The Textones - 1990 - Back In Time

BACK IN TIME consists of fourteen previously unreleased studio tracks that were recorded from 1979-1988.
Trying To Hold On is an alternate mix of a song from Carla's recorded-In-Sweden solo album. This version features saxophone where the original featured harmonica.
Clarence Carter's Slip Away and Bob Marley's Redemption Song were cut as part of a " lay down all the tunes you know session". These are two of my personal favorites from that day.
Smokey Robinson once sang his classic I Second That Emotion with The Textones, unfortunately the tape recorder was not on. But this live-in-the-studio bluesy take is quite special nonetheless.
Through The Canyon lent it's name to the most recent American Textones LP. This is from a different session than the verion that appeared on that album.
In 1985 the band cut six songs with drummer Phil Seymour on lead vocals. Two showed up on the THROUGH THE CANYON album and here's three more, including this collection's title cut.
Gene Clark also recorded with the group that year . One cut, Lover's Turnaround, was the bonus track on the Gene Clark/Carla Olson CD SO REBELLIOUS A LOVER (Demon Records, 1987). Another tune turned up as a Bucketful Of Brains flexl-disc. And here's Jokers Are Wild,
In 1980 The Textones released a 45 on IRS Records' subsidiary Faulty Products. An outtake from the sessions that produced the single is heard here for the first time, If I Could Be.
We Don't Get Along is the earliest recording herein. It was wlltten by Kathy Valenllne who later re-recorded the song with her next band, The GO-GO's. It also appeared on Phil Seymour's album debut in 1981.
Lastly we have Standing In The line, a song whose social and ecological message still warrants a listen. This is an earlier version of what would be the lead track on The Textones' A&M album MIDNIGHT MISSION, which was released In 1984. happy listening. Saul Davis, December, 1989

The other tracks are:

Love Out of Control / What Do You Want With Me? / Back in Time / Gotta Get That Feelin' Back / Something to Believe In

The Textones - Back In Time
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Note: Rip and artworks courtesy of 'bluecartoon'. Thank you very much !.

The Armoury Show: Waiting For The Flood + Live In Essen (1985)

"That the group's music shows similarities to the group Big Country most likely has to do with the fact that Richard Jobson, the singer from The Armoury Show, earlier played together with Stuart Adamson, the singer from Big Country, in a group called Skids. If you've ever seen The Armoury Show play in their hometown of Edingurgh in Scotland, then you can understand that they are a typical Scottish phenomenon: The English is harder, but the contact with the public is more quiet and not so hectic, nevertheless direct.
After a concert, the musicians still sit in the foyer with their fans. The big drums and the 'big' sound are trademarks of the group, similar to Big Country. Sometimes the singer, Richard Jobson, looks like a boxer and reminds one of Muhammed Ali. The creative tension comes from his texts and the music from guitarist, John McGeoch, who also left his mark on the different sound of Siouxsie and the Banshees. For a while, McGeoch was also a member of the group, Magazin, and belonged to the top class of guitarists of the new generation after 1976. The function of bass player, Russell Webb, as a singer, is important. With his clear, high voice, he sings all the second parts.
The group's goal is to carry through positive energy, which they themselves embody. What this is all about, is told by Richard Jobson announcement to 'Avalanche': He'd rather be a boxer, even when that means getting hit on the nose once in a while instead of always remaining the same, the way you normally do." (Rockpalast Archiv)

Musicians:

Richard Jobson - vocals, guitar / John McGeoch - guitar, vocals / Russell Webb - bass / John Doyle - drums

Waiting For The Flood tracks:

Castles In Spain / Kyrie / A Feeling / We Can Be Brave Again / Higher Than The World / The Glory Of Love / Waiting For The Floods / A Sense Of Freedom / Sleep City Sleep / Avalanche

This is the re-master of US release.

Live In Essen 1985 tracks:

Higher Than The World / Sleep City Sleep / Ring Those Bells / The Glory Of Love / A Sense Of Freedom / When The River Runs Dry / Waiting For The Floods / Kyrie / A Feeling / We Can Be Brave Again / Innocents Abroad / Encore Break /Castles In Spain

Recorded live at the Grugahalle, Essen, Germany (Rockpalast Festival) on October 19, 1985.

