Nuclear Spring - S/T

Nuclear Spring – Nuclear Spring Label: Hysteria (5) – #02 Format: Vinyl, 12", 45 RPM, EP Country: US Released: 2013 Genre: Rock Style: Punk Tracklist A1 Chatter A2 Crisis A3 Long Shot B1 Death Sentence B2 You Tie The Rope B3 Mos Maiorum Credits Bass – Rob "Goblin" Cook Drums – Chris Bowman (3) Guitar, Vocals – Colman Durkee, Lauren Gerig Notes Includes insert. Barcode and Other Identifiers Matrix / Runout (Side A): HYS-002 A REm -RCE Matrix / Runout (Side B): HYS-002 B+x+=- Nuclear Spring - S/T

Sound Solution - Hide You Face In Shame / Ken's Blues

Sound Solution - Hide You Face In Shame ==== Sound Solution - Ken's Blues

Peroxide (Lyn Todd Band) - Heart Disease - Christine

Don't know anything about singer Lyn Todd, but backstage mentor and Hi-NRG luminary Bobby O went on to notoriety with Divine and then fame with the Pet Shop Boys. He's basically the star of the show here, even furnishing a sharp Midnight Express-style instrumental, "Metropolis Suite." Otherwise, Lyn Todd belts out a batch of dazzling rock/disco ditties that never outstay their welcome. The remakes actually emerge weaker than the killer originals on this great but very rare record.

Lyn Todd's only known album sports the auspice of future disco magnate Bobby Orlando, who played most of the instruments and wrote most of the material. The resultant Lyn Todd record showcases excellent '70s rock bolstered by nascent Hi-NRG. The talented Orlando immediately went on to launch his independent label O Records, which featured Divine and the Flirts, among others. Two members of Lyn Todd's band, sax-blowing keyboardist Mamie Frances and guitarist Geoff Lipp, also played with New York punkers Arthur's Dilemma, Peroxide, and Now.

The above was lifted from the web and is about the full length album that Lyn Todd put out in 1980. It was all the info i could find about Lyn Todd and i could not find anything about this 45 release. This must be from before the full length album because i don't hear any "disco" influence on this punky power pop/rock 45...?

Any help on this release would be appreciated!?!??

Peroxide (Lyn Todd Band) - Heart Disease

Peroxide (Lyn Todd Band) - Christine

Unknown Soul Acetate - I Can't Say No To You

A while back i picked up a bunch of acetates. i don't know who this is or what year it is from. The only thing i could find out about it is that Studio 76 @ 1650 Broadway in NYC where this was recorded is where Hendrix recorded with Curtis Knight in the 60's & early 70's, so i will assume this is from around that same time period... I found this little passage on earlyhendrix.com

Studio "76"
Ed Chalpin's studio where Curtis Knight & the Squires recorded between 1965-1967. Studio "76" was located at 1650 Broadway, in 1970 the name of the studio was changed to "Dimensional Sound. Inc." and it was moved to a new address at 245 West 55th Street. Another Studio "76" (opened in 1965, operated at least until 1972 4) was located in Los Angeles, this could have been a sister company to Chalpin's Studio "76"?

Other than that i have no idea....

As for the song.... Starts off w/ a cool bass line and the bass gets a good workout throughout the song but i'd much rather hear some funky guitar instead of harmonica through the whole thing. I like the male voice popping in and out on top of the female voice but seems a bit hap-hazzard. it has charm but doesn't bowl you over. I wish i knew who was singing....???

Unknown Soul Acetate - I Can't Say No To You

The Classics - Enie Minie Mo

Formed as the Perennials in 1958 in Brooklyn, New York, USA. The Classics were a one-hit vocal group who made the Top 20 in 1963 with a doo-wop version of the Mills Brothers’ hit ‘Till Then’. The group, all from Brooklyn, comprised Emil Stucchio (9 April 1944; lead vocals), Tony Victor (b. 11 April 1943; first tenor), Johnny Gambale (b. 4 February 1942; second tenor) and Jamie Troy (b. 22 November 1942; bass singer). The quartet all lived in the same street, attended the same high school and by 1958 had developed an act to perform at local events. They changed their name to the Classics at the suggestion of a local club performer. They were introduced to the owner of the small Dart label and recorded three singles for that company, none of which saw significant sales. Switching to the Musicnote label in 1963 they covered the 1944 Mills Brothers ballad and it became a local favourite, eventually peaking at number 20 in the USA. Further singles for Musicnote and other small companies failed and the group disbanded in the mid-60s, without releasing any albums.

