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MUNSTER

The Gun Club

Fire Of Love - 2022 Reissue

    Reissue of the legendary and unbeatable first Gun Club LP, originally released on Ruby Records in 1981.

    Jeffrey Lee Pierce - reggae enthusiast, heroin addict, and former president of the Blondie fan club - suffered a lonely, depressing death on March 31st, 1996 of a brain hemorrhage, after untold years of drug use and alcoholism. Why this event mattered much to anyone lay in a fantastic record by his band. The Gun Club recorded 16 years earlier, the masterful "Fire Of Love". A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene.

    Inspired by bands like X, Television, the Cramps, he met Kid Congo Powers (who will later play with Nick Cave and Cramps) and they formed the Creeping Ritual in 1979, soon to be renamed The Gun Club. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture. By 1980, Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people's songs to create new ones. Snatches of Blind Willie Johnson, Blind Lemon Jefferson and Robert Johnson can be heard throughout this debut LP –released in 1981 on Slash’s Ruby Records.

    What makes "Fire Of Love" such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive - in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history (such as Germs’ “GI”). Pure fullness of sound and the raw hot throb of records that were made to stand the test of time.

    From the immensely dark and aggressive sexuality of "Sex Beat", Gun Club's most recognizable number, to the fetishistic salute to fellow traveler Poison Ivy of The Cramps in “For The Love Of Ivy”, including the hellfire classic “She’s Like Heroin To Me”, a 2:33 masterpiece in which everything comes together; “Fire Of Love” is pure perfection. They would never reach this level again. No one would, either. "Fire of Love " stands among the greatest classics of Rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of
    the most influential records of the 80’s, with countless musicians declaring their love for the Club. Can’t be recomended enough, this album is a real classic that has been criminally underrated. The beginning of a legend. Let's give the devil his due for this one, and ask him to take real good care of Jeffrey.


    Ana Y Jaime

    Diré A Mi Gente - 2022 Reissue

      "Diré a mi gente" is a 1969 Colombian pop classic with one foot in protest song and the other in acid rock, harsh sounding but also current and sincere. The rawness of the lyrics, the simple and dynamic electrified instrumentation and the contrast with the sweetness and innocence of the adolescent vocals make it reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Los Yetis duet of Norman y Darío.

      Suicidal Tendencies

      Suicidal Tendencies - 2022 Reissue

        Suicidal Tendencies' debut has been regarded by critics as one of the most influential punk rock albums of all time and has inspired an untold number of influential musicians.

        In 1982 Suicidal Tendencies emerged from Venice, CA, with a dedicated audience among area skaters and surfers. As they established themselves on the Los Angeles punk scene, the group released their self-titled debut on Frontier Records with songs like 'Institutionalized,' 'Fascist Pig,' and 'Suicide's an Alternative.' "Suicidal Tendencies" became the bestselling American punk album of all time and launched the band into their long-lasting career.

        'Institutionalized' has been referenced in many other songs, mostly its quote "all I wanted was a Pepsi". It is referenced in the Sage Francis song 'Slow Down Gandhi,' Limp Bizkit also referenced it in the song 'Stuck', also the lines "All I wanted was a Pepsi " are also quoted near the ending of the Cypress Hill song 'How I Could Just Kill a Man,' and Body Count recorded a cover version of 'Institutionalized', with new lyrics written by singer Ice-T, called 'Institutionalized 2014.'

        Suicidal Tendencies became the chameleons of aggressive rock 'n' roll. Starting with their debut album on Frontier Records in 1983, the band progressed from the punk rock genre into heavy metal/thrash. Throughout this transformation, singer, founder, and leader Mike Muir broadcast his own message with wit and wisdom to anyone that would listen.

        After the video for 'Institutionalized' broke through the MTV airwaves as the first hardcore video for the channel, the song gained further notoriety on the soundtrack for the cult film "Repo Man" i n 1984.

        The original album continues to be a perennial punk rock best seller due to its wide appeal and catchy tunes. Every song on it is great. It's a perfect crossover between hardcore punk and metal.

        TRACK LISTING

        SIDE A
        1. Suicide's An Alternative / You'll Be Sorry
        2. Two Sided Politics
        3. I Shot The Devil
        4. Subliminal
        5. Won't Fall In Love Today
        6. Institutionalized
        SIDE B
        1. Memories Of Tomorrow
        2. Possessed
        3. I Saw Your Mommy...
        4. Fascist Pig
        5. I Want More
        6. Suicidal Failure

        Various Artists

        Radio Cramps - 2022 Reissue

          This release features the much talked about radio show of summer of 1984 that featured Lux Interior playing his favorites and obscure-sets 7" records while howling, buzzing and raving about them.

