36 years later, and CTMF have finally come into being. No ones sure where Dave Marsh now is, but button nose Steve is busy feeding pigs and ducks on his small holding in New Romney and Billy Chyldish, with other mates, has recorded an LPs worth of material – and half a dozen 45’s for different destinations around the globe – utilising lyrics first jotted down for the original CTMF line up in 1977. Billy describes CTMF group as “the epitome of modern”.and their sound as “the sound of yesterday, tomorrow” All of their records are released under the moniker CTMF. Some say this stands for Copyright TerMination Front, others claim it is simply short form for Clarity Through Fuzz .There have been numerous rumours that Jimmy Cauty plays bass and that it is none other than Bill Drummond that can be heard on Xylophone. Billy, however, muses that though he is indeed friends with Jimmy Cauty – and has in the past been in correspondence with Bill Drummond – he has never knowingly heard of the KLF as he “gave up on music after punk turned crap at the end of 77”. People in the know can vouch that all this is in fact truth.
Cowbell are Jack Sandham and Wednesday Lyle.The duo play garage/soul/rock n roll and write songs that combine a lyrical charm and ease with a sound that's full-bodied and powerful in spite of their stripped-down set-up. They take their influences from both sides of the Atlantic with a love for both the output of U.S labels such as Stax, Motown and Sun and for British sixties R and B bands such as The Small Faces, The Kinks and The Zombies. The pair had been friends for a long time when in the in summer of 2009 Wednesday decided to start playing the drums. Jack had been involved in bands before but was playing solo shows when Wednesday asked if he’d come along and play guitar. It felt good straight away and they started writing songs and played their first gig together just one month later.
The past is a foreign country and there’s certainly been many changes in the musical climate since 1988. Formats have come and gone (and returned!). Online, digital and streaming music were all pure science fiction then. But good music is as they say timeless. With this in mind we bring you some of the best music Damaged Goods Records has released since its humble beginnings in Ian Damaged's front room. With 500 releases to date it was difficult to whittle this collection down onto two pieces of vinyl and two shiny compact discs but we’re happy with the result. As a handy best-of or taster for further investigation we hope you’ll enjoy this selection. Place it on your turntable, crank up the volume and enjoy!
FORMAT INFORMATIONColoured LP Info: Limited Lp Pressing On Duck Egg Blue Vinyl To Match The Cover
Thee Headcoats splinter group in 1991. She spent four years as a Headcoatee before breaking away to release her debut record, The Good Things, in 1995. Where the Headcoatees sound was a blend of girl group sounds and three-chord garage-rock with all the original songs coming from the pen of Billy Childish, Holly's solo sound is more a blend of pre-rock electric blues, folk rock, and less frantic rock 'n' roll. Apart from the wide range of covers of such artists as Willie Dixon, Ike Turner, Lee Hazelwood, Wreckless Eric, and Bill Withers, Golightly also writes most of her own material.
Holly Golightly is definitely the most interesting and diverse artist to come out of the Billy Childish school and is certainly one of the better singer/songwriters of the post-grunge era who gets better with every album. Since her debut in 1995, Golightly has been very prolific, releasing a string of classic long play records and loads of singles for a wide variety of labels as well as touring extensively in America, Australia & Europe. This double vinyl LP, (or single CD newly packaged in a digipack) compiles Holly's first twelve 7” singles, A & B-sides. It includes the bluesy 'No Big Thing' with its bar-room piano and harmonica backing, the dirty guitar-driven 'Til I Get, the shuffling brushed drums and double bass of 'Come The Day, the haunting vocal and bottleneck guitar of 'Stain' and finishes with a brilliant up-tempo cover of Pavement's 'Box Elder'.
Hypnotised by the sound, she raises her body from its curled position and with little force, loosens the lid of her prison – she lifts her head into the newly discovered light just as the music builds. A cathartic trance overtakes her and she begins to dance, her long slender body swaying from side to side in perfect harmony with the aural pleasures that have entranced her. The music continues as she slides gently down the outside of the basket that has kept her incarcerated for countless hours. Her freedom tastes exquisite and the accompanying soundtrack feels perfect – so many sounds; textures; rhythms. And as the bright blue sky moves through a myriad of ever-darkening hues, she is relentless in her dance, unable to shake the hypnotic hold that the music has over her.