The Armoury Show - Waiting For The Flood (Rapidshare mp3 320)
The Armoury Show - Live In Essen 1985 (Rapidshare mp3 320)
or
The Armoury Show - Live In Essen 1985 (Rapidshare Cd Image in Flac format: Part 1 / Part 2)

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Magi - 1976 - Win Or Lose

This north Indiana outfit ruled the roost in the 'Michiana' region in the mid-'70s, attracting huge crowds whenever they played live. Often compared with Led Zeppelin, this 5-piece outfit rocked the area with a tight and raw sound that combined in-your-face hard rock with undisguised psychedelic tendencies and lashings of fuzz. It must be said the boys didn't do themselves any favours by issuing their only known album with a cover reminiscent of a Journey photo shoot, but regardless of their dubious hair and sense of dress, Magi certainly deserved more than the obscurity into which they ultimately lapsed. Win Or Lose, recorded at Uncle Dirty's Sound Machine studios in Michigan in 1976, and which boasts a series of solid songs propelled by a tight rhythm section and some more-than respectable vocals, is always reviewed enthusiastically.

Tom Stevens Interview

Personnel:

John Gaut - lead vocals / Larry Stutzman - guitar, backing vocals / Steve Vanlaningham - guitar / Jerry Wiggins - drums / Tom Stevens - bass, backing vocals

Tracks:

Win or Lose / Undecided Man / I Didn't Ask You / Steves Jam / Fryin Time Away / Snow Bound / Runnin Low / Everytime I'm With You

Magi - Win Or Lose
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Bitrate: 320

Tom Stevens - 1982 - Points Of View

Courtesy of 'bluecartoon' (rip and artworks) this little gemm.
During his long and prolific musical career, Tom Stevens has recorded over a dozen albums, both solo and with Magi, The Long Ryders, Danny & Dusty, Chris Cacavas and Junk Yard Love and Jack Waterson. As a solo artist his blistering guitar playing and depth of songwriting speak volumes, both on stage and in the studio on Stevens' three solo albums: Another Room, Points Revisited (originally the mini-lp called Points Of View with different versions of 'Telephone' y 'Friend or Fow'), and his latest release, Home.
hile still a teenager in Indiana, infatuated with 60s garage and hard-edged rock and roll, he joined regional heroes Magi, a dual-guitar, kick-ass rock and roll band. When Magi packed their gear and moved west to Los Angeles, they found their angle had gone out of style, replaced by the vibrant punk energy of Black Flag and X. As other band members moved home, Stevens stayed in Hollywood, absorbing the raw sounds and urban sensibilities of the L.A. musical landscape. It was during this period, in between working his shifts at the legendary Tower Records on the Sunset Strip, that Tom first began seriously writing songs.
Taking a cue from the thriving DIY punk scene around him, with the help of some friends, he took those songs and produced a six-song EP on Pulse Records, 1981's Points of View, which eventually sold out its’ original pressing and started him on a solo career. This was quickly side-tracked as a fateful series of events one day led him to join the soon to be legendary roots-rock godfathers, The Long Ryders, in late 1983.
During his 3-1/2 years as a Long Ryder, Stevens saw the release of three albums (all featuring Stevens-penned songs)-Native Sons, State of Our Union and Two Fisted Tales as well as lengthy worldwide tours, many international magazine covers, a UK top 40 hit ("Looking For Lewis & Clark"), long runs on European and U.S music charts, and several live TV appearances.
Stevens was also a member of the legendary Danny & Dusty, whose album The Lost Weekend made the year-end top ten best albums list in the New York Times. Additionally, he played with Gene Clark of The Byrds-as a stand-up bass player with Clark on a few of his last live L.A. performances. (Tom Stevens site)

The latest album 'Home' is available through Cdbaby or Avebury Records.

