ROB TYNER - Blood Brothers

ROB TYNER  Blood Brothers  cd  1990
It's Only Rock And Roll / Renegade / Let's Rock / Disturbing The Peace / Out Of My Hands / Blood Brothers / Taboo / Taking On The Night / Grande Days / D.A.N.A. / Interview With Rob Tyner.
Produced by Rob Tyner & Pete Bankert for B.R.O.

Engineer: Pete Bankert - Arranger: Joey Gaydos
Recorded at the Old Schoolhouse - Ann Arbor, MI.
Backing Vocal: Scott Morgan - Design: Sue Raleigh
Photography by Patrick Davey and Mark Arminski.
All Songs By Rob Tyner for Warrior Nation Songs (BMI)Except "Out Of My Hands" & "Taboo" R.Tyner, R.Gillespie & "Taking On The Night" R.Tyner, P.Bankert, J.Gaydos for Warior Nation Songs (BMI). "It's Only Rock And Roll" M.Jagger, K.Richards for Colgems-EMI Music (BMI)
Special thanks: Dave Dixon, Dick Williams, Henry Wreck and Ben Edmonds.
In loving memory of Lester Bangs.
Rob Tyner: lead vocals, harmonica / Pete Pankert: bass, backing vocals / Joey Gaydos: guitars, backing vocals / Fred Schmidt: drums, backing vocals.
A vast expanse of desolation, the flattened scrubble of the shattered city stretches to the horizon. Rising over the panorama of twisted steel and broken dreams stand the monolithic towers of glass, dominating the landscape as they do the lives of the people who scrabble for existance in this stricken world. The rich and the powerful live in their shiny fortresses surrounded by the violent ruins of the city below. Onto this volatile stage steps Rob Tyner and his band of warriors, standing in silhouette against the sky as they swear allegience to the liberation of people.

Rob Tyner (December 12, 1944 – September 17, 1991) was an American musician best known as lead singer for the proto-punk rock band MC5. Born Robert Derminer, his adopted surname was in tribute to the jazz pianist McCoy Tyner. It was Tyner who issued the infamous rallying cry of "kick out the jams, motherfuckers" at the MC5's live concerts. Tyner had originally auditioned as the bass player, but the band felt his talents would be best used as a lead vocalist.

In 1977, Tyner collaborated with Eddie & the Hot Rods for a 7-inch release coinciding with a promotional UK tour to promote MC5 vinyl reissues. Simultaneously back in the United States, Tyner had launched "the New MC5" which later operated as the Rob Tyner Band and laid the foundation for "Rob Tyner & the National Rock Group", a project which was prolific but issued no recordings. In 1985, Tyner donated his talents to a benefit LP for Vietnam Veterans. Tyner dipped into the song catalog of the National Rock Group for his Blood Brothers CD (1990) and plans were afoot to play more live shows, (including plans with Blackfoot drummer Jakson Spires) when he died in 1991.
On September 17, 1991, Tyner suffered a heart attack in his home town of Berkley, Michigan. He was taken to Beaumont Hospital in Royal Oak, where he died, leaving his wife, Becky, and three children.
Thanks to Mr D.!



Tell My Fortune / Red Light / Six Years Gone / Keep Your Hands To Yourself / Crazy / The Race Is On.
Produced by Jeff Glixman.
The Georgia Satellites: Dan Baird: guitar, vocals / Rick Richards: guitar, vocals + Dave Hewitt: bass / Randy Delay: drums.

In 1980, Dan Baird (formerly guitarist for the Atlanta band, the Nasty Bucks), along with lead guitarist Rick Richards, bass player Keith Christopher and drummer David Michaelson formed a band named Keith and the Satellites in Atlanta, Georgia. After performing in local Southern bars, the band's line-up changed. Dan Baird became lead singer and guitarist and Rick Richards became singer and lead guitarist. With a new bassist, Dave Hewitt and a new drummer, Randy Delay; they recorded a six-track demo at Axis Studios in Atlanta. During this time, the band changed their name to Georgia Satellites and played every Monday at Hedgen's, a beer-stained bar in the otherwise tony Atlanta neighborhood of Buckhead.
Jeff Glixman who had produced, mixed and remastered artists such as Paul Stanley, Kansas, Gary Moore, Yngwie Malmsteen and Black Sabbath was enlisted for production. However, soon after the demo was recorded, the band broke up in the summer of 1984. Drummer Randy DeLay later performed with the Tony Sarno Band and the Hell Hounds around the Atlanta music circuit, before dying of cancer in 1993.
Yet, while the band felt they weren't making any progress on their musical path and had disbanded, their English manager, Kevin Jennings, took the demo to a small Yorkshire record label, Making Waves, who liked the material and released the demo as the Keep the Faith EP in 1985. The press response to the EP was positive and prompted the band to regroup in the United States. Baird had been playing with the Woodpeckers in North Carolina. Richards remained in Atlanta with the Hell Hounds, which included both Mauro Magellan (drums) and Rick Price (bass, formerly of The Brains). With Baird essentially joining the Hell Hounds, the Georgia Satellites were reborn and American record labels started taking notice of the band.

In 1986, the group signed with Elektra Records and reunited with Glixman to record their debut full-length album at Cheshire Sound Studios in Atlanta. The album, Georgia Satellites, was their most successful LP; featuring the track "Keep Your Hands to Yourself". The song reached No. 2 on the Billboard Hot 100, topped only by Bon Jovi's "Livin' on a Prayer". It went into heavy rotation on MTV. Other lesser-known songs included "Battleship Chains" (#86), written by Terry Anderson and "Can't Stand the Pain", but the Georgia Satellites never had another Top 40 hit. That same year the MTV Video Music Awards came into being. Mary Deacon won for Best Art Director on the music video "Keep Your Hands to Yourself".
In 1988, the band recorded a cover of The Swinging Blue Jeans' 1964 hit "Hippy Hippy Shake" for the movie Cocktail. Released as a single, the song reached No. 45 on the Billboard chart. During that year, the band released their second album, Open All Night; which included a cover of the Ringo Starr-written Beatles song "Don't Pass Me By", although the album was not as successful as their debut. A single, "Open All Night" backed with "Dunk 'n' Dine", failed to chart.
A third studio album, In the Land of Salvation and Sin, was released in 1989, which included re-recordings of "Six Years Gone" and "Crazy" from the 1985 EP. Although the album received very positive reviews, it too failed to do well commercially, and Baird left the band in 1990 to pursue a solo career.
The band's 1993 compilation Let It Rock: The Best of the Georgia Satellites included a selection of the best tracks from the three studio albums and bonus material that had been released on the Another Chance EP (1989): "Saddle Up", "That Woman", and "I'm Waiting for the Man". Also included was a live version of Chuck Berry's "Let It Rock". Source


THE HORNY TOADS - Con Anima Con Forza

THE HORNY TOADS  Con Anima Con Forza   Mini LP   1988
New Age / Aftermath / Hit + Miss / Walk Away / Bouncing' Betty / Snake.
Produced by Rene Roth.

The Horny Toads: Marky: vocals / Joe James: rhythm guitar, vocals / Glen James: lead guitar, vocals / Mikey J. Hornytoad: drums, vocals / Maurice Dillinger: bass, vocals.