Then, as the music fades, she awakens from her trance, renewed, invigorated; she grows taller and lifts her face to touch the moon – a perfectly cylindrical white disc that hangs in the ink black sky – and with the music forever within her, she glides with sensual reptilian grace into the night.
“There's a plaque to Mick and Keith at Dartford station saying 'here they formed the Rolling Stones.' To his great credit Bill Wyman is pretty pissed, you can see him complaining on YouTube about it, saying it's nonsense and that Brian formed the group... he's like the conscience and the talisman of The Rolling Stones. Apparently quite a difficult character in a lot of ways. His idiosyncratic take on things meant his demise was like the end of the validity of rock music.” Billy Childish – July 2017
For one week in July this year Billy Childish & CTMF had the unique distinction of airing radio sessions on both Marc Riley and Gideon Coe's BBC 6Music shows. The songs broadcast during the week, of Billy Two Mates, (as it became known) is now available on a limited edition 10” vinyl LP.
Billy Childish formed The Buff Medways in 2000. Their full name was Wild Billy Childish & The Friends of the Buff Medway Fanciers Association. During the 19th century a breed a chicken was developed peculiar to the Medway area. The breed, now extinct, was a table bird for the London hotel market. The BUFF MEDWAY project, based at Fort Amherst, Chatham, attempted to recreate that ancient fowl through a selective breeding project.The BUFF MEDWAYS cut a dash with their Victorian army uniforms and vintage Vox amps. The gear may be old but as one critic wrote the band were “the snarled lip embodiment of rock’n‘roll spirit rather than nostalgia or shabby revivalism”. Live and on record The BUFF MEDWAYS were all about great songs and vibrant raw energy – no frills! The original line up was Billy on guitar and vocal, Johnny Barker (bass) and Wolf Howard (drums), both ex-Daggermen. Johnny later left the band and was replaced by Graham Day (The Prisoners). They released two LPs for Graham Coxon’s label Transcopic Records Steady The Buffs & 1914, one on Vinyl Japan called This Is This. Their last album Medway Wheelers came out on Damaged Goods in 2005. The Buffs called it a day in 2006, going out on a high with a sold out show at London’s Dirty Water Club on the 27th of October 2006.
Featuring alternate versions of two tracks from the band's recent Brand New Cage LP. Both versions are exclusive to this release.
FORMAT INFORMATIONLtd 7" Info: Brand new white vinyl 7” from Croydon punk legends! 600 copies only!
Anyway we found another 6 or so tracks, mastered it with Dave Goodman and put it out, at the time Gio had also unearthed one of the three tracks that he cowrote and recorded with The Damned, ‘There ‘Aint No Sanity Clause’ is included on the LP & CD. This is a review of the original album from the Trouser Press website.... ‘The hazard of anyone-can-do-it musical movements is what might get dragged in. Fortunately, the jokey Snivelling Shits - two London rock critics (singer Giovanni Dadomo and guitarist Dave Fudger) and such musician friends as Steve Nicol of the Hot Rods and bassist Steve Lillywhite - were sharply skilled at smuttily satirising the sounds of '77. As anthologised in this archival colored-vinyl document, the band's brief recording career (eight whole tracks, including the viciously irreverent "isgodaman?," originally released on a Beggars Banquet compilation LP under the name Arthur Comics?) included incisive swipes at the Sex Pistols, John Cooper Clarke ("I Wanna Be Your Biro”) and the Velvet Underground. That's history for you.
This May sees the release of their third album Bombs Away. Fourteen catchy little ditties about life, death, paranoia and Viagra.