          It includes such classic and influential stuff like The Frantics, Sparkles, Link Wray, Billy Strange, Mad Mike And The Maniacs, Vic Mizzy, One Way Streets, Swamp Rats... Deadly Ones, The Troggs and many more (up to a total of 28 tracks!)...

          Absolutely entertaining and instructional especially by Lux' comments/noises between tracks.

          The Avengers

          Be A Caveman

            Just under two minutes of music cooked with farfisa and 12-string guitars were enough for The Avengers to become a garage legend worldwide. Their 1965 anthem counts numerous appearances on -sometimes shady- compilations since the 1980s and we are now happy to present it on a 45, backed with its original B-side for the first time.

            STAFF COMMENTS

            Martin says: Timely garage reissue here from California's The Avengers. A holy grail record which, until now, would have set you back upwards of £500. Nice!

            Mick Farren

            Vampires Stole My Lunch Money

              Orig released in 1978 and unavailable on vinyl since then, "Vampires Stole My Lunch Money", is regarded as one of the best albums by Mick Farren (the Deviants). Featuring guest appearances from Wilko Johnson, Chrissie Hynde, Sonja Kristina and more.

              As powerful as rock gets this punk influenced album also includes r&b jams and features an impressive roster of musicians.

              Alternative TV

              How Much Longer

                First time reissue of the 1977 debut single of London's punk pioneers Alternative TV, originally released on Deptford Fun City Records. The band was founded by Mark Perry (editor of the zine Sniffin' Glue) and Alex Fergusson (member of Psychic TV years later). Early rehearsals took place at Throbbing Gristle's studio with Genesis P-Orridge on drums. The line-up of the band during the recording of this single was completed with drummer John Towe (ex-Generation X) and Tyrone Thomas on bass, sporting a straight-forwardy punk sound that eventually would evolve into a more experimental direction in the following years. 'How Much Longer' is a sharp critique of punk style: "How much longer will people wear / Nazi armbands and dye their hair? / Talk about anarchy, fascism and boredom / When you don't know nothing", that anticipated their own boredom towards the punk scene. An absolute must-have!

                TRACK LISTING

                Side A

                How Much Longer

                Side B

                You Bastard

                The Flippers

                Discotheque

                  First facsimile reissue of the ultra rare 1966 debut LP by Colombia's The Flipper's. Don't be fooled by its title, this is a full-on garage masterpiece bursting with twangy, fuzzed-out and wailing guitars. Includes amazing covers (Yardbirds, Zombies, Larry Williams...) and equally brilliant original compositions. 

                  The Belairs

                  Mr Moto

                    The story of The Belairs started in 1959 in Southern California, more precisely in South Bay, Los Angeles. The first line-up consisted of Eddie Bertrand (guitar), Paul Johnson (guitar), Chas Stuart (saxophone), Richard Delvy (drums) and Jim Roberts (piano). They were descendant of the Bohemian tradition of the Beatnik culture, which was, musically speaking, more attuned with the cool jazz than the nascent rock & roll.

                    At the time, surf music (or surf culture in general) was on its first steps: surf boards, flirting with the girls, dancing in the ballrooms, the love of cars, cruising the boulevards... Instrumental music fusing early rock & roll with Middle Eastern, Mexican and Hawaiian rootsy touches was the order of the day. Playing melodic fast scales and dealing closely with the use of reverb, it was a truly innovative sound. Artists such as Dick Dale, The Ventures and Duane Eddy hit the venues and airwaves.

                    In this context, in the first months of 1960, the two school kids Eddie Bertrand and Paul Johnson were giving birth to their trademark dual guitar sound and propelling each other’s instruments in rhythm and dialogue. Creating a unique sound to make their strings “reverberate”, the duo composed their first songs.

                    The band signed with a label called Arvee, which put out the superb single ‘Mr Moto’ in 1961, an instrumental surf rock song with a flamenco-inspired intro backed by ‘Little Brown Jug’, a jazzy-rock & roller-swing marked by reverbing guitars on the flip side. Their sound didn’t have – at least during their first phase – a bass player. For one reason or another, the bass-less structure worked very well in their favour, giving a special character to all the guitar nuances. They also considered using vocals, but it never happened properly.