The Horny Toads was an australian band from Brisbane formed in 1985. These excellent sons of Radio Birdman played a rock full of speed with a twin guitar attack. Their first release was a mini lp on Green Fez Records (owned by Citadel Rds) titled "Con Anima Con Forza" ‎ in which they covered "Snake" a Deniz Tek song from the "Burn My Eye" EP. Before they disbanded, The Horny Toads have recorded another fine mini lp in 1989 on  Amplexus Records: "Wired" which was produced by Rob Younger, himself !
If you like Radio Birdman it's sure that you will also like The Horny Toads !!!

Thanks to Mr D !



THE TWEEZERS  Already!  cd  1997
Get That Girl / Walking With The Radio On / T.V. Romance / I'm The One / The Glory Girls / Someday / Dance The Night Away / Saturday Night / She Said / Teen Machinery / Pretty Boy / Next Time Around / Bad Time / Prove It.
Produced by The Tweezers.
The Tweezers: Kogi: guitar & vocals / Fifi: guitar & vocals / Tomoko: bass & vocals / Uganda: drums.

"...BG: Fifi, while Teengenerate was going on you started the Tweezers. Why did you decide to go for such a change in sound?
Fifi:  Because you know the music called power pop?  I have been really into power pop for many years. Stuff like the Raspberries and Cheap Trick…  Actually, in Japan there was no music called power pop.  In Japan people called Generation X and the Jam power pop. But since we were teenagers we have been into the Raspberries.  When we saw the Devil Dogs they covered the Raspberries songs and we where really surprised because we have been loving them for so long.
Fink:  Actually, Andy from the Devil Dogs is younger than us, so I was surprised that such a young American played the Raspberries.  I thought nobody knew about them.
Fifi:  Nobody cared.  I used to have an American girlfriend, she was kind of a student, she was from Cleveland, Ohio.  And I asked her, “do you know the Raspberries,” and she just laughed.  Just laughed and asked me, “ How come you know a band like the Raspberries?  They are really not popular now.”  I tried to ask her about the song “I Wanna Be With You” and she just laughed.  She thought it was boring.  “Why don’t you listen to Elvis Costello instead,” she insisted.  “Elvis Costello is much cooler than the Raspberries.”  And I just hated her opinion…  Because she came from Cleveland… I just wanted information about the Raspberries from her.  When we were doing Teengenerate we went to Cleveland and tried to find traces of the Raspberries…nobody cared!  Nobody cared.  And I thought it was a shame, really a shame, because we still really loved the Raspberries.  Why such a great band and no one cared.  But when we met New Bomb Turks they all loved the Raspberries. They were really big fans.
BG:  Americans usually have pretty bad taste.
Fifi:  Currently.  Yeah, yeah, yeah I know.  Have you ever seen the picture from Bomp Magazine with Jimmy Zero from the Dead Boys holding a Raspberries album?  The Dead Boys were really influenced by the Raspberries.  They ripped off the Raspberries’ songs.
BG:  Really?  Which songs?
Fifi:  Do you know the song called “ All This And More?”  It was ripped off from the Raspberries.  And Stiv Bators first solo album…  He confessed that he ripped off songs from the Raspberries.  Do you know the song called “Tonight” by the Raspberries?   They ripped it off, but in a good way.
BG:  They changed it?
Fifi:  Yeah, changed it.  That’s important.  Because they really loved the Raspberries songs.
Fink:  Do you know the song called “Its Cold Outside?”  It’s ripped off from the Raspberries too.
Fifi:  Here is Jimmy Zero holding the Raspberries.  (Shows Steve the picture from an old issue of Bomp!)
BG:  And that record is on the cover of the Tweezers album.  That, the Nerves, and I don’t remember what else…
Fink:  Flashcubes.
Fifi:  Actually, I brought many records for the sleeve.  That picture was taken in the park.
Fink:  Anyway, he started the Tweezers, and I think something changed, because all the punk kids started to care about pop music like that.  Steve Baise heard the Tweezers album in my room.  He came to join a Japanese band for a while and he stayed at my apartment.  So I played the Tweezers single for him.
BG:  There’s a Tweezers single?  I didn’t know that!
Fink:  Yeah.  Very expensive.
Fifi:  I only have one.  It’s boring.
Fink:  I think Steve Baise got an idea. Basically, he had it before, but after the Devil Dogs he didn’t know what he wanted to play and I think he got an idea from the Tweezers.
BG:  Fifi, why do you think that the Tweezers were so boring?
Fifi:  I don’t know but…just boring.  When we did shows it was really boring because the Tweezers were much less rock n roll than Teengenerate.  I just want rock n roll even if I am playing power pop.  Power pop is good melody with a real wild rock n roll heart.  To me power pop is rock n roll.  Now I think the Tweezers aren’t so rock n roll.
Fink:  I think during the Tweezers years Fifi tried to assimilate the power pop style.
Fifi:  I just tried to imitate good seventies American power pop for fun.  I wasn’t so serious..."

Interview by Steven Strange on Terminal Boredom



GUN CRAZY - Dropping Like Flies

GUN CRAZY   Dropping Like Flies  CD  2003
Edge Of Town / Hotel Room / Talk To Jane / Factory Line / Red China Queen / Cannonball / Waitin' For A Ride° / Private Affair / Twenty Dollar Man* / Third Time Down.
Produced by Mike Mariconda.
Gun Crazy: Gary Rhodes: drums / Jimmy Sanchez: guitar & vocals / Clint Shay: lead guitar / Greg Putman: bass + Mike Mariconda: 1st guitar solo on */ Alan Nelson (The Materialistics): backing vocals on °

"On their debut album, produced by Mike Mariconda (Devil Dogs, New Bomb Turks), Houston's Gun Crazy come off like an amped-up combination of Bloodbrothers-era Dictators, the Saints, and Lazy Cowgirls."
" Ten punk ravers loaded with buzzsaw guitars, sneering attitude, and ragged but right singing. Some rippin’ punk rock’n’roll from Austin, struttin’, swaggerin’ and slangin’ its charm like a high-end call girl in the midst of a ship full of horny sailors. I’ve been a bit burned out on this genre for a while now, but when something this cool comes along, you can’t help but pay attention, and this is worthy of frequent listens."
"What do you consider to be your primary musical influences?
Jimmy Sanchez (guitar, vocals): That’s always a hard question. As far the band goes, we’re influenced by anything from the obvious punk rock stuff like the Saints, X, the Weirdos, the Real Kids…to earlier bands like the New York Dolls, Iggy and the Stooges, MC5, and Dr. Feelgood to 60s bands like the Yardbirds, Pretty Things and the Small Faces…to even older stuff like Chuck Berry, Larry Williams, and Eddie Cochran. I mean, we definitely don’t sound like any of these bands…we just kind of get inspiration from them. It’s not really a secret or anything new, we’re just taking rootsy rock and roll and playing it faster and louder."
You can read the complete interview HERE.


THE OUTCASTS - Self Conscious Over You

THE OUTCASTS   Self Conscious Over You  cd  1994
Self Conscious Over You / Clinical Love / One Day / Love Is For Sops / You're A Disease / Love You For Never / The Princess Grew Up A Frog / Cyborg / School Teacher / Spiteful Sue / The Cops Are Coming / Just Another Teenage Rebel.
Produced by The Outcasts.
The Outcasts: Colin Cowan: drums / Martin Cowan: rhythm guitar & vocals / Greg Cowan: lead vocals & bass / Getty: lead guitar.