Produced by the band themselves at Soup studios in Limehouse, London, their early raw bare-bones sound has now been fully expanded with Jack’s sandpaper grit guitars and Wednesday’s freight train rhythms chased down with some glitchy synths and vintage organs (Doom train/Neon blue) as well as a drop of Delta gospel Blues on Nothing But Trouble (also incidentally the first Cowbell song ever to actually feature a Cowbell). Otis and Pickett-era horns breathe seductively into the swampy-stomp of What Am I Supposed To Do, while New Kind Of Love tiptoes onstage with its alluring smokey jazz piano as Wednesday brings a beautifully casual Peggy Lee type Fever to the microphone.But it’s with the curtain-closers on both sides of wax that
…The band – four like-minded old friends sharing a love for the thematic majesty created by the likes of John Barry and Barry Gray – reconsidered and it was quickly decided upon to pen wholly original material, to follow in the colossal footprints of those sultans of the soundtrack. Colossal footprints undoubtedly, but the impassioned quartet of Johnny, Graham, Darryl and Wolf collectively lifted the hallowed mantle and strived to build their own set of purely instrumental tunes. What emerged was a collection of songs with an orchestral sensibility juxtaposed with an urgent garage rock crash bang wallop! It was completely unique but had a comforting familiarity that would take the listener back to the greatest scenes from some of their favourite movies. The fruit of these endeavours is now in your hand, packaged under the title of The Girl in the Glass Case – a title inspired by an original Wolf Howard poem. From the first unexpected crash of Snake Charmer that attacks you like the crack of a rattlesnake’s tail, to the final hushed piano coda of Bees, via the European flavoured intrigue of Into the Tunnel and exhilarating Mexican romance of Five Beans in the Wheel, you are completely immersed in the world of The Senior Service. So please indulge and enjoy. The Girl in the Glass Case awaits you.
Roberto Rocket February 2016
FORMAT INFORMATIONLtd 7" Info: On transparent red or transparent yellow vinyl! (each limited to 400 copies!)
(Few artists have demanded and exerted so much control over their output as Childish. As with his previous LPs, all designs are undertaken by the group, from song writing, recording/producing, track listing, and LP design.)
STAFF COMMENTSLaura says: Wild Billy Childish, under various guises, has been ploughing his own very individual furrow through rock'n'roll for forty years. "SQ1" is prime Childish: a raw, stripped back hybrid of classic garage rock and punk. It is, if you like, a musical autobiography of sorts, in that songs like "A Glimpse Of Another Time", "CTMF" and "SQ1" sum up the whole history and ethos of Billy's music. He happily proclaims that they've stayed at 'square one', and why not? Sometimes a handful of chords and pummelling drums is all you need! It's earned him plenty of 'celebrity fans' along the way as documented in his own inimitable way on "A Song For Kylie Minogue", and who can argue with the line "The reason we didn't sound like The Smiths, is because we wanted to sound like this". If anything sums up Wild Billy Childish, it's that statement!
Album opener ‘Gold Rules’ is a finely-honed, heavenly tune even as the song celebrates unreachable riches and glibly states the fact, “you can’t take it with you anyway.” First single, Keep It Together, deftly channels 60s beat pop and Stereolab all at the same time - a lover's lament laced with urgency and optimism, piped-in directly from her space-age, bachelorette pad.Other stand-out tracks include ‘Tilt A Whirl’, a piece of fairground philosophy that dates back to Piney’s childhood years when she would accompany her grandmother on something akin to the Waltzer. As the song spins, with Farfisas swirling around life's ups and downs "like a shooting star or a hope combustible..." become metaphors among the lights and sounds. ‘Mouse Of A Ghost’ fuzzes up like Pineys-in-Toyland channelling her inner riot grrl, with boxy guitar blasts that remind us all that you can rock just as hard, if not harder, in a gingham dress.
