off performance as ’Members of the Angels’, with Jim Hilbun joining them to sing lead vocals.

In January 2002, there was a further performance in Perth at a benefit concert for victims of the Bali tragedy. This time the 4 performed with John on lead vocals.

The success of their reunion and the strength of John’s vocals encouraged the band to embrace both their music and heritage and continue as a 4-piece, playing songs in which John, Rick and Buzz played a major role in writing. Reviving the unique twin guitar assault of the Brewster Brothers and the no-holds-barred, rock solid rhythm section of Bailey and Bidstrup, they played to a full house at the Civic in Perth where the audience response was overwhelming.

In December 2003 they delivered two hugely successful shows in Sydney at Selinas and Rooty Hill RSL, and followed this in May with an 11 date sell out tour of WA.

In June 2004 the Adelaide Casino sold out in 1 day, with a further 3 sell-out performances in theatre mode in other Adelaide venues in September. Since then sell out performances continued in Victoria and NSW and some big shows in SE Qld.

2005 through to the present has seen the band re establish themselves as one of Australia's truly great touring rock bands.

Whether in up-close-and-personal acoustic mode, or in full blown electric concert, The Angels deliver a set list of unforgettable classics with all the intimacy and power that made them Australian icons.

Disc 1 http://rapidshare.com/files/86797538/The_Angles_-_Their_Finest_Hour_d1_.rar
Disc 2 http://rapidshare.com/files/86821298/The_Angles_-_Their_Finest_Hour_d2_.rar

Nick Cave & the Bad Seeds - La Luna Bruxelles (16.05.1994)

sounding big, bad and beautiful

Nick Cave & the Bad Seeds - La Luna Bruxelles (16.05.1994)

Setlist:

01 Loverman

02 Brother my cup is empty

03 Red right hand

04 City of refuge

05 Let love in

06 Do you love me

07 The ship song

08 Papa wont leave you Henry

09 Jangling Jack

10 The Weeping Song

11 Jack the Ripper

12 The Mercy seat

13 Your Funeral My Trial

14 The Good Son

15 The Loom of the Land

http://www.mediafire.com/?fnx7dijlmnl

Australia Day or Invasion Day

I invite you to read this commentary and to leave your thoughts in the comments.

As I stated in the header of this blog ‘Music is the Voice of Each Generation’ the voice of love, despair, alienation, hope…… politics and social issues.

January 26 ….. Australia Day or Invasion Day? A couple of days ago I received a message from Cob giving me the file for ‘Culture – Music from Black Australia’ signing off for ‘Invasion Day’. I immediately wrote a reply …. I disagreed. Cob and I both expressed the essence of Australian culture…. quiet in nature but never shy to give an opinion and more importantly respecting each other’s opinions. As you are probably aware I am editing this blog from the North East of Thailand, from a region known as Isan. This blog is regularly accessed by people all over the world, people sharing a common love of music; in return many share their music on this blog, Cob being one of them.

Over the last couple of days I have been roaming the net searching for opinions and public attitude.

“Australia Day, January 26, is the biggest day of celebration in the country and is observed as a public holiday in all states and territories. On Australia Day we come together as a nation to celebrate what's great about Australia and being Australian. It's the day to reflect on what we have achieved and what we can be proud of in our great nation. It's the day for us to re-commit to making Australia an even better place for the future.” Australian Government

“On Australia Day we recognise the unique status of the Aboriginal and Torres Strait Islander peoples. The National Australia Day Council is committed to playing a part in the journey of reconciliation through helping all Australians move forward with a better understanding of the past and how it affects the lives of Indigenous people today.” Reconciliation Commission

"Invasion Day" commemorations are held each year on Australia Day to mark the loss of Aboriginal culture. Mapoon Aboriginal Council chairman Peter Guivarra says some communities regard Australia Day as a national day of mourning for the traditional Aboriginal way of life. But he says the day can also be seen as a day to consider change. "Some people Aboriginal people... they say it's a day of the celebration of our survival," he said."For some people, including myself 20 years ago, it was a day of mourning."As you grow older and a bit wiser I realise that we're only going to get better if we forgive and reconcile." Peter Guivarra (Mapoon Aboriginal Council Chairman)

The 1967 referendum saw more than 90% of eligible Australians vote YES to count Aboriginal and Torres Strait Islander Australians in the national census of the population and to give the Commonwealth Government power to make specific laws in respect of Indigenous people. This event is often referred to as the first stage of the reconciliation movement in Australia. It is often forgotten that Australia 1902 and New Zealand 1889 were the first Western Nations to grant woman the right to vote. Today Aboriginals constitute 2% of the population, Australia has given back over 12% of Australia to Aboriginal ownership.