The band formed in early 1977, with an initial line up of Blair Hamilton (vocals), Greg Cowan (bass), Colin "Getty" Getgood (lead guitar), and Greg's brothers Colin Cowan (drums), and Martin Cowan (rhythm guitar). According to Greg Cowan, their name derived from the fact that they were banned from five clubs in one week. Hamilton left the band within a month of its formation, with Greg Cowan taking over vocals.
The band played their first gig in May 1977, playing a mixture of their own songs and cover versions of songs by The Sex Pistols, The Clash, The Damned and The Ramones. After building a strong local following, they were picked up by the local It record label, who released the band's debut single, "Frustration", in May 1978. They were then signed to Terri Hooley's Good Vibrations label, who released "Justa Nother Teenage Rebel" in November 1978, which saw the band receiving airplay on national radio from John Peel.

A further single and the band's debut album, "Self Conscious Over You" followed in 1979. Shortly before the album was released, Greg Cowan was involved in a serious car crash that left him in traction for fourteen weeks and unable to play bass, so Gordy Blair (of another Belfast band, Rudi) joined, with Raymond Falls also joining on drums, because, according to Cowan, "Colin was such a bad drummer".Trouble followed the band around, and this led to them being sacked from Good Vibrations, so their next release was on their own GBH label in 1981, the "Magnum Force" single. This was followed by the band's first Peel Session for BBC Radio 1. GBH became Outcasts Only, and their next releases was the Programme Love EP in 1981. In 1982 they released a cover of The Glitter Band's "Angel Face", which spent over two months in the UK Indie Chart, peaking at number 21. The band were struck a massive blow when Colin Cowan was killed in a car crash. Colin was described by his brother Greg as "the core of the band. He started The Outcasts, he even gave the band its name".

The large attendance at Colin's funeral prompted the band to play a thankyou gig at the Harp Bar, and the positive reaction convinced the band that they should carry on. They recorded a second Peel session and released the "Blood and Thunder" album on Abstract Records, which reached number 20 in the indie album chart.  A few more singles and the "Seven Deadly Sins" mini-album followed, but the band split up in early 1985. Greg Cowan, Martin and Getty started a new band, Time To Pray, but this only lasted until 1986. Ray Falls joined the army. Greg Cowan returned in 2003 with an "Irish punk supergroup" along with members of Rudi and Stalag 17, performing at the book launch of It Makes You Want to Spit!, which is still going as Shame Academy. In August 2011 The Outcasts played on Rebellion festival in Blackpool. Source


LATEX NOVELTIES - A Girl's Best Friend

LATEX NOVELTIES  A Girl's Best Friend  CD  2007
Teenage Idol / Surf Bandits / High Cost Of Lovin' / Nervous Wreck / Kiss And Make Up / I Don't Wanna Look Like No Ramone / I Do I Own Thing / Tangerine Hair / Just Meat / Retaliation / We Don't Wanna Go Home / Born To Destroy / Falling Down / The Solution / We Don't Wanna Go Home (live 1979).

Formed in Indianapolis, in the summer of 1978, Latex Novelties came as a shock to some, but a welcome relief to Midwest music fans hungering for more than radio rock and over-produced record company darlings. Latex Novelties provided a ray of hope, proving that fans didn’t have to take the ponderous, pretentious, acts that had become more corporation than musicians.
The Novelties could, and did, bring the new punk sound from New York and the UK to Indianapolis for the very first time. They immediately became the “must-see” band for every person seeking an escape from the endless string of cover bands that ruled the Indiana music scene.
Their attraction to bands such as the Ramones, the Dolls, the Sex Pistols, the Vibrators, and the Damned, influenced the Novelties to create some of the most original songs of the time. The Novelties have always had strong and uncompromising ideas about their live shows and their outrageous and often extreme act awakened a sleepy Midwestern town like a boot to the head. The door was opened and a vibrant and active punk scene exists in Indianapolis that none had ever thought possible. The Novelties have earned their position in the history of punk rock and this release proves why!  Source

Formed in 1978, Latex Novelties were the first punk band in in Indianapolis! Influenced by glam greats (NY Dolls/Bowie) and early british punk bands such Vibrators and Sex Pistols, they became immediately "the must-see" band for every person seeking an escape from the terrible musical scene in town during those days.
Dedicated to Pat Grindstaff  & Pelado Records!


WAYNE KRAMER - Ramblin' Rose

WAYNE KRAMER  Ramblin' Rose  7''  1978
Ramblin' Rose / Get Some.

"...K. Shimamoto: Was Mick (Farren) involved in that single of "Ramblin' Rose" you did in England around '78?

Wayne Kramer: Yeah. While I was in the penitentiary, he wrote me at one point that all the bands over there were outraged that I had to go to prison and a couple of labels had gotten together -- Stiff Records and Chiswick Records -- and they were gonna put out two of those tracks as a benefit for me, and they were gonna give me all the money when I got out of prison, which was really a brotherly thing for them to do, considering that most people come out of prison with what they have when they go into prison, which is nothing, and that's generally the reason they wind up going back to prison. But when I came out, I had like 2000 dollars as a cushion to help me adjust to life back on the street. It really, really made the difference for me...not that I would have gone back to dealing drugs or selling stolen TVs or guns or whatever, but it really did...a couple grand, y'know, straightens you out. Takes the pressure off..."
Source: Working To A Plan: Brother Wayne Kramer
Interview by Ken Shimamoto October 16, 1999 in  I-94 Bar

Stiffwick was the fruit of a brief liason between the Stiff and Chiswick companies, two of the premier independents of the Punk / New Wave era.  Its only release was 'Ramblin' Rose', by Wayne Kramer, founder of the MC 5.  The single's catalogue number was DEA/SUK-1; it came out in October 1977, and was distributed by Lightning. Source


THE BLACKJACKS - (That's Why I Always) Dress In Black

THE BLACKJACKS  (That's Why I Always) Dress In Black  7'' SP  1985
(That's Why I Always) Dress In Black / Generic NYC Woman.
Produced by Johnny Angel.
The Blackjacks: Johnny Angel: vocals & guitars / Jeffrey Erna: drums / Whitey: bass & backing vocals / Rafael Mabry: guitar & backing vocals.

''By 1983, hard rock in Boston was a dead issue. The metal scene that began making waves in LA early in the decade hadn't really reached New England yet, the punk scene was dead, and the hardcore movement had begun to devolve into art-metal and noise. The notion of aggressive yet sexy music was deceased, and for all intents and purposes, there were three distinct camps in Boston: The would-be Angloid synth-pop, foo-foo haired sons and daughters of Boy George, the pseudo roots types who sucked Buds and wore flannel and claimed Hank Williams as god (but were really just collegiate simps trying to glom onto Americana and trailer-park culture, but as such were scruffier beatnik-y versions of their true role models, Britain's Teddy Boys), and dull bar bands. 'Til Tuesday were the big hype, as were the Del Fuegos, both fine groups, but hardly the spiritual heirs of Chuck Berry, the Stones and all the nitty-gritty societal bilge that tends to make the angriest and most heartfelt noise.
In June of 1983, Johnny Angel had returned to Boston a broken and beaten dude. His prior group, Thrills, had relocated to Manhattan with wide-eyed dreams of a new life in the Apple, only to find New York even less receptive to the straight-ahead charge than Boston. Besides, in B-Town, he could chill in a cushy job in the family business. His last bit of employ in New York was hauling boxes in a stinking Broadway warehouse, where he'd had a vision that the only time he'd ever ride down the magic boulevard in a limo would be in his own coffin, so it was NYC toodaloo!
Horrified at the total de-evolution of rock and roll at home, he hooked up with Whitey, ex-bassist with the Outlets, who was similarly bored and angered by Boston's local music scene. Whitey knew a former Outlets fan named Jeffrey Erna who was reputed to be a great drummer, and the three hooked up, bashing out Outlets songs at their first rehearsal, August, 1983.
Combining Angel's love of primal 60's psych and 70's punk with White's basic approach and Erna's speedy, rushed rhythms, the Blackjacks begun gigging a month later. Angel's year and change in exile in New York had provided wads of inspiration for new songs. "Generic New York City Woman" was a hate screed aimed at art-gallery inhabiting Manhattanite know-it-alls. "Junk Train" was a thinly veiled swipe at former Thrills singer Barb Kitson, who'd become seriously strung out on dope in New York. "Dreaming Of Saturday Again," was written about the horror of warehouse life. The latter song had been written with the intent of being a new Thrills single before that band broke up in 1983, and was to be produced by Tommy Erdelyi, but Thrills called it quits first! ..." Source