This is the flip to the '63 hit and a much cooler tune imho...

The Classics - Enie Minie Mo

Missing Foundation - Liberty Under Siege - Pistol Archive

You can't rage against the machine when your part of the fucking machine!

Long before major label phonies were spewing mock teen angst against the government missing foundation were in the streets taking action:

Back in the 80's these guys would constantly make the New York news for their brand of political noise choas and i was fucking intrigued.

New York City's Missing Foundation harked back to the sound and style of early industrial provocateurs like Throbbing Gristle and Einsturzende Neubauten, not just in their tribal percussion onslaught but also in their theatrical social-protest stunts. Led by Pete Missing, MF was a collective with several core members, several more auxiliary members, and a host of associates that swelled their ranks to as many as 20. Fueled by anarchist politics, the band favored agitprop slogans chanted over a cacophonous racket of metal, machinery, oil drums, garbage, and other found-object percussion, with guitar and other traditional instruments audible only occasionally. Their anti-establishment screeds took aim at a variety of targets, but what truly mattered were the group's incendiary live events -- destructive spectacles that provoked civil disturbances, histrionic media outrage, and citywide bans by nervous club owners. Even the band's logo -- an upside-down martini glass in the cryptographic Neubauten style that came to signify "The Party's Over" -- was the center of a widespread graffiti campaign on New York's Lower East Side, a discomforting weapon used to devalue properties and slow the area's gentrification (in keeping with the band's special concern for the poor and homeless). MF lead vocalist Pete Missing was born in the Bronx in the late ‘50s, and got his feet wet on the New York music scene with the punk band Drunk Driving, which was formed in 1980 and actually spawned the future MF martini-glass logo. Missing later moved to Hamburg, Germany, where he formed an early, short-lived incarnation of Missing Foundation in 1984 with Florian Langmaack. Helped by several extra percussionists and members of KMFDM, this group did perform live but soon broke up. Missing returned to New York and started a new version of Missing Foundation in 1985, which also featured drummers Chris Egan and Mark Ashwill, as well as VKP and Adam Nodleman; Langmaack would later come to New York and rejoin as well, adding saxophone and sampling to the percussion-heavy mix. The group's early live performances, including a notorious appearance at CBGB's, soon marked them as a chaotic and confrontational outfit whose fans couldn't be trusted to leave a venue intact. Missing took to singing through megaphones, in part because clubs would often pull the plug on the regular sound system. With a core membership of Missing, Langmaack, Egan, and Ashwill, MF grew to encompass a variety of musicians, visual artists, and activists who contributed to the band's performances; some of them included Dave Kelly, Bones 23, and Mark Laramee, among many others. Missing Foundation's self-titled first album appeared in 1987 on the Purge/Sound League label, initially on cassette only. Their second release, 1988's 1933 -- whose title and concept linked the modern U.S. with Germany just before the rise of the Nazis -- was nearly as musically primitive, but made a much bigger splash thanks to a concert in New York's Tompkins Square Park that sparked a full-scale riot. Various members had been arrested for political demonstrations, mostly on the subject of housing rights, but this incident was directly related to the group's performance antics. In the wake of the riot, the FBI started tailing Missing, hoping to find evidence of violent criminal activity, and police raided his ex-wife's residence in search of weapons. New York's local CBS affiliate did a sensationalist three-part story ("Cult of Rage") on the band, flinging wildly inaccurate charges of Satanism and building them up into a malevolent menace on the level of the Manson Family. In the midst of the hubbub, MF formed their own label, Humanity, and completed their third album, Demise, in 1989. They supported it with a European tour (American gigs were getting hard to find), and subsequently signed a contract with Restless Records, which reissued their first three albums in 1990. Also that year, the band released their proper Restless debut Ignore the White Culture, a somewhat more accessible effort that many aficionados consider the band's best. They next undertook a Gulf War-themed tour of Europe in 1991, burning gasoline and American flags at every show to protest American policy. A final Missing Foundation album, Go Into Exile, appeared in 1992; its title proved prophetic, as the group subsequently disbanded. Missing moved to Berlin in 1993 and stayed there until 2000; living in an artists' collective, he worked primarily on visual installations, but also collaboration on the occasional musical project. Langmaack also returned to Germany, while Egan -- who'd done most of the band's photography -- became a photojournalist. Mark Ashwill died of cancer in 2000. ~ Steve Huey, All Music Guide