Tracks:

Telephone / Just One Night With You / 24 Hours / The Grip / Friend Or Foe / Another Man's World

Tom Stevens - Points Of View
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Bitrate: 320

Tyla Gang - 1975 - Blow You Out

Sean Tyla established his reputation with Geno Washington (And The Ram Jam Band) and pianist Freddie "Fingers" Lee. Between 1972-75 he led Ducks Deluxe, a tough R&B band which was at the fore front of the UK pre-punk, pub rock scene, and highly popular in France. However, the lack of commercial success doomed the band to a premature demise, following which Tyla formed the Tyla Gang: Bruce Irvine (guitar), Mike Desmarais (drums, ex-Winkies), and Peter O'Sullivan (bass). The band were one of the first acts signed to Stiff Records releasing the lone single "Styrofoam" in 1976 before completing Yachtless and Moonproof for the US-based Beserkley Records label. O'Sullivan was replaced by Brian Turrington (ex-Winkies) on the former, who in turn made way for Ken Whaley (bass, ex-Help Yourself).

Tracks:

Cannons Of The Boogie Night, Pt. 1 / Suicide Jockey / Paris Boogie / Hold On To My Love / Cannons Of The Boogie Night, Pt. 2 / Styrofoam / Whizz Kids / Speedball Morning / Only Rock And Roll / Keep From Movin' On / Texas Chainsaw Massacre Boogie

Tyla Gang - Blow You Out!
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Bitrate: 320

The Textones: Midnight Mission (1987) + Through The Canyon (1989)

Along with Kathy Valentine, Carla Olson formed the Textones in the early '80s for a few singles on IRS. The band's major-label debut, "Midnight Mission" included help from Don Henley, Ry Cooder, Barry Goldberg, and Gene Clark. "Cedar Creek" (available at Sons Of The Dolls Blog), the band's second album, appeared in 1987 on Enigma Records. (Taken from Power Pop Criminal$ Blog)
"Through The Canyon" spans from 1980 for a first single with Kathy Valentine on to 1985 when the band backed Gene Clark for the straight-ahead Clark country of "Day for Night" and finally 1986 when the band cut what proved to be an excellent demo version of "The Drifter." That same year, Olson would be out of the Textones and sharing the stage with Clark taking "The Drifter" with her. Most of the lead vocals are handled by Olson except for 1980's "Can't Stop the World" (Kathy Valentine) and a handful of tunes sung by drummer Phil Seymour.

Midnight Mission tracks:

Standing In The Line / Hands Of The Working Man / No Love In You / Running / Number One Is To Survive / Midnight Mission / Upset Me / Luck Don't Last Forever / Clean Cut Kid / See The Light

Through The Canyon tracks:

Silver / Dancing the Night Away / It's Okay / Just a Matter of Time / Number One Is to Survive / Through the Canyon / Keep a Walkin' / What Do You Want With Me? / Stay With Me / Reason to Leave / Can't Stop the World / Some Other Girl / The Drifter / If You Don't Want My Love / Day for Night / Maybe / Make 'Em Stop

The Textones - Midnight Mission
The Textones - Through The Canyon

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Bitrate: 320

The Motors: 1 (1977) + Approved By (1978) + Tenement Steps (1980) + Airport (Greatest Hits) (1995)

Formed by two ex-members of Ducks Deluxe (singers, songwriters, multi-ins- trumentalists and Andy McMaster / Nick Garvey) plus two younger pub vets (Bram Tchaikovsky and Ricky Slaughter), the Motors seemed like a hit machine from the outset. On record, they made grandiose rock-pop — wide-screen, brilliantly arranged and energetically performed — drawing on their longtime experience and solid talents.
Motors 1, produced by future metal maven Robert John Lange, is a fresh, exciting record, solidly rooted in electric guitars but light-years more subtle and three-dimensional than the rock'n'roll retreads the band's members had been playing prior to the Motors. While the six-minute "Dancing the Night Away" is an engrossing and muscular lead-off track, nothing else that follows it on the album is quite as striking. Approved By is a better effort, containing the fruits of the Motors' attack on the singles chart ("Airport" and "Forget About You" both went Top 20 in the UK) and exhibiting all of the band's strengths: catchy melodies, inventive arrangements and exciting, energetic use of rock instrumentation.
The Motors effectively disbanded after the second album. Garvey and McMaster continued working together using the group name, eventually engaging Jimmy Iovine to produce their next album in New York. Tenement Steps, the unfortunate result of far too much time spent in the studio, is an appalling, overblown mess, reeking of self-indulgence and artistic confusion. The chorus of the best-known track, "Love and Loneliness," sounds exactly like Steve Stills' "Love the One You're With" — and that's as good as the record gets.
Greatest Hits has all of the above-mentioned songs as well as the rest of the Motors' best work. Neophytes would do well to start (and end) here. [Ira Robbins/Jim Green -Trouser Press ]