Australia is a diverse country, over 200 nationalities. Today 35% of the population were born overseas and 45% having a parent born overseas.

Australians accept there have been great injustices committed against the Aboriginal Community in the past and today we stride towards reconciliation and a better understanding. Personally I wish to see a united Australia one built upon the values of ‘a fair go for all’ - An enduring spirit of mateship and fairness. A compassionate society committed to access to employment, housing, health and education.

As for me I come from a working class family, my ancestors German Jews, among the first free settlers in Brisbane 1854. I grew up in a 'housing commission' estate in the North of Brisbane, that had a diverse mix of European nationalities and cultures, fell in love with sport and music. I went to Queensland Uni, became involved in politics and social issues, I have a Masters Degree in Education..... History and Science. Worked in many, many jobs...... I've taught in High Schools and Universities, played in bands(not really a job), worked in orchids, built surfboards, traveled far and wide ..... my last job in Australia was managing a 'Backpacker Hostel' in Lennox Head.

I came to Asia seeking new challengers and to experience different cultures. I have learnt a new language and now have a Thai wife. I live in a region where the average family income is less than $20aus per month, where my income for a month equates to about 2 days work back home. I love my work, like over 30% of Australians who volunteer their time to help others.

I remain an Australian, proud of my heritage and culture, my values born from the ideals of mateship, honesty and fairness. The term 'typical Australian' is hard to grasp, you think of the outback yet 80% of Australians live in cities, you think of an Australians dislike for authority, yet we resist change and (according to a recent poll) 85% of Australians trust their police force. In the same poll only 25% trust the government and the media.

A recent national poll of people aged 18-25 years asked the participants to list their understanding of ‘ What does it mean to be Australian?’ The terms ‘mateship’, ‘tolerance’ and ‘national unity’ were listed by over 90% of those interviewed.

I remind you all that the Aboriginal Race migrated to Australia via the land bridge that existed between Australia and Asia some 40,000 years ago. With continental drift the bridge became submerged and migration was restricted to sea voyages between neighboring islands. The arrival of European settlers was the natural continuation of resettlement. With hindsight the Aboriginal population were badly treated, that is universally accepted by Australians. Still we are both migrants to this great country, it is time to stop looking back, time to look forward.

For me Australia Day gives Australians the opportunity to reflect on both the mistakes and achievements of the past and to work together for a bright future.

bruce

The Acoustic Lounge - Doc Neeson's Angles

thanks to original uploader Nigel and tricky

Doc Neeson's Angels - Acoustic Sessions. Interesting spin on some old rocking faves.

Doc Neeson, the legend that has overcome all battles to arrive with a new acoustic album titled 'ACOUSTIC SESSIONS'. Famous for his time with The Angels, this collection covers those years, reworked in an acoustic manner...13 all up, including, "‘Take A Long Line', ‘Marseille', ‘Be With You', ‘Shadow Boxer', ‘I Ain't The One', ‘Am I Ever Gonna See Your Face Again' & a brand new track ‘Big Star'.

Song Title 1. Be With You 2. No Secrets 3. Eat City 4. Big Star 5. Love Takes Care 6. Face The Day 7. Shadow Boxer 8. Stand Up 9. I Ain't The One 10. Out Of The Blue 11. Take A Long Line 12. Am I Ever Gonna See Your Face Again 13. Marseilles

http://rapidshare.com/files/86769616/Doc_Neeson_Angles_-_Acoustic_Sessions.rar

Nick Cave and the Bad Seeds - I Had A Dream Joe (1992) (EP)

Nick Cave and the Bad Seeds - I Had A Dream Joe (1992) (EP)

Tracklist:
01 I Had A Dream, Joe (3:43)

02 The Good Son (4:27)
03 The Carny (6:02)
04 The Mercy Seat (4:40)
05 The Ship Song (4:19)

http://rapidshare.com/files/86745028/Cave._Nick_and_the_bad_Seeds_-_I_Had_A_Dream_Joe.rar

The Church - Magician Among The Spirits

The Church - Magician Among The Spirits (1996)

The Church includes: Steve Kilby, Marty Wilson-Piper, Peter Koppes.