An old feature from Creem magazine. How times have changed...

ANDY McCOY - Too Much Ain't Enough

ANDY McCOY  Too Much Ain't Enough  LP/CD  1988/2004
I Will Follow / Tell Me A Story / Talking 'Bout A Feeling / Knee Deep In Sky High / Too Far Gone / Too Much Ain't Enough / Spanish Harlem / My Mistake / Heart Of The Matter / Make Believe.
Produced by Andy McCoy.
Andy McCoy: guitar & vocal / Tane Railo: bass / Keimo Hirvonen: drums / Jone Takamäki: sax / Maarit Hurmerinta: backing vocals.
As the guitarist of Hanoi Rocks, Andy McCoy was responsible for penning the lion's share of the band's material during their classic period of 1981 through 1984. So it would only make sense that McCoy would launch a solo career of his own after the group announced their initial split in 1985, right? Well...yes and no. McCoy would opt to collaborate with others in a variety of projects, and would also find the time to issue sporadic solo releases. With mainstream rock music still in a "grungy" state of mind around this time, it's admirable that McCoy would stick to his stylistic guns and continue on the same Rolling Stones/New York Dolls path that he'd favored from the beginning. Source
Andy recorded his debut solo album, "Too Much Ain't Enough", together with some Finnish studio musicians. One of the guests on the album was female jazz/soul singer Maarit Hurmerinta, who did a duet "My Mistake" with Andy. Later the same year, Andy became lead guitarist on Iggy Pop's Instinct world tour. This tour is well documented in Alvin Gibbs’s (the bass player on the Instinct tour and also a UK Subs member) book "Neighbourhood Threat". Source

Antti Hulkko (born 11 October 1962 in Pelkosenniemi, Finland), better known as Andy McCoy, is a Finnish musician. He is most famous for his role as the lead guitarist and main songwriter of Hanoi Rocks. Artistically McCoy's works cover a wide range of music forms, including rock 'n' roll, punk rock, flamenco, glam punk, glam rock, blues rock and hard rock.
Before Hanoi Rocks, McCoy had become well known in his home country, Finland, due to his work in the punk rock band Pelle Miljoona Oy. During this time McCoy was talking with Matti Fagerholm (better known as Michael Monroe) to start a band of their own, but because McCoy was currently in Pelle Miljoona Oy, he told Monroe to start the band without him in 1979. After McCoy left Pelle Miljoona Oy, he joined Monroe in Hanoi Rocks, with another former-Pelle Miljoona Oy member, Sam Yaffa.
Hanoi Rocks released their first album in 1981 titled "Bangkok Shocks, Saigon Shakes", Hanoi Rocks, with 8 out of 10 tracks written by McCoy. The album was produced by Andy McCoy and Michael Monroe who were known as "The Muddy Twins". In 1982 Hanoi Rocks recorded and released their second studio album "Oriental Beat" in London. The original cover's back side featured Andy McCoy's then girlfriend Anna's naked breasts painted blue and red with "Hanoi Roxx" written across it. After the albums release the band moved to London the same year and fired drummer Gyp Casino and hired drummer and Hanoi Rocks fan Nicholas Dingley better known as Razzle. When Razzle joined the band, that line-up is considered the classic and definitive Hanoi Rocks line-up. Later that year the band released "Self Destruction Blues", which had Razzle on the cover, but he didn't play on the album, because it was actually a compilation of old singles. The tour for the album took the band to Asia for the first time. The next year 1983, the band released "Back to Mystery City" and after that, in 1984, the band and got together with legendary producer Bob Ezrin, and released Two Steps from the Move. Before this, McCoy had written most of the song's by himself, but for this album Bob Ezrin helped McCoy with the writing, along with Monroe. He also got some help with the lyrics from legendary Ian Hunter (of Mott The Hoople). After the Razzle's tragic death, Sam Yaffa left the band due to personal differences with McCoy (amongst other reasons he was now engaged to Anna, McCoy's former girlfiend known from the "Oriental Beat" cover). The band tried-out new members (amongst them The Clash ex-drummer Terry Chimes and bassist René Berg), but things didn't work-out so the band disbanded in 1985.

In 2001 McCoy and Michael Monroe started working together again and decided to reform Hanoi Rocks with two new members on guitar and bass, with Michael Monroe's solo career drummer, Lacu. They released "Twelve Shots on the Rocks" that same year. In 2005 they released "Another Hostile Takeover" with new members Andy Christell on bass and Conny Bloom on guitar (both formerly of the Electric Boys). In 2007 the band released the album "Street Poetry". In 2008 Andy McCoy and Michael Monroe stated that they had taken the band as far as they could and so they decided to end the band. Hanoi Rocks played 8 sold out farewell gigs in 6 days at Tavastia Club, Helsinki. The original guitarist Nasty Suicide appeared as a special guest on 3 of the last gigs.
After Hanoi Rocks' break-up in 1985, McCoy continued with his next project "The Cherry Bombz" which featured the last Hanoi line-up (except Michael Monroe), which consisted of Nasty Suicide, drummer Terry Chimes, bass player Timo Kaltio and vocalist Anita Chellemah of Toto Coelo fame (previously scoring a hit with "I Eat Cannibals"). The band was perceived as being the next stage of Hanoi Rocks. The music of The Cherry Bombz was actually very similar to that of Hanoi Rocks'. The band carried out a world tour and released numerous singles and an EP, but never a full-length album. In 1986, Timo Kaltio was replaced by bassist Dave Tregunna (Sham 69, Lords of the New Church), but the group broke up the next year.
McCoy also worked with Nasty Suicide under the moniker "The Suicide Twins" and released the album "Silver Missiles And Nightingales" (which was the original working tile for "Two Steps from the Move") in 1986, which also featured a guest appearance by René Berg. "The Suicide Twins" project disbanded in 1987
.McCoy spent the rest of 1987 not doing much, except releasing his memoir titled "Andy McCoy – From Hanoi to Eternity", but nothing else. In 1988 McCoy released his first solo-album titled" Too Much Ain't Enough".