For tracks see comments.

The Motors - 1
The Motors - Approved By The Motors
The Motors - Tenement Steps
The Motors - Airport: The Motors' Greatest Hits

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Bitrate: 320

Jules Shear - 1983 - Watch Dog

"I know this Jules Shear album is fetching high prices on some auction sites - sometimes around $95 !!!!!, but who would like to pay that much. Anyway, you'll get the vinyl rip, i mean you won't get the bonus track available on the japanese 1992 reissue - that bonus song (When Love Surges) is crap and not really interesting anyway.
So , you'll get the album for free, but also the artwork - who wants more ? (I've also included the lyrics and the inner pic of the original vivyl album)
This 1983 "Watch Dog" album produced by Todd Rundgren was the first solo Jules Shear release after the Jules & The Polar Pears band breakup.
This album, but also the next one "The Eternal Return" received critical acclaim, but few sales. He was then dropped by his label (EMI).
As AMG says "Highlights includes "All Through the Night" (a hit for Cyndi Lauper), "Whispering Your Name," and the more experimental, Brian Wilson-inspired "Longest Drink." Another unjustified commercial sleeper." (written by the unforgettable 'apolloc' at the Power Pop Lovers Blog - Sep 26, 2006)

Musicians:

Jules Shear - Vocals / Rick Marotta - Drums / Elliot Easton - Guitars / Stephen Hague - Keyboards / Tony Levin - Bass

Tracks:

Whispering Your Name / Standing Still / All Through the Night / I Need It / Longest Drink / Never Full / I Know I Know / She's in Love / Love Will Come Again / Marriage Made in Heaven / When Love Surges

Jules Shear - Watch Dog
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Bitrate: 320

Jules Shear - 1985 - The Eternal Return

"2 years after the Watch Dog album, Jules Shear released "The Eternal Return" and again received critical acclaim, but few sales. He Was then dropped by his label (EMI). As AMG says "hear again produces a slick pop delight in The Eternal Return (produced by Bill Drescher & Jules Shear). Shear explores a more soulful side in songs like "Steady" and the yearning "You're Not Around" while perfecting his hook-laden melodies. Despite being perfectly in line with the mid-'80s sound, this one also slipped through the cracks. The Bangles would later find a hit in the leadoff track, "If She Knew What She Wants." Just listen to the duet with Pal Shazar Here s/he Comes - it's pure delight. ..... Both albums, "Watch Dog" and "The Eternal Return" are two masterpieces, reissued on cd in Japan around 1992 but almost impossible to find, unless you are very wealthy." (more courtesy of apolloc)

Musicians:

Jules Shear - Vocals / Morris Pert - Percussion / Pal Shazar - Vocals / Jeff Silverman - Guitar / Rob Fisher - Keyboards / Richard Stekol - Guitar / Anton Fig - Drums / Tony Levin - Bass

Tracks:

If She Knew What She Wants / Stand Tall / Steady / Change (Change) / Fever's On / Here She Comes / Memories Burn Hard / You're Not Around / Empty Out the House (Throw It All Away) / Every Time I Get the Feeling / Still I See You (Single B Side) (bonus)

Jules Shear - The Eternal Return
Still I See You (bonus track)
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Bitrate: 320

Note: By error the apolloc bonus track was missed in my album rar file.

Jules Shear - 1987 - Demo-itis

Demo-Itis was a collection of home and studio demos. Most of the songs had been previously unreleased, but contained demos of "All Through The Night", "If She Knew What She Wants", and other previous album tracks.