I put these 2 songs off the album up because even as noisy and ruckus as they are they are the easiest to distinguish and actual songs, since most of this album is pure noise and the track all run together making rather difficult to distinguish. I'm sure this was on purpose and doing it this why would probably piss them off but fuck it. I'm an anarchist in my own way....

Liberty Under Siege is pure political doom while Pistol Archive could actually be a fucking pop song if it wasn't so damn noisy and godlike....

Missing Foundation - Liberty Under Siege

Missing Foundation - Pistol Archive

Majic Ship - Green Plant - Hummin' - It's Over

Here is a couple of cool and somewhat rare 45 cuts by NY band "Majic Ship".

I remember the old man telling me about the full length album he found about 10 years ago or so and sold it for around $750.00 bucks! So when I stumbled upon the "Night Time Music" / "Green Plant" 45 in a box of shit a few years ago I couldn't believe it. So I went on a mad hunt for 2nd single which i found on ebay for a few clams. The original LP is damn near impossible to find and fethces around $1,000 bucks now but there is a nice double album vinyl reissue that comes with all the 45 cuts (these 45 cuts were not on the full length album) and some of the bands prior material when they were called "The Primitives", it even has a little interview with the guys at the end of side 4. I think i paid about 30 bucks for it and if you dig these 45 cuts you should check into finding a copy.

Green Plant is the flip to the local "hit" Night Time Music and is a nice nuggets style garage rocker with some wicked fuzzy guitar and pounding drums and total 60's style organ, it's really a great track, while "Hummin" is a total 60's pop - blue eyes soul track full of horns and a bubble gum vibe. Totally different but great in a completely different way. It doesn't even sound like the same band. And the flip to Hummin "It's Over" is a light psych affair complete with flute, nice background wha wha guitar and more horns, and has a great vocal delivery. It's pretty wild the ground these guys covered, very varied... heh... Anyway, i really dig these tunes so check them out.

Here is some lifted info:
Arising out of adolescent garage band the Primitives, which played primitive covers of British Invasion tunes, the New Primitives came together in New York City in 1966, originally composed of a group of high school friends: Ray Rifice (guitar), Tommy Nikosy (guitar), Rob Buckman (drums), and Mike Garrigan (vocals). Soon, the band increased to a group of five with the addition of bassist/organist Gus Riozzi. They kept a busy performance schedule throughout the next few years when their high school commitments allowed it. In 1968, Rifice left the band to attend college, but at about the same time, former '50s crooner turned manager Johnny Mann saw the band live and promised to get them a recording contract. Philip Polimeni replaced Rifice on lead guitar, and the New Primitives became Majic Ship. Mann introduced the band to the Tokens, who produced their first single, "Night Time Music." It became a local hit, even gaining the band some national airplay, as did a second single, "Hummin." After much touring and a couple more singles, Majic Ship found their way to a studio to record their self-titled debut album in the summer of 1969. Majic Ship melded hard rock, pop, and psychedelia in a way similar to fellow New Yorkers Vanilla Fudge. The band continued on for the next couple of years with plans to record a second album, but those plans were nixed when the band's shared house in Staten Island burned to the ground in 1971, taking with it virtually all their recording equipment and instruments. Without any insurance, the band members called it quits. ~ Stanton Swihart, All Music Guide

Majic Ship - Green Plant

Majic Ship - Hummin'

Majic Ship - It's over