Piney has pulled together a stellar band for this release, with members of Gaz Coombes and Emiliana Torrini's touring band jumping in on guitar, bass and drums alongside The Smith Brothers & regular collaborator Garo Nahoulakian taking a seat in the producer’s chair. Andy Ramsay of Stereolab makes an appearance on drums, and the bulk of the album was recorded in his South London studio. The rest was whipped-up in Piney’s little Hackney Studio, small and perfectly formed like a musical toy box, chock-full of space echo, marimba, omnichord and pocket piano, which combine to create a euphoric indie-starshine. Think Yoshimi-era Flaming Lips alongside sparkling tableaux of Mercury Rev., the tunefulness of Grandaddy and riff-led counter-melodies like Pixies.After a decade spent in the UK it feels like Piney's finally made England hers by rediscovering America, re-imagined from London's rainy streets, channelling her inner Jekyll and Mister Hyde. These tunes beautifully stitch together English folk, American pop, mariachi moments, trail songs and baroque beats. Sometimes it's like an alternative musical history of a storybook amusement park ride. And need we mention, it's a wild ride you're going to love
Accordionist/illustrator Alex Barrow was recruited in 2009 and the band recorded a CD on Imelda May’s imprint. Unhappy with the results the band set about recording a DIY EP in Bobby’s living room in Elephant and Castle. With double bass player Simon Mitchell replacing Colin Young they started busking heavily and diversifying their sound to include elements of cumbia, garage and R&B. They self-released the EP ‘WOO EEE HA HA!’ on vinyl only and it quickly gained the attention of Steve Lamacq at BBC Radio 6 music who invited them to record a live session at the legendary BBC Maida Vale Studios.
Sticking with the vinyl only format, the band released a 7” single (‘Take You Out’) and another EP (‘The Shake Up’). Along with Steve Lamacq, Mark Radcliffe started championing the band on Radio 2, Gideon Coe got behind them, John Kennedy at XFM and even Andrew Weatherall. In May 2012 The Severed Limb played to a full house at the Royal Albert Hall opening for Imelda May. Later that year dance music pioneers Hot Chip named them in their “dream festival lineup” alongside Kraftwerk and Aphex Twin.
Compiling together the best tracks from the EPs along with eight new tracks The Severed Limb released their debut proper in early 2013. Kill You and Bill You the Price of the Bullet cemented their identity as a roots and punk outfit with a Clash-like diversity and curiosity for global sounds.
The Severed Limb recorded their second album at Marco Nelson’s all analogue Studio 65 in Brixton Hill throughout 2014. Known for his work with Primal Scream, Paul Weller and Young Disciples, Marco brought tight arrangements and unique production to the album. The band further developed their influences to include New Orleans R&B, soul and dub. This new 7” single will be followed by If You Ain't Livin' You're A Dead Man, their eagerly awaited new album.
The cover is a painting by long term friend of the band, Billy Childish,, taken from his latest show at Chatham Dockyard.
Once upon a time, Jimi Ben found himself lost in the jungle. He had been wandering in South East Asia for years and could find no way out. One night he was cruising for dirt and love, he got struck by sexedelic visions emerging from the red lights of go-go bars. An inner baboon voice told him: “Jimi ! Bad is good for you. Why don’t you set up a Rock’N’Roll band ?”. That’s exactly what he did. Back in his hometown (Stockton, Northern France), he was taught by long time friend Ricky Love how to play power chords on a guitar and recorded a first LP demo on a 4 tracks tape recorder in his kitchen.In December 2009, Johnny Boom (drums) joined Ricky Love (bass, vocals) and Jimi Ben (vocals, guitars) for their first show and further DIY tape recordings (Monkeys In Da House EP – 2011). Mainly influenced by American Garage bands, 60’s British Beat groups, Surf Music, Punk Rock and New Wave, these slackers like it rather cheesy, danceable and fun. The Jimi Ben Band started as a lo-fi garage trio. Since then, they have performed about 40 shows in France and Belgium and developed a degenerate style based on energy, coconut vocals and great amounts of reverb. They have made it quite clear that they wanted nothing but having girls dancing at gigs.
‘Black And White Memories’ was recorded in East London at Gizzard studios with Ed Deegan at the controls over the summer, it features 14 new tracks. This album shows how the band have progressed and matured over the last year, alongside storming garage & 77 Punk tracks like the lead single ‘TV Screen’ and ‘Flicking V’s’ there are even a couple of ballads! The band recently played the MOJO awards gigs at London’s 100 Club alongside the Jim Jones Revue and they are heading back over to Europe for another string of dates in late October. Thee Spivs are Ben Edge (Git/Vox) Dan May (bass) and Steve Coley (drums) Rock ‘N’ Roll hasn’t been this much fun for years, give it a try, you might like it!
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171 NEW ITEMS
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