Musicians:

Jules Shear-Guitar, Vocals / Brian Stanley-Bass / Steve Holley-Drums

Tracks:

Deliver Love / Chain Within A Chain / If She Knew What She Wants / Trained For Glory / Different Sands / Elegible For Parole / She's In Love Again / I Didn't Know Your Smile / You Are My Heartche / He Tore My World Apart / Take The Risk / All Through The Night / I Know You're Not Alive

Jules Shear - Demo-itis
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Bitrate: ± 256

Jules Shear - 1991 - Unplug This

Though he's never been able to record a hit of his own, singer/songwriter Jules Shear has recorded several albums of highly accessible, hit-worthy material, and as a testiment to his abilities, he's penned hits for others including "All Through the Night" for Cyndi Lauper and "If She Knew She What She Wants" for the Bangles.
Born in Pittsburg, Shear began writing songs as a teenager. He relocated to Los Angeles in the mid-'70s, joining his first band, a typically laidback combo called the Funky Kings. The band released one album for Arista in 1976. While "Slow Dancing" from the album (written by Jack Tempchin) would later be hit for Johnny Rivers, the three Shear songs were clearly the highlights of the album. Shear left the following year to form his own group, Jules & the Polar Bears, who released two critically acclaimed, though commercially overlooked, albums for Columbia. When a third album was rejected by the label, Shear forged on as a solo artist.
Unplug This collected solo performances, mostly new acoustic versions of songs Shear had previously recorded.

Tracks:

Following Every Finger / All Through the Night / Whispering Your Name / If She Knew What She Wants / If We Never Meet Again / Jewel in a Cobweb / Sad Sound of the Wind / Never Again or Forever

Jules Shear - Unplug This
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Bitrate: 320

More Shear albums here.

Alone With Jim Basnight

Hi Jim, thanks you for your present. You're coming from Seattle, WA, but we want to know something more about you.

Blog Kihn: Where did you grow up?

JB: I grew up in Seattle in the USA. I was born back east in Philadelphia and spent the first few years of my life there and in NYC. I went to school in Seattle and got my start musically there, though I left at the age of 19 (1977) to spend six very important months in Manhattan, which was a very important time in my life and in my musical development.

BK: Was there music around the household?

JB: My parents were very musical though neither really played much. There were a lot of songs and records in our house early on. My dad always liked to sing songs and tell jokes. His humor was very influenced by Lenny Bruce and Brecht and his musical tastes varied from French Pop (he was a Francophile), jazz (Goodman, Ellington, Hampton, etc.), folk (Peter, Paul and Mary, Woody Guthrie, Pete Seeger) and a bit of country (Roger Miller, Roy Orbison and Jimmy Rodgers). My mom was more into rock and roll like the Watusi, Bobbies Girl, the Twist, Elvis and the pop of the time.

BK: When you were young you knew that you would be musician?

JB: I was sure that I wanted to be a musician when I started to write songs in late 1975, when I formed a band called the Meyce with a couple of guys that were also doing a rock fanzine with me that was called Chatterbox. The Meyce also featured Jennie Skirvin on vocals early on and toward the end Pam Lillig on guitar. My first songs were very complex, but very expressive. As I developed I started writing simpler stuff and more rock and roll, punk and power-pop. Those early Meyce tunes were very jazzy and folk influenced, yet with a ton of rock and punk energy and I have always retained some of those roots.

BK: Who were your early influences musically?