For the rest of 1988 McCoy did some acoustic gigs in Finland, moved to London and then to Los Angeles. Next McCoy struck a record deal with BMG. McCoy also became the first Finnish artist to have a gold record in the US, when Samantha Fox recorded a cover of The Suicide Twins' song "The Best Is Yet to Come". The rest of 1988 and some of 1989 McCoy spent touring as the guitarist for Iggy Pop. He played guitar on Iggy Pop Live At The Channel Boston 1In 1989 McCoy appeared on the U.K. Subs' album Killing Time.
In the beginning of the 90's, McCoy lived in L.A. with his son and new girlfriend, Johnny Thunders' cousin Angela Nicoletti (former girlfriend of Izzy Stradlin). McCoy formed the band Shooting Gallery and married Angela in October 1991. Shooting Gallery toured as an opening act for Kiss during a U.S. tour and also released an album in 1992, before breaking-up that same year. Shooting Gallery shortly came back and toured in Finland with Gyp Casino on drums in 1994, but again disbanded that same year.
In 1995 McCoy's second solo-album "Building On Tradition" was released and, aside from Hanoi Rocks, it became McCoy's biggest success. The album's biggest hit "Strung Out" was originally meant for Shooting Gallery, but it was not recorded until the second solo-album. For the tour for "Building On Tradition", McCoy assembled the band Live Ammo, which featured McCoy (guitar, vocals), Angela McCoy (vocals), Dan Lagerstedt (guitar, vocals), Andy Christell (bass), Gyp Casino (drums) and Christian André (keyboards). Christell had to soon leave the band for family reasons, so Lagerstedt started to play bass. André was also fired from the band, and they soon disbanded.
Also in 1995, McCoy appeared on The 69 Eyes' songs "Vietnamese Baby" and the song "Wild Talk" from the album "Savage Garden". Next McCoy returned to his childhood passion: painting (which he still does).
In '96, McCoy and Pete Malmi reformed their old band Briard after 20 years. The new Briard (which also included Angela McCoy) released a new album simply titled Briard. That same year filmmaker Pekka Lehto started the filming for the movie The Real McCoy, a half-real, half-fictional bio-pic on McCoy. The film was released in 1999.
After Hanoi officially ended in 2009, Andy McCoy formed a band called "The Real McCoy Band", but this band broke-up after just three shows, when guitarist Chris Shiflett returned to the US when his son got ill with swine flu.

Andy McCoy's autobiography Sheriff McCoy: Outlaw Legend of Hanoi Rocks was published in English translation on 17 September 2009. (Buy It HERE!)
After 2009, McCoy was recruited as lead guitarist for Grease Helmet, a new Helsinki-based band. The first, self-titled, album of the band was released in September 2012. Source
Besides music, Andy McCoy is an avid painter and he also makes a lot of his own and his wife's clothes, along with designing jewelry, scarfs and other accessories. Andy McCoy held his first Art Exhibition last May 2010 at The Cable Factory in Helsinki, Finland titled `McCoy Hits Canvas´.
Thanks To Franck!


THE SAVIORS - Ruby Gloom

THE SAVIORS  Ruby Gloom   7''    2002          
Ruby Gloom / Recipe For Disaster / Where Is Wendy* / Detox Jukebox* / Nightmare Years*.
*bonus tracks
Produced by The Saviors.
The Saviors: Brent Keneagy: bass / Kevin Keneagy: guitar / Brian Morgan: guitar, vocals / Dimitri Monroe: vocals / Zach Schriner: drums.

"Through his earlier incarnations with The Pale Imitations and The Naked Flames, Dimitri Monroe has maintained his allegiance to gritty, authentic and impassioned rock‘n’roll. So, it’s no surprise that on his latest single-backed by his current band The Saviors-Monroe continues this fierce commitment to the ideals of what rock‘n’roll can and should be. Monroe has a fine, hard-edged vocal style that recalls great garage punks such as D-Generation era Jesse Malin or The Real Kid’s John Felice. But he has undeniable songwriting prowess that is all his own. Both “Ruby Gloom” and “Recipe For Disaster” combine catchy melodic hooks with Monroe’s searing brand of punked-out hard rock. Grab a copy of this one now, kids. It looks like Dimitri Monroe is just about the last of the real rock‘n’rollers, and rock‘n’roll needs a shot in the arm now more than ever." D-Filed Magazine
"Led by glam madman Dimitri Monroe, The Saviors are a rock‘n’roll machine fueled with old records of Deadboys and Hanoi Rocks! A-side “Ruby Gloom” would get the Mic Monroe and Andy Mc Coy approval, and if Steve Bator could listen to the B-side “Receipe for disater” he’d probably love to sing along the chorus. This is the real stuff and the only let down about this piece of plastic is that two songs are not enuff for me!" More RAWK pleeze..." Leatherboyz RocknRoll Ezine
"The Saviors are the glam/trash stuporgroup starring semi-legendary rock writer Dimitri Monroe and his old partner-in-crime Brian Morgan. Not content to merely offer you around-the-clock coverage of the band’s highly-impressive demo, we tireless Now Wavers are proud to reveal the details of the band’s fruitful union with the formidable Rapid Pulse Records juggernaut. RPR---America’s favorite rock n’ roll record label---has pressed two of the Saviors’ very finest rock anthems onto one slab of snazzy 7" wax. And the song selection is exquisite, for it shows off both sides of The Saviors’ high-powered punk/hard rock experience. A-side cut “Ruby Gloom” is a melodic, mid-tempo gem chock full of infectiously bleeding lead guitar action. It’s kinda power poppy in a solo Stiv Bators sort of way, and it reveals the late-night-heartbreak, boozed-up-sensitive-poet side of The Saviors. Nice. Flip the record over, though, and you’ll get blasted with “Recipe for Disaster”, a vicious, scorching, guitars-out-the-ass glam-metal screamer that’s all swagger, strut, and earsplitting volume. This is the BAD-ASS ROCK N’ ROLL side of The Saviors, and it kicks old-fashioned butt a la early D Generation or even Guns N’ Roses. So there’s something here for everybody: the anthemic pop song for candy-chewing fags like me, and the steamrolling rawk teeth-kicker for all you hard-assed tattooed motherfuckers who drive your motorcycles too fast and drink your whiskey straight. All in all, another fantastic single from a label that never misses!" Now Wave Zine

"Kinda hard to be objective, since the Saviors are led by none other than long time Sleazegrinder ally and perpetual rock and roll motherfucker Dimitri J Monroe, but even if I hated the cat, I’d still give this one high marks, because it’s a classic. The Saviors sound more like Hanoi Rocks than even Andy and Mike do these days, and the two songs here are constructed with the same ear for classic rock n’ roll hooks as American Heartbreak. Do you dig what I’m saying? This thing just rocks like crazy- especially the glammy “Ruby Gloom”, and if you think Dimitri can’t sing, well, neither could Mike Monroe. The execution is still flawless, and the band is white-hot, and I know it’s probably 15 years too late, but “Saviors” is exactly the right name for this band. I only wish it were true." Sleazegrinder
"Yawn. Lame, lame, rocka rolla garbage. We’re talking black nail polish, track marks, empty fifths of Rebel Yell, cigarette burns, chlamydia... the whole deal. I bet that seeing ‘em live might be even more boring than listening to this record. I hate both of these fucking songs. If they ever show up in your town, sneak into the show, and throw stuff at ‘em. That’s my advice."Horizontal Action #11 (Frankie Dynamite).
Thanks to Brent & Franck !                                                                                                                        

BRAND NEW HATE - Sinners & Preachers

Une superbe chanson qui  vous met l'eau à la bouche en attendant le nouvel album !!!