                    Their short and successful career (not exactly in terms of ground-breaking sales but in opening all doors for other surf sound groups and packing up venues up to their roof) was destined to produce only one more official single, however with a different line up. Their second 45, ‘Volcanic Action’ / ‘Runaway’ (included here), was not even officially released – apart from a number of promotional copies. Then, the band had some line-up changes, including – for the first time – a bass player named Steve Lotto, and new members like the drummer Dickie Dodd and the guitarist Art Fisher.

                    The LP includes four tracks from a recording session at Gold Star studios in Hollywood which took place while The Belairs were without a record label. Songs like the propulsive ‘Chiflado’ (featuring the services of bass player Steve Lotto and lovely sax flourishes by Chaz Stuart), the very danceable rock & roll ‘Duck Waddle’, the swinging jazzy ‘The Shimmy’ and the hypnotic ‘Squad Car’ (with fantastic “siren” counterpoints made by Chaz blowing his saxophone mouthpiece) prove the quality of the band’s repertoire.

                    Then, late in ‘63, the instrumental fever gave its way to the explosion of the vocal surf music and the glories and success of the Beach Boys, Jan & Dean, The Trashmen, The Rivieras, The Challengers (who featured Paul Johnson plus Richard Delvy and Art Fisher, two other Belairs) and even more popsters such as Annette Funicello, Frankie Avalon and Fabian mixing the surf aura in a more pop and commercial approach.

                    Curiously, Johnson was invited to be part of The Beach Boys, but he declined the offer. He stayed firm with his convictions and unique sound surf waves. In a short reflection he concludes: “It is very gratifying to be remembered for my tunes and performances, etc. I am also very happy to see that the genre carries on with so many excellent new bands, and that the music is continuing to evolve”.

                    TRACK LISTING

                    1 Mr Moto
                    2 Little Brown Jug
                    3 Kamikaze
                    4 Vampire
                    5 Squirt
                    6 Chiflado
                    7 Duck Waddle
                    8 Squad Car
                    9 The Shimmy
                    10 Rampage
                    11 Rockin’ Pants
                    12 Runaway
                    13 Volcanic Action
                    14 Davy Crockett Meets Mickey Mouse

                    The Wire "office ambience" - Dec 2018

                    New volume of Mattin's "Songbook" series, one of the most interesting works in the current experimental, improv and noise field. Layers of avant-garde tradition culminate into a set of songs that go beyond themselves. In times of increasing desperation here emerges a strange record: a disintegrated manifesto exploring the truth of disagreement.

                    "Songbook #7" digs into some of the most important issues today: dissolution and disappointment of the social fabric, the rise of fascism, lack of coherence in a collective vision for the future and the shortcomings of democracy in a capitalist system. These times feel like being stuck in a gif, and here the response is to look for different understandings of time and history. If you want some musical references you can imagine one of those collaborations between Red Crayola and Art and Language if it was produced by Roberta Settels.

                    TRACK LISTING

                    January
                    February
                    March
                    April
                    May
                    June
                    July

                    Volume 1 of Munster's in-depth survey of synth music created in Spain during the 1980s. From chart-friendly techno pop to obscure experimental acts, these 20 tracks reflect a fast-moving decade and music scene. TodoTodo, Oviformia SCI, Ultima Emocion, WAQ, Justine, Septimo Sello, Laneas Aereas, MD, Lavabos Iturriaga, Vocoder, Metal y Ca, La Mode, Aviador Dro, Kalashnikov, Tomates Electricos, Metropakt, El Humano Mecano, Disero Corbusier, Los Iniciados, Bola/Banda Electronica. 

                    Teenage Filmstars

                    (There's A) Cloud Over Liverpool

                      THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                      RSD 2014 exclusive.

                      First vinyl reissue of the recordings of Teenage Filmstars, one of the early bands of maverick pop artisan Ed Ball, also a member of 'O' Level, Television Personalities and The Times.

                      Munster Records presents, in a co-release with Discos Alehop!, the three official singles of the British band Teenage Film Stars reissued on vinyl for the first time: '(There's A) Cloud Over Liverpool' (Clockwork Records), 'The Odd Man Out' (Wessex Records/Blueprint Records) and 'I Helped Patrick McGoohan Escape' (Fab Listening Records). After self-releasing two records with his band 'O' Level, in 1979 Ed Ball continued the path of 60s-influenced new wave pop already present in that band's 'The Malcolm EP' (1978), now under the name Teenage Filmstars. In this new adventure he was accompanied by his school friends Dan Treacy and Joe Foster (both members of Television Personalities). With their help Ball released a first single inSeptember 1979 featuring two songs: the A side is taken by '(There's A) Cloud Over Liverpool' (a tremendous chorus-song ) and the B side contained 'Sometimes Good Guys Don't Follow Trends' (a comment on youth culture). The song '(There's A) Cloud Over Liverpool' received support by John Peel and reached certain fame in the UK and the United States, where it was interpreted as an homage to John Lennon.