JB: My first records were the Beatles 'Revolver' and The Mothers 'Absolutely Free'. I was very moved by the Kinks and I would say that they were my favorite band of that era, though I was also very influenced by the Beatles, Stones, Who, Raiders, Grassroots, Box Tops, Buckinghams, Standells, Rascals, Hollies, Them, Yardbirds, Motown, Stax-Volt, the NW Sound of the Sonics and the Wailers and the early psychedelic sound of bands like the Electric Prunes, the Byrds, the Jefferson Airplane and the Doors. Jimi Hendrix, Creedence and Cream became instant favorites of mine when they came out. I moved away from Pop music during the period between the deaths of Jimi, Janis, etc. and the birth of glam, but I really came back strong with my interest in music then. Bowie, Bolan, Lou Reed, The Dolls, Iggy, Alice Cooper, Mott, Slade, Roxy Music and the rest were an even bigger influence and inspiration to me than the 60's and really is what led me to start writing my own songs. During this whole platform and bellbottom era I also had a strong love for Soul music like Sly Stone, Curtis Mayfield, Al Green, Smokey Robinson, Bill Withers, Ohio Players and Parliament as well as earlier soul artists like the Temptations, James Brown, Otis Redding and Marvin Gaye. When David Bowie went soul it alienated most of my glam rock friends, but I was really into it and I would say that it really validated and enhanced my appreciation for it. As much as I loved the soul of the 60's and early 70's, I never liked the disco movement or any subsequent dance music like techno, though I did like early rap, especially the more clever aspects of its lyrics. I've always liked the power-pop sound of the 70's acts that predate the term. Bands like Badfinger, Big Star and the Raspberries. I would say that I was influenced by the early punk rock of the mid to later 70's, but I also feel that my music was more part of that than influenced by it, despite the fact that most people outside of Seattle and a few hard core music fans around the world ever heard it.

BK: When did you start with The Moberlys?

JB: The Moberlys started in 1978. Our first line-up was Steve Grindle on bass, Bill Walters on drums and Jeff Cerar on guitar. Jeff later formed the legendary Cowboys with future Rockingham bassist Jack Hanan, the late great singer Ian Fisher and drummer Dean Helgeson, who also died young and was in a high school band of mine pre-Meyce called the Lovaboys. Jeff was replaced by Steve Pearson and later Don Short who immediately after went on to team up to form the Heats. A Seattle 'indie' label, Chuckie Boy Records released albums compiling much of both the Heats and the Cowboys great works about 10 years ago and I would recommend both to any fans of rock and power-pop. Ernie Sapiro finally settled in as the Moberlys second guitarist and he played skillfully on most of the tracks on 'Sexteen' though Jeff played on a few. 'Sexteen', originally released on CD by the German Bear Family/ATM label in 1996 is a compilation of tracks from that band and that era. After that band fell apart after being rejected by a few major labels in the wake of the decline of the promise that the Knack and other LA pop bands had left the music business much less enthused about power-pop or anything that resembled it. I released 'The Moberlys' LP after the band had broken up and joined a band called the Pins in which I was able to save the money to move to NYC in the fall of 1980. The Pins later became Steve Pearson's post Heats band the Rangehoods, also a source of great tunes and a recommended selection for fans of power-pop, especially the country tinged side. I went to NYC and formed another version of the Moberlys on the heels of the underground critical success of the LP. That band featured Jeremy Bar-Illan on guitar and Greg Morongell on bass, whose cousin Mike later helped produce 'Pop Top'. After playing around NY, infiltrating the scene and flirting with a few labels, I went back to Seattle in early 1984 and formed a band with Dave Drewry, who had also played with us in NY. That band featured Glenn Oyabe on guitar and Toby Kiel on bass and stayed together all the way to the end of the band in 1989. We recorded a ton of stuff in LA, as well as quite a bit in Vancouver BC, before relocating to LA in 1985. I packaged tracks from those sessions as well as some stuff that Drewry and I had recorded in NY with Jeremy and another Seattle kid, bass player Al Bloch, to make the 'Seattle-NY-LA' CD for the French Pop the Balloon label in 2001.

BK: At that time what was the style of the music?

JB: The Moberlys in '78 and '79 were straight up all over the map. I would say that the band could be favorably compared to The Modern Lovers, the Heartbreakers, the Flaming Groovies, Television, the early Talking Heads and Richard Hell, but with a heavy nod to the British and American 60's pop sounds.

BK: How is your way to make a song?