CODE BLUE - Code Blue

CODE BLUE   Code Blue  CD/LP  1980/2003
Whisper / Touch / Modern Times / Hurt / Face To Face / Burning Bridges / Somebody Knows / Other End Of Town / Where I Am / Settle For Less / The Need / Paint By Numbers / Whisper / Touch (2003 Remix) / Hurt (2003 Remix) / Burning Down The House Of Love / Where I Am (Demo) / Settle For Less Live (Live) / Other End Of Town (Live) / Book Of Job / Burning Bridges (Demo) / She Said Yeah (Live) / Letter From Leavenworth / Paint By Numbers (Live) / Spellbound / We Were Wasted.
Produced by Code Blue & Nigel Gray.
Code Blue: Dean Chamberlain: vocals, lead guitar / Randall Marsh: drums, vocals / Gary Tibbs: bass, vocals.

Los Angeles' Code Blue may be best remembered for the fact that its first album was released encased in a blue plastic bag; the group, which actually had talent, fell victim to the post-Knack backlash against Angelino power pop. The brainchild of original Motels guitarist Dean Chamberlain, Code Blue came together after the first version of the Motels disbanded in 1977, with drummer Randall Marsh and bassist Gary Tibbs (Vibrators, Roxy Music) completing the lineup. Despite three good musicians, some decent material and lofty artistic aspirations, the combination of the Knack-lash and the lack of any really killer tracks doomed the LP to prompt oblivion. Trouser Press
Dean Chamberlain grew up in San Mateo, just south of San Francisco, and started playing electric guitar when he was 14. He began attending Bill Graham-produced concerts and caught a variety of artists, such as Howlin’ Wolf, The Charles Lloyd Quartet, and Big Brother And The Holding Company.  He saw Jimi Hendrix play on several occasions and once became so caught up in the excitement, he climbed up on the stage, only to be launched back into the crowd by Graham himself.

As a teenager, Dean spent a year in Brazil while his dad worked as a doctor for the Peace Corps. While there he expanded his musical pallet by befriending and playing with future Brazilian guitar hero Robertinho de Recife and a young Arto Lindsay. After returning to the States, Dean studied at U.C. Santa Cruz  before transferring to Berkeley. It was there that he co-formed the group that would eventually become The Motels. The group's music was a funky reaction to the peace and love of the Bay area but by the early 70's the local music scene was dying and the band moved south.  Dean says "I came down to L.A. to see Iggy Pop at the Whisky a Go-Go and stayed.”
At first  Dean spent his evenings at The Rainbow Bar & Grill trying to get his bearings and then secured a job at Paramount Recording Studios. He simply asked and they found work for him removing linoleum from the studio bathroom floor. He also assisted in the engineering of actual recording sessions, and worked with legendary artists and producers, such as Sly Stone, Bob Crewe, and Bobby Womack. He also recorded his own version of “Harlem Shuffle” (unathorized - which probably led to his dismissal).  Dean’s then secured a job at Warner Bros. Records, listening to unsolicited tapes sent to the A&R department. This was a handy gig, as it allowed him to pursue his own musical endeavors while getting paid to listen to those of other musicians.

The rest of the band soon relocated to L.A. where they put on their own show called Radio Free Hollywood at Trooper's Hall. But Punk and New Wave music was on the move and dextrous guitar riffage based music was fading fast... and Dean was a "lead guitar" player. The band split in early 1977, right after being offered a music contract, and Dean moved on.
He put an ad in the recycler looking for musicians,  rented a storefront for rehearsal space, and the band "Skin" was born. It included Randall Marsh on drums and  Michael Ostendorf on bass and with Dean writing songs they started playing gigs in late 1978. WB execs caught a gig and then signed them the next day. Michael left, Gary Tibbs filled in on bass, they changed their name to "Code Blue," recorded in London and Van Nuys, changed producers, and finally finished their first album. Dean's band had a national tour (a new bassist, Joe Read) and they opened for Thin Lizzy. The first show was pretty good but overall their tour was not well received and a couple years later, after reevaluating their music direction, the band broke up.

After Code Blue disbanded Dean formed the trio "Resurrection"... and later, "Orange Wedge", a four-piece group he describes as "southern-fried acid-speed-blues." Then, sometime around 1993, Mr. Chamberlain put down his guitar.
Years have passed and after spending time in an artists community out in the sticks of the Mojave desert (Wonder Valley) Dean has come back to the fold of Hollywood and is again playing gigs at local venues... this time with a folk/gospel edge added to his amazing guitar playing (which is now usually on an acoustic). He got a good write-up in the L.A. Times and you can catch his website here. Source


Une histoire du rock à Clermont-Ferrand est un livre ayant pour sujet 50 ans de bruits défendus à Bib-City.

Editions Un, Deux...Quatre,
216 pages,
format 18 x 22 cms.
Parution le 25 novembre

Le livre abondamment illustré se présentera sous forme d'une galerie de portraits de figures locales qui animent bruyamment les nuits de la capitale auvergnate depuis un demi-siècle. Une belle brochette d’agités qui ont œuvré et continuent d’œuvrer pour faire de la scène rock clermontoise ce qu’elle est devenue.

Le livre retrace leur parcours avec la ville en toile de fond et, par extension, le rock en France depuis son apparition au début des années 60.
Chaque intervenant y va de sa petite musique avec, parfois, une mémoire ayant oublié la monnaie sur le comptoir. 
Une petite histoire pour raconter la grande et pas uniquement celle de Clermont-Ferrand.

L'auteur et porteur du projet:
Né à Clermont-Ferrand en 1962, Patrick Foulhoux est tombé dans le rock dès l’âge de onze ans. Il ne s’en est jamais relevé.
Son amour pour la musique l’a conduit à de nombreuses activités que la morale réprouve, mais que la sienne de morale, approuve : Journaliste rock bouillonnant spécialisé dans les styles réputés à la marge pour de nombreux magazines français et étrangers (Rolling Stone, Punk Rawk, Violence, Dig It, Rock Sound, Kérosène, Abus Dangereux, X-Rock, Velvet, Rock One...).
Il est aussi l'auteur d'un très bon blog "Faut que ça rock ou que ça dise pourquoi" dont le titre résume à lui seul le contenu !

Le livre sortira en avant-première le vendredi 22 novembre, lors d'une soirée-événement gratuite à La Coopérative de Mai à Clermont-Ferrand.




Please help Pat Todd & The Rankoutsiders by supporting the DOUBLE LP VINYL production and promotion of their current, newest 3rd full length: "14th & Nowhere..." (here)

Why are we doing this? Well, as Pat says, "we want your money", but that ain't all. "14th & Nowhere..." is our third full length album, and we really want to make this release something special. In addition to the CDs we have already produced, we would like to press a run of vinyl - DOUBLE LP with extra songs (if you didn't know it, vinyl- especially a double LP- is very expensive for a band to produce - about half of what we raise will go directly to producing a vinyl release) - this includes the cost of remastering our album for vinyl (not cheap); get some new t-shirts printed up, buttons, merch galore, but most importantly we want to launch a full-on promo assault of this release because we believe it is the best thing we have done as a band and further to that, Pat feels that this is simply the best release he has ever put out (even including the Lazy Cowgirls releases!). We are also trying to raise the dough to help pay off our studio costs (about 1/3 of what we are asking).