The Church's 1996 album, MAGICIAN AMONG THE SPIRITS, marked the return of original guitarist Peter Koppes, who had left the band four years earlier. This album was originally released on the band's own record label and then reissued in 1999, under the title MAGICIAN AMONG THE SPIRITS AND THEN SOME, with an altered track list. "Ritz," an ethereal, mostly acoustic cover of a Steve Harvey song, was replaced by four originals, "Man," "Won't Let You Sleep," "Sads," and "Why Don't You Love Me."

Standouts include "Comedown," a lively track complete with Marty Willson-Piper's trademark ringing guitars, "Grandiose," a soaring instrumental featuring the addition of a violin to the band's lush sound, and the creepy and cryptic "It Could Be Anyone," which is overlaid with various forms of disorienting distortion. Arguably the best song, however, is the glacially paced title track, a 14-minute long, ambient-influenced excursion about Houdini. The Church really set themselves apart from their contemporaries here, fully stretching their boundaries without sinking into self-indulgence.

Disc 1

http://rapidshare.com/files/86690751/Church__The_-_Magician_Among_The_Spirits__1996__d1_.rar

Disc 2

http://rapidshare.com/files/86715903/Church__The_-_Magician_Among_The_Spirits__1996__d2_.rar

The Cure - Patinoire De Malley Lausanne Switzerland

I think this is an audio rip off the DVD, great quality..... enjoy

Set list:
01 Plainsong
02 Pictures of You
03 Closedown
04 Kyoto Song
05 A Night Like This
06 Just Like Heaven
07 Last Dance
08 Fascination St.
09 Cold
10 Charlotte Sometimes
11 The Walk
12 A Forest
13 In between Days
14 Same Deep Water As You
15 Prayers For Rain
16 Disintegration

1st Encore:

17 Lullaby
18 Close To Me
19 Let's Go To Bed
20 Why Can't I Be You

2nd Encore:

21 Fire in Cairo
22 Three Imaginary Boys
23 The Holy Hour
24 Boys Don't Cry
25 Faith

http://www.mediafire.com/?dyxsfbjgxbg

Birthday Party - Hee Haw

The Birthday Party was an Australian post punk rock group, active from 1977 to 1983.

Despite being championed by John Peel, the Birthday Party found little commercial success during their career. They've been called one of "the darkest and most challenging post-punk groups to emerge in the early '80s." Though often indirect, their influence has been far-reaching.

While their early music was sometimes classified as gothic rock, the band disdained the term, and their sound was very different from most goth music, closer to No Wave at the time. However, the Birthday Party did have an influence on deathrock, a genre of music related to gothic rock.

Despite their limited success, the creative core of the Birthday Party have gone on to acclaimed careers: singer and songwriter Nick Cave, multi-instrumentalist Mick Harvey and singer, songwriter and guitarist Rowland S. Howard.

HAW HEE compiles the Birthday Party's work between 1979's DOOR DOOR album (released under the band name the Boys Next Door) and their first "proper" album, 1981's PRAYERS ON FIRE. The earliest tracks were recorded in 1979 and are full of bizarre time signatures, weird herky-jerky rhythms, and obscure lyrics. By the time 1980 rolled around with the "Mr. Clarinet" single, things were much more focused--the band retained all of those earlier elements, but managed to put them together into a more controlled, but no less explosive, package. Later that year, the "Friend Catcher" single further honed this approach--Tracy Pew's thick, serpentine bass playing, Rowland Howard's alternately discordant and razor sharp guitars, and Phil Calvert's hammering drums. Over it all, Nick Cave's harrowing vocals delivered the obscure and intensely weird lyrics.

Standouts from this collection include the above-mentioned "Mr. Clarinet," a crunching track with some wicked organ riffs courtesy of Mick Harvey (the band's designated multi-instrumentalist) and "Waving My Arms," a hyperactive pop song with gang vocals, a sonically clear guitar riff, and the occasional horn blast. It's also worth mentioning that this was probably the band's last straightforward song.