JB: I have written songs so many ways. Sometimes it's been by writing a melody or an instrumental song and writing words to it. Sometimes it's been writing lyrics and then composing music around them. Sometimes it's been finishing someone else's ideas and sometimes it's been someone else finishing mine. I've been blessed to work with some very great writers like the late Ben Fisher (who I wrote 'Summertime Again' and 'Hello Mary Jane' and other with), the late Bruce Paskow ('Lattes' and 'Rock and Roll Girlfriend'), Joey Alkes (who wrote 'Million Miles Away' with Peter Case), Mike Czekaj (former Fuzztone), Tommy Knight ('Opportunity Knocks') and band mates like Jack Hanan, Jim Knodle and some of the Moberlys guys.

BK: In the 90's you played with the Rockinghams and solo throughout, talk us about that time.

JB: It was a great band. Jack and Criss Crass and I did some great shows and made some fantastic recordings. It was really a drag that the Seattle music business at the time was so unwilling to help us out. We had all been very supportive to the very same scene there in the 80's, but for reasons that I will never quite understand the folks that gained success in the 90's did not do anything to help advance us. Luckily Not Lame and a few labels in the world of power-pop like Paul Collins and Munster in Spain released some of our stuff. Not Lame released 'Makin' Bacon' in 1999, after the band had really stopped gigging and we had all moved on to other things, in my case 'The Jim Basnight Thing' which resulted in that CD release in 1998. The Rockinghams really rocked and popped in a tongue in cheek fashion, though with more real rock and roll and power-pop conviction than most bands of both of those categories. Criss deserves a lot of credit for the passion. His drumming was remarkable and he deserves to be credited as not just the drummer, but as a huge part of the style and force of the band.

BK: The Moberly was a Power Pop band, Angelo from Power Pop Criminal$ Blog defined Power Pop like "raw rock & roll with la la's..."... Which is your definition of "Power Pop"?

JB: Power-Pop is one or two guitars, bass and drums, occasionally another instrument on the odd track, but rarely live. It is pop with punk or garage influence performed with crunchy guitars and a lot of testosterone. There are vocal harmonies that tend to be on the "twangy" side and guitar solos that are composed like George Harrison and Keith Richard, but delivered like Johnny Thunders or Link Wray. The most 'power-pop' CD that I ever put out is 'Seattle-NY-LA' by Jim Basnight and the Moberlys, but The Rockinghams 'Makin' Bacon' has a lot of that style as well, mixed with more punk influence.

BK: Olympia is the capital city of the Washington State, Aberdeen the city of Kurt Cobain and Nirvana, Is Seattle the city of the Power Pop in the Evergreen State?

JB: It certainly isn't Olympia, Aberdeen or Tacoma the home of the Sonics and the Wailers. I like the question, but I would say that power-pop doesn't have a capital in Washington. The best power-pop band ever from this state was The Heats, so Kenmore, where Steve Pearson grew up is probably the capital of power-pop.

BK: The circle of the Power Pop sound arises every 20 years, the 60's were the explosion of the "beat", the 80's were marked by the New Wave, in the year 2000 and now there are great Power Pop bands, do you think that in the year 2040 our grandsons will listen this kind of music?

JB: Yes I do. If you are not moved by a great pop melody, a crunchy and/or "jangly" guitar, harmonies and a relentless rhythm section pushing the beat you are dead. Prior to big amps there were a ton of songs that had components of that. Some of my favorites were 'Look Through Any Window' by the Hollies, 'Tonight' by the Raspberries, 'Baby Blue' by Badfinger, 'Here Comes My Baby' by the Tremeloes', 'Glad All Over' or 'Anyway You Want It' by the Dave Clark 5 and '1-2-3' by Len Barry.

BK: I know "blogs" like Seattle Powerpop and the local bands posted there, but, for a musician like you, how is the Seattle scene now?

JB: The Seattle Scene is good. There will always be kids that love music and rock and roll trying to find their voice here. It's just something about the rain and the fresh air that enhances a fertile musical and creative mind.

BK: Which groups, musicians are your favorites?

JB: I'm afraid that because of my gig schedule over the past 10 years that I have missed out on a lot of new bands. I have been told that I would like a number of them, but I really haven't heard much. A friend of mine named Willie Crane is starting a new local music "mag" and I may start writing some stuff for it. Maybe in the process get acquainted with some new bands.

BK: This summer you have played over 4 shows a week. Do you have the same feeling as the first time you played?