But let me stop there- this is assuming you know something about Pat. Here, let me educate you: back in the early 1980's, Pat and the Lazy Cowgirls (henceforth will be referenced to as "the Cowgirls") came out to L.A. from Vincennes, Indiana. Within a few years, the Cowgirls helped to lay the groundwork for the next crucial stage of L.A. Rock 'n' Roll- you can call it "garage rock", "Cow punk", "roots Punk", whatever, but it was intense, powerful, and influential. Here is a link I recommend you check out to read further in Trouser Press, oh yeah, and another one on Grunnen Rocks.

The Cowgirls split in 2004- just time to go separate ways. Nonetheless, Pat is never one to let a good thing go- the man knows where his heart is. So without skipping a beat, Pat formed The Rankoutsiders. In 2005, we released our debut, double CD, "The Outskirts of Your Heart", soon followed in 2007 with "Holdin' Onto Trouble's Hand". Now, we are ready for the next release, "14th & Nowhere" (which incidentally was recorded, as are all our releases, by Earle Mankey, who was not only the original guitarist in Sparks (check out this video!), but has produced and recorded albums with Possum Dixon, The Beach Boys, the Addicts, Concrete Blonde, 20/20, the Lazy Cowgirls and many, more.

NEWSFLASH: This LP will now need to be a DOUBLE LP + EXTRA SONGS!!! Please spread the word - we need your help more than ever. IF we can exceed our goal, we can produce more of these LPs!

Risks and challenges
Ok, so risks? It's rock 'n' roll- it all risk... One of the key things about having a successful release is the ability to promote it. If people don't know you have a new album out, they won't know to buy it. Without the ability to get your release into the right hands, it usually takes a good publicist, a little luck, and a lot of money: two outta three ain't bad. Without the ability to really promote this release, which we firmly believe is our best yet, we may end up making a few hundred new fans, when we know darn well there are thousands more out there. Being discovered twenty years from now is a romantic idea, but it won't get you too far in the here and now...
Also, we are asked continually for a vinyl release. I love vinyl as much as anybody, but guess what? Vinyl is incredibly expensive to produce, at least for a band trying to do it all out of pocket. With your help we can not only really get our music out to the masses, but we can get a hot slab of vinyl with all our tunes into your hands.



The untimely passing of Stooges guitarist Ron Asheton in January 2009 was felt around the world - but particularly in Australia.
A stellar line-up of Australian bands - including the Hoodoo Gurus - will recognise that fact by playing a tribute show benefitting the Ron Asheton Foundation at the Manning Bar at Sydney University on Friday, December 6.
The influence of Asheton and his bandmates held sway over the underground music scene in Australia like few others. From Sydney’s Radio Birdman to Brisbane’s Saints and Melbourne’s Birthday Party, innumerable bands owed a debt.
Ron died peacefully at home in Ann Arbor, Michigan, aged 60 in January 2009 while taking a break from touring the world with the reformed Stooges.
Proceeds from the Sydney show will go to the Ron Asheton Foundation, a fund for animal welfare and sponsor of music for children.
Legendary post Radio Birdman band The Visitors, led by Ron’s close friend Deniz Tek, will headline the night, making one of only a handful of appearances since disbanding in 1979.
ARIA Rock and Roll Hall of Famers the Hoodoo Gurus will appear as special guests with a short and sharp set put together just for this occasion.
The New Christs, the band fronted by Deniz’s ex-Birdman bandmate Rob Younger, will join them on the heavyweight bill.
The SC5 – a sporadic Sydney tribute to Stooges contemporaries the MC5 – and The Four Stooges, reprising songs of the Stooges, will round out the list. Both bands feature a range of Sydney rock scene luminaries.
“Ron’s distinctive guitar style and its impact on rock and roll around the world can’t be under estimated and this is a small way that we can honour his memory and support a great cause,” said Deniz Tek, an organiser of the night.
 Exclusive merchandise including DVDs of the similar tribute show, headlined by Iggy & the Stooges in Ron’s Michigan home town of Ann Arbor, last year will be on sale at the gig.

Tickets are just $20 + booking fee ($25 on the night) from oztix.com.au and doors open at 7pm:



DIG IT! N° 59

DIG IT! N° 59
Toujours fidèle au poste de combat, le gang de Toulouse remonte au front pour ravitailler ses rock'n'roll soldiers abonnés qui attentent leur nouveau numéro aussi impatiemment qu'un témoin de Jéhovah la fin du monde !
Si toi aussi tu veux devenir un soldat combattant pour la Cause, ABONNE-TOI !!!


RED INVASION - I'm Not Too Young To Die

RED INVASION  I'm Not Too Young To Die   CD  2005
I'm Not Too Young To Die / Get Away From Me / You Hate Me / No More / I Got No Time / A Year Ago Tonight / Look At You Now / This Is How I Live, This Is How I Die / People Like Us / Disconnected / Worst Nightmare.
Produced by Jason Duguay & Red Invasion.
Red Invasion: Ryan: guitar /  Joe Boy: vocals / Steve: drums / Rich: guitar / Joe: bass.

Red Invasion (2003-2010) was a 70's style punk rock band mixed with straight up rock & roll, glam, and powerpop. They've earned comparisons to The Dead Boys, The New York Dolls, D Generation, The Stooges, and The Heartbreakers in their look and sound. Their music is an HONEST celebration of the individual and the fucked-up life we all see and live. The goal is trying to bring back the original attitude of punk and rocknroll that's been dwindling since the dawn of the safe pop-punk and emo craze.
In October 2005, the excellent label Pelado Records released their debut full length, "I'm Not Too Young To Die." Red Invasion has shared the stage with a wide musical range of relevant bands like The Casualties, The Adicts, The Explosion, Buckcherry, Total Chaos, The Ducky Boys, Roger Miret and The Disasters, Rock'n'roll Soldiers,The Misfits(w/ Marky Ramone), Richard Bacchus (ex D Generation), The Heartattacks, The Jabbers, and many more.

 Here are some reviews from the debut album:

"...reminiscent of The Dead Boys-with maybe Johnny Thunders on loan as the patron saint of guitar leads. ...Singer Joey Boy sounds like he may well have escaped from the mental ward (dig that!) or just stepped on hot coals. ...And doesn't "I Got No Time" (not the 1976 Saints song, though that's another band Red Invasion sounds a little like) borrow Thunders' Heartbreakers' "Born To Lose" mixed with The Ramones' cover of "California Sun?" Chuck Berry, call your great-grandchildren!" The Big Take-Over 

"Red Invasion are a Boston band that I definitely need to pay more attention to after hearing this album. Snotty punk with a Dolls/Heartbreakers jones and given a dose of megawattage. Catchy tunes and played with energetic verve. The hooks on "You Hate Me" and "I Got No Time" will ensnare you with little resistance. "Disconnected" reeks of attitude. Slashing guitars accompanied perfectly by a percolating bass/drums tandem and insolent vocals. The real deal." Suburban Voice

"Speedy melodic punk from Boston with a lot of old New York snottiness. These guys definately own a couple of DEAD BOYS records between them." Maximum Rocknroll

 "These guys do the 70's glam-punk thing better than just about anyone, and the buzz on these guys has been growing. This is a must-have CD, seriously, everyone needs to go out and get this right now. Give them money so they can get their asses on the road and tour and rock your asses off in person!" Amp Magazine