                      This compilation also includes two tracks never released on vinyl until now which were recorded in April 1979, in the style of 'O' Level: 'He's A Professional' (antimilitary punk-pop) and the folk-punk anthem 'The John Peel March', dedicated to the legendary BBC radio host and great supporter of new bands. This retrospective is completed with a recording session dated in November 1980 which produced three tracks ('Storybook Beginnings', 'Dressing Up For The Cameras' and 'The Sun Never Sets') which further explore the power pop-mod sound that Ed Ball would develop in his next band The Times.

                      Jonathan Richman

                      No Me Quejo De Mi Estrella

                        "He gave us the wine to taste it, not to talk about it." Jonathan asks us to let the songs "swim in their own water", like that desire of Coltrane to release a record with no liner notes whatsoever and let the music speak for itself. It's better that words do not imprison us, so "cantante, a cantar!" (Sing, singer!) But perhaps the listener may appreciate a little explanation about this collection. Jonathan intended it as a gift for his audiences in Spain (and outside the US in general): to give them a selection of songs that are well known through live shows but not so easy to find on CD or LP up until now, given the fact that records such as "Her Mystery Not Of High Heels And Eye Shadow" or "Not So Much To Be Loved As To Love" are out of print today. On the other hand, all of the songs in this collection -chronologically ordered from the present backwards to the past- were written in the 21st century, so this record fulfills a second function as a thermometer of Jonathan's music in the new millennium, in the fourth decade of his unique music career. This goes to show that we got a whole lotta JoJo going on, that we have here a rare case of a musician who gets richer, more colorful and stronger with time, yet never forgetting his original flavor. Just like a good wine. Munster Records is proud to present "No me quejo de mi estrella" as a sample of Jonathan's most recent body of songs. You could pick sixteen different titles and still come up with an equally solid album, because the "duende" of this music does not come from a particular hit single but from the soul, from the connection with that Great Spirit where music and beauty are born. It is not then a question of "greatest hits" but of love. Still, the sixteen songs we present to you here have good credentials, as their author personally chose them for this collection.

                        Five years after its completion, Munster is very proud to present the third and final full length by Danny & The Nightmares, described by Daniel Johnston as his "best album ever!"

                        It had been close to a year since they had gotten together to play music. The Nightmares set up in Danny's garage and pressed record. Danny had a couple of ideas for songs. After those were played through, a few more songs came forth. When the music was over and they listened to play-back, they realized they had recorded a core of songs to constitute a new album. Never knowing which end of the compass they might bend in any particular night of playing, Danny and the Nightmares recorded everything. Over the years they recorded on micro-cassettes, reel to reel, boom boxes, and a four track recorder. This time they had recorded on a digital machine. Over those years they had kept it close. They played and recorded at the Haunted House, or in Danny's garage. With snickers and grins, they knew they had a strong enough set of songs to elaborate on what they had recorded. They toted the machine to a string quartet. As they stood outside, they smiled while listening to the strings layering the songs.

                        Danny and the Nightmares then returned to a couple of unfinished songs that weren't sitting still in the balance when they had submitted what was to become "Freak Brain". With the capacities of the new machine, they also decided to rework a couple of songs that had already been released, and struck in the excitement, recorded a couple more new numbers. In more spells of revelry came another album, the "Death of Satan".

                        It has been five years since the album was completed. Daniel has mentioned it in interviews while promoting his solo career, stoking the curiosity of some his fans. The distracters claim that Danny and the Nightmares are not good for Daniel's image. Conversely, some fans have claimed that what he does with Danny and the Nightmares is like an 'alter ego' to his other work. It is tough to argue with his lyrics, "My friends really are the best in me." That is pretty much what it is, three friends that Rock 'N' Rolled when they could. If the album is good enough for them, well, they are obliged to share it. Danny and the Nightmares is "dead". The Death of Satan is their third and final full length album

                        Fleshtones

                        Blast Off

                          220 gram vinyl!! Garage punk authority from the late 70’s. This is the legendary group’s first album. Originally unearthed and released as a cassette only by ROIR label in 1982. Now licensed by the superb Munster label to highlight the very early years of this kick-ass NY band!


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