JB: Not really, but probably more so than many would think. When I go onstage I feel like it's the front lines like the D-Day invasion. Either you are conciliatory and accept the fact that you somewhere in the rear supporting the action or you act like it's the most important moment of the battle. I strive to do the latter, without losing track of the context.

BK: Your new album "We Rocked and Rolled: The First 25 Years with Jim Basnight, Moberlys and Beyond" has selections from all 6 of your unique CD's, 'Sexteen' by the Moberlys, 'Seattle-NY-LA' by Jim Basnight and the Moberlys, 'Pop Top', 'The Jim Basnight Thing' and 'Recovery Room' by Jim Basnight and 'Makin' Bacon' by the Rockinghams. Your late album "Recovery Room" was released in 2004, Have we soon an album with new songs?

JB: I've never released 'Recovery Room' other than copies that I've sold at gigs. I recently added the two new tracks that the band recorded in April for 'We Rocked and Rolled' to it, for the next addition, when I run out of stock of the last one that I pressed in 2004, which has been repressed a few times. I am in the process of putting out a DVD that will have a set of songs from the current band with footage from throughout my career, including some 8mm footage of the Meyce opening for the Ramones in Seattle in 1977 and a lot of great stills, some narration and interview footage. I am also planning to include a CD of the best of the 100 or so tracks that I have in the can that haven't been released. Some of those are really good and probably should have been released before. I'm going to choose those based on what stands the test of time and it's going to be really good. As far as brand new songs, my plan is to start looking at that after these projects (the DVD/CD set and 'We Rocked and 'Rolled') are completed. I am not worried about the next set of songs. I've written over 500 songs and I think I can write some more.


BK: Finally, when you'll do a tour in Europe?

JB: My sincere hope is that this band can go there after we release those two projects. Until then my focus is solidly on getting those done, but going to Europe and Japan is high on my list of priorities. It's high time that I get to see those places and get to meet people that have been enjoying this music for a long time.

BK: Thank you very much for all. It has been a pleasure to talk with you. Good luck!!

More info about him

Jim Basnight And The Moberlys at myspace

And finally some highlights of his music:

Boomp3.com
Boomp3.com
Boomp3.com
Boomp3.com

The Records - 1979 - Live At Calderone Concert Hall

1979 was "The Records" USA time. Eight weeks, thirty-seven cities, and a new defining of 'touring band'. During that tour they had a great live recording at Calderone on Long Island (August 31, 1979) opening to Joe Jackson (Huw Gower wrote)
This is the FM broadcast of that concert from WLIR-FM, Garden City, LI, NY.

Personnel:

John Wicks: Guitar, Vocals
Will Birch: Drums, Vocals
Huw Gower: Guitar, Vocals
Phil Brown: Bass, Guitar, Vocals
Ian Gibbons: Keyboards

Tracks:

Paint Her Face/All Messed Up and Ready to Go - Insomnia - Vamp - Girl - The Same Mistakes - Affection Rejected - 1984 - Rock and Roll Love Letter - Teenarama - Starry Eyes - GirlProof Heart

The Records - Live At Calderone Concert Hall (Rapidshare flac cd image: Part 1 / Part 2) or (Rapidshare mp3 320)
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The Prisoners - 1988 - Rare And Unissued

In 1988 a year after they had fallen apart, loved by a hard-core legion of fans who had supported them up and down the country and across Europe, the Prisoners released "Rare And Unissued" on Billy Childish's Hangman label.
Rare & Unissued rebalances the scales a bit, with several songs rescued from the last LP but done in more traditional Prisoner style, surrounded by noise and trash and ephemera.

ROTC review

Tracks:

Coming home (live) / Revenge of the Cybermen / He’s in Love (radio session) / Trophies (demo) / Far away (radio session) / Ain’t no telling (demo) / Come to the mushroom (live) / Happyness (sic) of once (demo) / Be on your way (demo) / Buccaneer (demo) / Deceiving Eye (live) / Mourn my health (demo) / Pop star party (demo) / The more that I teach you (remix) / Mourn my health (remix)

The Prisoners - Rare And Unissued
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