Before relocating to London from Melbourne, the Birthday Party released several Australian-only records, the first two under their original name, the Boys Next Door. Door Door and the five-song Hee Haw are surprisingly normal-sounding aggressive rock with traditional song structures and musical values. Cave's vocals invest the album with an ominous undercurrent, but the overall ambiance hardly suggests the insanity that lay ahead.

http://rapidshare.com/files/86674863/Birthday_Party_-_Hee_Haw.rar

Jesus and Mary Chain - Darklands EP

The Jesus and Mary Chain - Darklands (EP) (1987)

Tracklist:
01 Darklands
02 Rider
03 Surfin'USA (April Outake)
04 On The Wall (Porta Studio Demo)

http://www.mediafire.com/?4n5xmyjlhjh

Jesus and Mary Chain - Rollercoaster

The Jesus & Mary Chain - Rollercoaster (EP) (1990)

Tracklist:
01-Rollercoaster
02-Silverblade
03-Lowlife
04-Tower of Song

http://www.mediafire.com/?2b3xhmgynjz

The Church - Under the Milky Way EP

The Church - Under the Milky Way (EP) (1988)

Tracklist:

01 Under The Milky Way

02 Musk

03 Warm Spell

04 Perfect Child

http://www.mediafire.com/?6mts7jmfdm1

Mick Harvey & others - Suburban Mayhem

I was looking around for some 'Magic Dirt' and came across this. OST to the movie 'Suburban Mayhem'. Australia movie released in 2006. Also has a couple of songs by 'Magic Dirt' and 'Little Birdy' and others.

Mick Harvey did the original music score for this movie.

Tracklist:
1 My Side Of The Story
2 Double Dare by Adalita
3 Troubled Mind by The Buff Medways
4 Paco Doesn't Love Me by The Spazzys
5 White Hott by Your Wedding Night
6 Inbred Disco by Bird Blobs
7 Sex Beat by Adalita
8 Daddy by Magic Dirt
9 Devil Song by Theredsunband
10 This Is A Love Song by Little Birdy
11 48 Crash by Suzi Quatro
12 The Sunshine Drive by The Spazzys
13 Sucker Love by Magic Dirt

14 I Don't Have A Nan
15 The Samurai Sword
16 Danny Gets Arrested
17 Judge Threw Away The Key
18 Fudging Someone Else
19 Smoking The Bong
20 Driven To Kenny
21 Kenny Does The Deed
22 Goodnight Bub (The Murder)
23 I Did It For You
24 Brainwashing With Kindness
25 My Brother's A Murderer

Disc 1

http://www.mediafire.com/?evnpdnmyonh

Disc 2

http://www.mediafire.com/?8tmcljo3hlm

The Bangles - Eternal Flame(The Best of)

another band associated with the 'Paisley Underground' scene in the 80's

Greatest Hits is a compilation album by The Bangles. It was released by their record company, Columbia Records on May 8, 1990 to fulfil the band's contractual requirements. The album peaked at 97 in the Billboard Album chart.

The Greatest Hits album also featured the previously unreleased song "Everything I Wanted".

The band was formed by sisters Vicki and Debbi Peterson in Los Angeles, California in 1981 as The Supersonic Bangs, later shortened to The Bangs. The band was part of the so-called Paisley Underground scene in LA, which featured groups that played a mixture of 1960s influenced folk-rock and jangle pop with a more modern punk-ish/garage band undertone.

They were forced to change their name to The Bangles when a band from New Jersey, also named The Bangs, threatened to sue.

The initial Bangles line-up of Susanna Hoffs (vocals/guitars), Vicki Peterson (guitars/vocals), Debbi Peterson (vocals/drums) and Annette Zilinskas (vocals/bass) recorded at least one single as the Bangs, then made their recorded debut as the Bangles with a self titled EP, which was released on their manager Miles Copeland's Faulty Products label in 1982. Zilinskas subsequently left the band, and was replaced on bass and vocals by Michael Steele.

The Bangles' full-length debut album on Columbia, All Over the Place (1984), captured their power-pop roots, featuring the singles "Hero Takes a Fall" and the Kimberley Rew-penned "Going Down To Liverpool" (originally recorded by Rew's band Katrina and the Waves). The record attracted good critical notices, and the video for "Liverpool" featured Leonard Nimoy, which helped to generate further publicity.

All this went some way to attracting the attention of Prince, who later wrote "Manic Monday" for the group.

"Manic Monday" went on to become a #2 hit in the US, the UK and Germany, outsold at the time only by another Prince composition, his own "Kiss". The accompanying album Different Light (1986) was more polished than its predecessor and, with the help of the worldwide #1 hit "Walk Like an Egyptian", saw the band firmly in the mainstream as radio and MTV stalwarts.

