To rock audiences, Jim Carroll's
crowning achievement was the near-hit "People Who Died," a brutally
emotional punk record saluting the victims of the New York drug culture.
In truth, however, Carroll's
artistic legacy was considerably more complex and far-ranging -- an
acclaimed diarist, poet, actor, and spoken word performer, his formative
years even served as the subject of the film The Basketball Diaries.
The product of a working-class background, Carroll was born and raised in New York City. He was a highly touted basketball prospect, and Jack Kerouac's
On the Road inspired him to begin keeping a journal at the age of 12;
later published in 1978 as The Basketball Diaries, his early writings
vividly chronicled his teenage addiction to heroin, which led him into a
life of crime and hustling. By the time he was 16, Carroll
was a published poet; 1973's Living at the Movies further established
his reputation as a prodigy and funded a move to Northern California,
where he was finally able to shed his drug habit.
Inspired by the success of his friend Patti Smith, who also married a background in poetry with a career in rock music, Carroll began writing songs; in 1978, backed by the San Francisco band Amsterdam (comprised of guitarists Terrell Winn and Brian Linsley, bassist Steve Linsley, and drummer Wayne Woods), he cut a handful of demos, and was signed to Rolling Stones Records. Produced by label head Earl McGrath, the Jim Carroll Band's debut album, Catholic Boy, appeared in 1980; the subject of significant critical acclaim, it featured "People Who Died," the group's definitive moment.
After a move back to New York and the replacement of Terrell Winn and Brian Linsley by Paul Sanchez and Jon Tiven, the Carroll Band returned in 1982 with Dry Dreams, followed by 1984's I Write Your Name, which received lackluster reviews. With his three-record contract fulfilled, Carroll
dismissed the group members and resumed his prose and poetry work.
After an appearance in the 1985 film Tuff Turf, he published The Book of
Nods in 1986 and Forced Entries: The Downtown Diaries 1971-1973 a year
later. During the remainder of the '80s, Carroll balanced his poetry and prose material while writing tracks for other artists such as Blue Öyster Cult (Club Ninja) and Boz Scaggs (Other Roads). He also appeared on spoken word albums by John Giorno's Dial-a-Poem Poets.
As the 1990s dawned, Carroll
was frequently approached to return to music, but he remained firmly
dedicated to his spoken word work; his first solo album was Praying Mantis
(1991), a collection of spoken word performances, not new songs. While
he occasionally performed as a musician, his primary focus remained his
literary pursuits. Notably, Carroll
was one of the first poet/rockers to break down the barriers between
poetry/spoken word and mainstream rock music. He participated in various
readings beginning in the mid-'80s, but his 1994 performance on
MTV'sUnplugged was most moving, with a soon to be legendary poem, "8
Fragments for Kurt Cobain," a mesmerizing tribute.
In 1993 he published Fear of Dreaming: The Selected
Poems of Jim Carroll. In 1995, both The Basketball Diaries and the short
story Curtis' Charm were adapted into films; he also contributed lyrics
and vocals to Rancid's multi-platinum release ...And Out Come the Wolves (1995). A year later Carroll also contributed to the benefit release Home Alive: The Art of Self-Defense, and in 1997 Carroll was one of a number of high-profile writers, musicians, and actors who contributed to the Kerouac tribute album Kicks Joy Darkness, where, backed by Sonic Youth's Lee Ranaldo, Patti Smith guitarist Lenny Kaye, and Anton Sanko, he read "Woman." The year 1998 was monumental for Carroll.
He released a brand-new collection of poetry in his new book, Void of
Course, as well as returning to rock in his own cathartic way with the
release of his first album in nearly 15 years, Pools of Mercury. This combined his classic wounded poetry with song, noting his collaborations with Sanko and Kaye.
In 1999, a comprehensive tribute release entitled Put Your Tongue to the Rail: The Philly Compilation for Catholic Children showcased 25 local artists from Philadelphia empowered by the work of Carroll. Two years later, Carroll issued the Runaway EP, which featured live cuts of material from Pools of Mercury and an eclectic cover of Del Shannon's
pop hit as the EP's namesake. It turned out to be his last major
release, however. He died in September 2009 of a heart attack.