"...They will light up a few Saturday nights around here in a riot of sleazy, hook-heavy snot rock...you know, lyrics about dying young spat out by an amped-up Stiv-abee, swaggering Thunders guitar solos, a pogo ready rhythm section, howl-along choruses, that kinda scene. "Disconnected" is the standout here, a real teenage temper tantrum with an awesomely primitive stab at a harmonica solo halfway through, and the Dolls-y closer "Worst Nightmare" has the potential to grow into an epic, burn-the-shithouse-to-the-ground monster live...but I'm guessing Red Invasion are gonna develop into a dangerous, druggy, virgin-killing juggernaut of beastly punk-sleaze sometime soon, so check 'em out while their young and desperate, and prepare yourself for the shitstorm to come." Sleazegrinder

"The title track is the perfect anthem for pogoing yourself dizzy in your eyeliner, leather and spikes, while the slower paced "A Year Ago Tonight" is a song that dwells on more power pop and glam tendencies. This is an enticing sampler of what may be ahead for them. Within the band's methodical design is a catchy comprisal attractive to anyone who deserves to buy any punk record. While Red Invasion may be focused on a finite time in our history, their appeal is one of the most far reaching I have heard on record. I'm hoping these guys can help usher in a new era in Boston punk history, one unique in its capacity for freedom and expression. A new door is peering open, abandoning the rigid dictates of hardcore. As a rock n roller, I find it my duty to pry the door a bit wider, and invite you all to the other side." Jimmy Reject from Fat City, Now Wave Zines
A Red Invasion interview can be read  HERE!
Thanks To Franck!
Buy it HERE!


The first video by Bullet Proof Hearts from the "American Custom" single on Drastic Plastic Records. Order here: http://www.impactmerch.com/store/bull...

Kevin Moran - Vocals, Guitar
Tammy "Gun" Moran - Bass
Mark Blackman - Drums
Aaron Schmitz - Guitar

Directed by Aaron Gum
Girl - Laura Ellis
Make-Up - Shera Baumel
Wig - Toiya Washington Brown
Assistant - Paula Christensen

Filmed at Brothers Lounge
(Thanks Trey & Lalaya)

The single is available on DRASTIC PLASTIC RECORDS

Contact - bulletproofhearts1@gmail.com

Bring together four musicians from the Midwest's most rocking bands, and you get BULLET PROOF HEARTS. Formed in 2011, the members of BULLET PROOF HEARTS’ past bands read like a who's who of the Midwest Underground scene, Kevin Moran - Guitar & Vocals: Nuns With Guns, The Criminals, New Ave. Kings. Mark Blackman - Drums: No Heroes, Apathy, Nuns With Guns, Bad Luck Charm. Tammy Gun - Bass: Chicken Hawks, Blue Collar Bravado, Vermins, Take Agent. Aaron Schmitz - Guitar: The Rundowns, The Upsets. BULLET PROOF HEARTS combines the members love of classic "real" punk rock & power pop, to produce its distinctive, loud rockin' sound.


THE REAL KIDS - Better Be Good

THE REAL KIDS Better Be Good CD 1999
1 All Kindsa Girls / 2 Common at Noon / 3 Solid Gold / 4 Better Be Good / 5 Just Like Darts / 6 Roberta / 7 Reggae, Reggae / 8 Taxi Boys / 9 She / 10 Up Is Up / 11 Now You Know / 12 She Come Alive/ 13 My Way/ 14 She's Alright/ 15 Do the Boob / 16 My Baby's Book/ 17 Rave On / 18 All Kindsa Girls.
Tracks 1 & 2: Sponge records single produced by Oedipus & The Real Kids / Tracks 3-8 & 13-18 Red Star lp alternate takes (1977): produced by Marty Thau & The Real Kids / Tracks 9-12: Bomp Records demos (1979): produced by John Felice and Phil Adler.
Recorded in Newton and Boston, Massachusetts; Nyack, New York. Includes liner notes by John Felice.Digitally remastered by Vic Anesini.

The Real Kids: John Felice: vocals, guitar / Allen "Alpo" Paulino: bass / Billy Borgioli: guitar / Billy Cole: guitar / Howard Ferguson: drums.

"Better Be Good" is an 18-track compilation of alternate takes and live versions of songs that showed up on various releases by the Real Kids and the Taxi Boys, who for all intents and purposes were the same band. Leader John Felice, who was in the first, unrecorded lineup of the Modern Lovers with his next-door neighbor Jonathan Richman in the early '70s and later roadied for the Ramones, is a punk rock savant; the Real Kids were the first truly great Boston punk band, although they sounded much more like the Flamin Groovies than the Sex Pistols. These three-chord rockers, bracketed by two versions of the great "All Kindsa Girls," are tough, cool, and catchy. Complete novices should probably start with the original albums, but these alternate versions are much more than mere ephemera.

Buy it HERE!

THE REAL KIDS - The Real Kids

THE REAL KIDS  The Real Kids  LP/CD  1977 
All Kindsa Girls / Solid Gold (Thru and Thru) / Rave On / Better Be Good / Taxi Boys / Just Like Darts / She's Alright / My Baby's Book / Roberta / Do The Boob / My Way / Reggae Reggae.
The Real Kids: John Felice: lead vocal, guitar, chimes / Billy Borgioli: guitar / Alan Paulino (Alpo): bass, backing vocals / Howard Ferguson: drums, percussion + Mono Man (DMZ): piano on "Roberta"
Produced by Marty Thau & The Real Kids.

In the late '70s through the early '80s, the Real Kids were Boston's original rock & roll slop band. Fronted by John Felice, main songwriter and guiding spirit, the Real Kids ran on equal parts adolescent rivalry, drugs, and as much beer as they could consume. When Felice wanted to tear up a club with his rockin' originals or his favorite rock & roll tunes (equally adept at both), the Kids could be a thing of raw beauty to watch and hear. When Felice wasn't in the mood, he could play pissed-off rock star to the max and the results were desultory at best. This LP, however, catches them early in the ball game, their debut album for the tiny Red Star label with all the great John Felice tunes like "All Kindsa Girls," "Taxi Boys" (which later became the name of an offshoot group that recorded for Dave Pierce's Star Rhythm imprint, the label that also issued the second (or last, depending on how you're keeping score) Real Kids album), "My Baby's Book," and "Better Be Good" along with spirited covers of Buddy Holly and Eddie Cochran material just to give you the big picture. Perhaps the Real Kids were just too undisciplined to make it big; maybe the drugs and the booze got in the way of the creativity. Alas, it's an old story, but Felice's reputation over in Europe continues to earn high marks and rumors abound that new material is on the way. In the meantime, check this one out -- close your eyes and you'll swear you've been transported back to the late '70s at CBGB's. Like their name, these guys were for REAL!

Que dire ?
Que c'est un des meilleurs album du rock, au même titre que "L.A.M.F." ou  "Shake Some Action" ?
Que j'en ai usé deux exemplaires ?
Que c'est un disque séminal ?
Que la pochette est magnifique ?
Que la guitare rythmique vous empoigne dès le premier morceau et ne vous lâchera plus jusqu'à la fin !
Que les Real Kids font le meilleur reggae blanc !
Que les reprises de "My way " ( E. Cochran ) ou "Rave on" ( B. Holly ) se confondent avec des originaux comme "My baby's book" ou "Do the boob" !

Cet album n'a pas pris une ride ! Et le rock de Boston, des Lyres à Willie Alexander, des Del Fuegos aux Neighborhoods non plus !!!
Thanks to Max for the artwork!
This post is dedicated to Philippe Martin who introduces me to the Real Kids, 36 years ago...rest in peace, brother!