There was friction among band members after the media began singling out Hoffs as the lead singer of the group, due to Columbia Records practice of releasing mostly singles on which Hoffs sang lead vocal. In fact, the group's albums were fairly evenly divided among all of the band's members, all of whom wrote or co-wrote their songs. In 1987, Hoffs starred in a film, The Allnighter, which was directed by her mother, Tamar Simon-Hoffs, and was critically panned. That, and the firing of their manager Miles Copeland, further exacerbated the dissent among the band members. But they soon had another US #2 hit with a cover of Simon and Garfunkel's "Hazy Shade Of Winter" from the soundtrack of the film Less Than Zero, whereas on the other side of the Atlantic the melancholic "If She Knew What She Wants" reached the German Top 20.

1988's Everything was another multi-platinum smash and included their biggest selling single in the soft ballad "Eternal Flame" which was inspired by Elvis Presley's eternal flames and one at a local synagogue in Palm Springs which co-writer Billy Steinberg attended. The single became another worldwide No.1 hit.

The working relationships within the band had broken down, however, and they split shortly after, with Hoffs embarking on a solo career and Vicki Peterson touring as a member of the Go-Go's and the Continental Drifters.

Hoffs released a solo album When You're a Boy, produced by former Bangles producer David Kahne. The album spawned a minor hit "My Side of the Bed",and a Cyndi Lauper penned "Unconditional Love", but it stalled, and Hoffs was dropped from Columbia during the recording of her second solo album. The second solo album Susanna Hoffs, released in 1996, fared better critically, but it too had disappointing sales. Hoffs married film director Jay Roach (Austin Powers and Meet the Parents), and their union led to the Bangles' reunion of 2000. Vicki Peterson joined and contributed songs to the New Orleans band the Continental Drifters, which received rave reviews. Debbie Peterson had a short-lived career with Siobhan Maher under the name of Kindred Spirit, while Steele lived in semi-retirement in California.

http://rapidshare.com/files/86551176/Bangles_-_Eternal_Flame__Greatest_Hits_.rar

Eastern Dark - Long Live The New Flesh

The band was formed in 1984 when then Celibate Rifles bassist James Darroch decided to leave and form his own band. ^] Darroch switched from bass to guitar and enlisted drummer Geoff Milne and former Lime Spiders backing vocalist Bill Gibson. on bass. After some rehearsals the three became The Eastern Dark, named after a place in The Phantom comics. The three piece began touring in May of 1984, quickly garnering local support, and releasing their first single, "Julie Is A Junkie/Johnny And Dee Dee," in July of 1985.

With Rob Younger as producer the band recorded the EP Long Live The New Flesh! in 1986. On March 4, 1986, on the way from recording to a gig in Melbourne, the band's van went off the road and Darroch was killed. Long Live the New Flesh! was released posthumously later that year.