Friday, March 22, 2013
Thursday, February 28, 2013
COPOUT self titled 1993
Copout was from Memphis, Tennessee and later became the mighty His Hero Is Gone.
Tracklist ▼
| A1 |
|
Did You |
|
|
| A2 |
|
Colors |
|
|
| A3 |
|
Blind |
|
|
| A4 |
|
No |
|
|
| A5 |
|
Over There |
|
|
| B1 |
|
Burned Up |
|
|
| B2 |
|
Chained |
|
|
| B3 |
|
No One |
|
|
| B4 |
|
Epilogue |
Sunday, January 20, 2013
TONES ON TAIL Night Music 1987
biography
by Steve Huey
Bauhaus guitarist Daniel Ash created Tones on Tail as a side project in 1981 with bassist Glen Campling, who was also a roadie for Bauhaus. When Bauhaus broke up in 1983, Ash chose to concentrate on his new group, bringing in Bauhaus drummer Kevin Haskins as well. Their style ranged from light rock to funk to atmospheric synth music. Ash became dissatisfied with Campling, and a Bauhaus reunion was planned, but when Peter Murphy backed out, Ash, Haskins, and former bassist David J, who had been playing with the Jazz Butcher, decided to re-form as Love and Rockets.
Labels:
Bauhaus,
Daniel Ash,
David J,
Love and Rockets,
Tones on Tail
Thursday, January 10, 2013
SUICIDE self titled 1977
by request
biography
[+] by John Dougan
Although they barely receive credit, Suicide (singer Alan Vega and keyboardist Martin Rev)
is the source point for virtually every synth pop duo that glutted the
pop marketplace (especially in England) in the early '80s. Without the
trailblazing Rev and Vega, there would have been no Soft Cell, Erasure, Bronski Beat, Yaz,
you name 'em, and while many would tell you that that's nothing to crow
about, the aforementioned synth-poppers merely appropriated Suicide's keyboards/singer look and none of Rev and Vega's extremely confrontational performance style and love of dissonance. The few who did (Throbbing Gristle, Cabaret Voltaire) were considered too extreme for most tastes.
Suicide had been a part of the performing arts scene in New York City's Lower East Side in the early/mid-'70s New York Dolls era. Their approach to music was simple: Rev would create minimalistic, spooky, hypnotic washes of dissonant keyboards and synthesizers, while Vega sang, ranted, and spat neo-Beat lyrics in a jumpy, disjointed fashion. On stage, Vega
became confrontational, often baiting the crowd into a riotous frenzy
that occasionally led to full-blown violence, usually with the crowd
attacking Vega. With their reputation as controversial performers solidified, what was lost was that Suicide recorded some amazingly seductive and terrifying music. A relationship with Cars mastermind Ric Ocasek proved successful, bringing their music to a wider audience and developing unlikely fans (Bruce Springsteen went on record as loving Suicide's Vietnam-vet saga "Frankie Teardrop"), but after numerous breakups and reconciliations, Rev and Vega settled for being more influential than commercially successful.
Ironically, the '90s proved to be a decade of vindication for Suicide with the rise of industrial dance music, Chicago's Wax Trax! label, and the bands associated with it (Revolting Cocks, Ministry, 1000 Homo DJs, etc.). Although not a big part of the scene anymore, the profound influence of Suicide
on a generation of younger bands was readily apparent. When the duo
returned in 2002 with American Supreme, its first studio release in ten
years, much fanfare resulted, no doubt considerably furthered by Vega's
presence around this time as a heavily profiled exhibitionist of art in
New York, where he had presented a show at the Jeffrey Dietch Gallery
in New York earlier in the year.
read more Monday, January 7, 2013
Friday, January 4, 2013
Wednesday, January 2, 2013
Monday, December 31, 2012
END OVER END Scenes from a New World 1986
Tracklist ▼
| A1 | Save | |||
| A2 | Ever Colour | |||
| A3 | Proud Dancer | |||
| A4 | History Lives Here | |||
| A5 | The Cold War | |||
| B1 | As Far As The Eye Can See | |||
| B2 | Holiday | |||
| B3 | Dasvidanya | |||
| B4 | Settling On The Stairwell |
Thursday, November 1, 2012
1970's PUNK BREAKOUT Volume 1
I made this compilation about a year ago of a bunch of 1970's obscure punk bands. Enjoy.