http://rapidshare.com/files/86509986/Eastern_Dark_-_Long_Live_the_New_Flesh.rar

Jesus and Mary Chain - Sometimes Always EP

one of my favourite bands, hard to find EP

Like the Velvet Underground, their most obvious influence, the chart success of the Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My Bloody Valentine to Dinosaur Jr. Though the supporting players drifted in and out of focus, the heart of the Mary Chain remained vocalists and guitarists William and Jim Reid, Scottish-born brothers heavily influenced not only by underground legends like the Velvets and the Stooges but also by the sonic grandeur and pop savvy of Phil Spector and Brian Wilson. In the Jesus and Mary Chain, which the Reids formed outside of Glasgow in 1984 with bassist Douglas Hart and drummer Murray Dalglish (quickly replaced by Bobby Gillespie), these two polarized aesthetics converged; equal parts bubblegum and formless guitar distortion, their sound both celebrated pop conventions and thoroughly subverted them. In late 1984, the band issued its seminal debut single, "Upside Down," a remarkable blast of live wire feedback anchored by a caveman-like drumbeat; the record made the Mary Chain an overnight sensation in the U.K., as did their nascent live shows, 20-minute sets of confrontational noise (performed with the band's members' backs to the audience) which frequently ended in rioting. The follow-up, "You Trip Me Up," further perfected the formula, and led to their 1985 debut LP Psychocandy, which gift-wrapped sweet, simple pop songs in ribbons of droning guitar fuzz. After a two-year layoff (during which time Gillespie exited to form Primal Scream, and was replaced by John Moore), the Jesus and Mary Chain returned with Darklands, a dramatic shift in approach which stripped away the feedback to expose the skeletal guitar pop at the music's core. After a sprawling 1988 collection of singles, B-sides, and demos titled Barbed Wire Kisses, they emerged with Automatic, which introduced a more tightly coiled brand of feedback while jettisoning Moore's live drums in favor of synthesized beats. After another long absence, the Mary Chain (minus Hart) resurfaced in 1992 with Honey's Dead, and earned greater U.S. visibility thanks to a spot on that summer's Lollapalooza lineup; the first single, "Reverence," also won them renewed notoriety at home when Top of the Pops banned the song because of its opening lines, "I wanna die just like Jesus Christ" and "I wanna die just like JFK." With 1994's gentle, largely acoustic Stoned & Dethroned, they even reached the U.S. pop charts thanks to the lovely single "Sometimes Always," a duet with Mazzy Star's Hope Sandoval. Another collection of scattered sides, The Jesus and Mary Chain Hate Rock 'n' Roll, followed a year later, highlighted by the single "I Hate Rock 'n' Roll," a scabrous swipe which reclaimed the pure noise attack of their earliest work. Moving to Sub Pop, they returned with Munki in 1998. William Reid left the group during the subsequent tour, and in 1999, the Jesus and Mary Chain officially disbanded.

http://rapidshare.com/files/86503803/Jesus_and_Mary_Chain__-_sometimes_always_1994.rar

Breeders, The - Divine Hammer EP

"Divine Hammer" is probably the poppiest and sweetest number in the Breeders' catalogue, and the single does not disappoint. "Hoverin'" would eventually make it to Kim Deal's Amps project, but here it is a far more angry, unrehearsed anti-drug song (made more poignant by Kelley Deal's battles with heroin). The heartfelt rendition of Hank Williams, Sr.'s "I Can't Help It" showcases Kelley's beautiful voice, while J. Mascis's remix of "Do You Love Me Now" features his trademark whining in harmony with Kim Deal's original vocal line. A relaxed affair to be sure, but as with most Breeders' B-sides, this is more wonderful pop from a band that never quite got its due.

released 1993

http://rapidshare.com/files/86498861/Breeders_-_divine_hammer_1993.rar

Deadly Hume - Me, Grandma, Iliko and Hilarian

another from hank

The Deadly Hume-
Me, Grandma, Iliko and Hilarian
(Phantom Records 1987)
Vinyl rip:

“Formed by Greg Perano, who was in early Hunters & Collectors. A wild, bluesy, noisy, in-your-face type of band. From what I've read about them, opinions were very divided about whether they were great or complete crap... Judge for yourself!” from hank

The Deadly Hume takes its name from the Hume Highway, a dangerous and desolate stretch of roadway between Melbourne and the band's hometown, Sydney. The band's sound derives from the clash and grind of urban Australia and the swampy darkness of American blues, although the records encompass everything from a cappella spiritual choruses to acoustic guitar. On tracks like "Fine Line" (from Me, Grandma, Iliko and Hilarian), the rhythm-sticks-from-hell percussion clatter and sawing bass lines could almost let the music pass for a lost outtake from Fireman's Curse-era Hunters and Collectors (Hume lead vocalist Greg Perano was in H&C at the time) while the swampy fuzz guitar and squealing chords of "My Head Feels Like It's Been Hit by a Train" drag the band through an intense and slithery Amer-Aussie version of '80s blues-rock.

The Nick Cave-esque "48 Coffees in 24 Hours" intersperses shouts of "I'm nervous nervous nervous" with brash striptease horns and mumbled stream-of-caffeine vocals, capturing the wiped-out frazzle anyone who's overdosed on java will recognize. "The Trains Kept Shunting" (from Grandma) pounds with a soft, insistent drum pulse as what sounds like a box filled with sand shuffles and guitars peal out sheets of feedback and hard, clear chimes. Like impressionist painters working in sound instead of oils, the Deadly Hume have the marvelous ability to turn pop songs into art without leaving a stuffy aftertaste.

http://rapidshare.com/files/86493702/Deadly_Hume__The__-_Me__Grandma__Iliko_And_Hilarian.rar