1. THE BANNED Little Girl
2. NEON HEARTS Venus Eccentric
3. NEON HEARTS Regulations
4. TITS Daddy is My Pusher
5. THE DOLL Don't Tango on My Heart
6. COLDCOCK I Wanna Be Rich
7. METAL URBAIN Panik
8. LOCKJAW Radio Call Sign
9. ALGEBRA MOTHERS Strawberry Cheesecake
10. JOHNNY MOPED V.D. Boiler
11. NASAL BOYS Hot Love
12. NASAL BOYS Manifesto
13. NASAL BOYS Jam with Tout la Creme
14. NASAL BOYS This World
15. GOD'S HEART ATTACK Ain't No Hooker
16. ALGEBRA MOTHERS Modern Noise
17. LOCKJAW The Young Ones
18. THE DOLL Trash
19. TITS We're So Glad Elvis is Dead
20. COLDCOCK You're a Mess
21. WALL Uniforms
22. THE ACTION Do the Strangle
23. THE ACTION Downtown Boy
24. PSYCHO SURGEONS Horizontal Action
25. VICTIM I Need You
26. TOOLS Smoke Filled Rooms
27. THE ACTION TV's on the Blink
28. MACHINES True Life
29. VICTIM Why Are Fire Engines Red
30. PSYCHO SURGEONS Wild Weekend
1. THE BANNED Little Girl
2. NEON HEARTS Venus Eccentric
3. NEON HEARTS Regulations
4. TITS Daddy is My Pusher
5. THE DOLL Don't Tango on My Heart
6. COLDCOCK I Wanna Be Rich
7. METAL URBAIN Panik
8. LOCKJAW Radio Call Sign
9. ALGEBRA MOTHERS Strawberry Cheesecake
10. JOHNNY MOPED V.D. Boiler
11. NASAL BOYS Hot Love
12. NASAL BOYS Manifesto
13. NASAL BOYS Jam with Tout la Creme
14. NASAL BOYS This World
15. GOD'S HEART ATTACK Ain't No Hooker
16. ALGEBRA MOTHERS Modern Noise
17. LOCKJAW The Young Ones
18. THE DOLL Trash
19. TITS We're So Glad Elvis is Dead
20. COLDCOCK You're a Mess
21. WALL Uniforms
22. THE ACTION Do the Strangle
23. THE ACTION Downtown Boy
24. PSYCHO SURGEONS Horizontal Action
25. VICTIM I Need You
26. TOOLS Smoke Filled Rooms
27. THE ACTION TV's on the Blink
28. MACHINES True Life
29. VICTIM Why Are Fire Engines Red
30. PSYCHO SURGEONS Wild Weekend
Saturday, September 29, 2012
Sunday, September 9, 2012
LITTLE JOHN Clarks Booty 1985
biography
[+] by Rovi
b. John McMorris, c.1970, Kingston, Jamaica, West Indies.
McMorris first recorded with Captain Sinbad for the Youth In Progress
label at the tender age of nine, where his piping interjections
contrasted neatly with Sinbad’s gruff style, and throughout the 80s he
was seldom out of the reggae charts. Claimed by many to be the first
dancehall singer, his ability to fit lyrics over any rhythm or backing
track became something of a legend in a business that has scant regard
for second takes and ‘dropping in’. Little John did it every time - and
he rode on the crest of the 80s’ dancehall music explosion, becoming a
superstar by the age of 17. He began his career on Romantic Hi Fi,
moving up through Killimanjaro, Gemini and Volcano Hi Power, where he
honed and perfected his craft with a lengthy string of live appearances.
Simultaneously, he was recording for virtually every producer in
Jamaica, notably Henry ‘Junjo’ Lawes, Joseph ‘Joe Joe’ Hookim, George
Phang, Jah Thomas and Jammys, and he has released countless records on a
bewildering string of labels. He no longer records as extensively as he
once did, and limits his live appearances to a minimum. Hits for
Exterminator proved that he was not relying on his past glories, and his
talent, warm personality and skill as a raconteur remained.
read moreWednesday, April 25, 2012
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