noisenursery

Violent Femmes was founded by bassist Brian Ritchie and percussionist Victor DeLorenzo following the demise of the initial wave of American punk rock, and became a full-fledged band upon the arrival of lead vocalist and guitarist Gordon Gano. According to Ritchie, he came up with the name of the group as a fake band name when one of his bandmates questioned his assertion that his brother was also in a band—he and DeLorenzo liked the name, so they used it for the rhythm duo they played in prior to Gano joining the group.[5] In its early days, the band frequently played coffee houses and street corners. They were discovered by James Honeyman-Scott (of The Pretenders) on August 23, 1981, when the band was busking on a street corner in front of the Oriental Theatre, the Milwaukee venue that The Pretenders would be playing later that night. Chrissie Hynde invited them to play a brief acoustic set after the opening act.[6]
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Danny Kroha is a founding member of the Gories, who released two albums and a handful of singles containing influential blues/punk between 1986 and 1992. From 1993-2006, Kroha co-led the Demolition Doll Rods through five long players of primitive glam/roots scorch, touring the U.S. and Europe several times both as headliners and as openers for the likes of the Cramps (on a full U.S. tour) and Iggy Pop (for several west coast shows).

Now, Kroha comes full circle with his latest combo, Danny & The Darleans. They play what Kroha describes as “’garage rock’, a style of American folk music which is blues-based and is played with electric guitar, electric bass, and drums.” He goes on to say “I’m really into the idea of garage rock as folk music. It was the folk music of 60′s teenagers. Anybody can do it.”

What becomes evident after one listen to the band’s debut LP on Nero’s . Neptune, however, is that not just anybody can do it like the Darleans do it! With the explosive rhythm section of sometime-Detroit Cobra Richie Wohlfeil on drums and Colleen Burke on bass and vocals, the band storm through 12 numbers with the raw energy and toughness one would hope for from Detroit’s best rock and roll band.
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“Love Hurts” is a song, written and composed by Felice and Boudleaux Bryant. First recorded by The Everly Brothers in July 1960, the song is also well known from a 1975 international hit version by the hard rock band Nazareth and in the UK by a top 5 hit in 1975 by Jim Capaldi.

The song was introduced in December 1960 as an album track on A Date with The Everly Brothers, but was never released as a single (A-side or B-side) by the Everlys. The first hit version of the song was by Roy Orbison, who earned Australian radio play, hitting the Top Five of that country’s singles charts in 1961. A recording by Emmylou Harris and Gram Parsons was included on Parsons’ posthumously released Grievous Angel album. After Parsons’ 1973 death, Harris made the song a staple of her repertoire, and has included it in her concert set lists from the 1970s to the present. Harris has since re-recorded the song twice.
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Katie: “There are few more purely country song titles than The Far West’s “Bitter Drunk & Cold,” and the video– which appears to take place on a television set in the ’60s or ’70s– really plays that up. The outfits are awesome, the set is great– but more than that, you get to see an awesome band playing an awesome song. The more I listen to The Far West, the more I like them.”
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Great Psychedelic Rock from Tokyo, Japan. Sit back and enjoy!

Plowboy Records recently released You Don’t Know Me, an Eddy Arnold tribute album featuring appearances from artists like Frank Black, Bobby Bare, Jr. and Alejandro Escovedo. Produced by Cheetah Chrome, the album celebrates Arnold’s 70-year career.

“Eddy Arnold was always a household favorite,” said Escovedo. “My father was a lover of crooners and great voices. My mother loved him, too. He was one of those guys playing in our house all the time, along with Sinatra and Nat King Cole. We heard his voice a lot.”

Escovedo chose to record the track “It’s A Sin.”

“‘Its A Sin’ is one of my favorite songs, not only of Eddy’s, but of all time,” said Escovedo. “So we jumped at the chance to record this one.”
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There’s something strange yet familiar about Motel Mirrors — like an old photograph of a place you think you know, but don’t quite remember having visited.
The casual chemistry between Amy LaVere and John Paul Keith makes it seem like this happens all the time—boy meets girl, boy plays girl some songs, boy and girl form band. “It’s not that we really decided to have a band,” Keith tells it. “It’s just that by the time we got done having coffee she’d decided we were a band and was already booking shows for us. By the time I got home, we were exchanging ideas for band names.”
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An important early figure on the Los Angeles power pop scene, Paul Collins was a key member of two bands that anticipated the “skinny tie band” explosion of the late ’70s and early ’80s, the Nerves and the Beat. Born in New York City, Collins’ father was a civilian who worked with the U.S. military, a job that kept his family on the move, and young Paul spent time in Greece, Vietnam, and Europe before ending up back in Manhattan at the age of 14. After graduating from high school, Collins studied composition at the Julliard School of Music, but listening to AM radio and seeing shows at the Fillmore East had a greater impact on him, and in the early ’70s he moved to California to pursue his musical vision of short, punchy rock songs with copious hooks.

In 1974, Collins met like-minded songwriters Peter Case and Jack Lee, and they formed a pioneering power pop band called the Nerves. Playing fast, ear-catching pop songs while wearing matching pink suits, the Nerves had more than a bit of the street energy that would later manifest in Los Angeles’s early punk movement, and like the punks, the Nerves made their own opportunities when L.A. clubs didn’t know what to make of them. the Nerves booked their own shows, did a nationwide tour of small venues on their own dime, and in 1976 put out a four-song 7″ EP on their own label.
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Simon Holland writes: Tom Russell is a true maverick who along with Dave Alvin is credited with creating the sound that became known as Americana. He now enjoys the kind of acclaim from critics and peers that demands to be taken seriously. Never having been one to take the easy route, however, it’s the late flourish in a career that spans more than 35 years and almost 30 albums that marks him as one of America’s greatest songwiters. His trio of studio albums starting with Love And Fear through Blood And Candle Smoke to Measbi contains some of the most vivid story telling you can hear in song.
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Hardly Art writes: The year, 2007. The Boys, Jacuzzi. Hatched inside a vulture’s nest, Jacuzzi Boys emerged from deep within the Florida wilds, three radioactive chicks cawing for their piece of electric rock pie.

With No Seasons (Florida’s Dying) they freaked their way through the swamps, a psycho stomp of a record, all hallucinations and hand claps. Glazin’ (Hardly Art) found a more polished sound. They installed AC units inside their mobile homes, found a way to turn neon into ice cubes. Now, with their third full-length, the self-titled Jacuzzi Boys, they’re going grand, building limestone monuments to those that boogied before them, while writing hypnotic ear worms by the light of a cigarette. Gone is the swamp-thing snarl. In it’s place, the indestructible cool of the casino slot-jockey with nothing to lose.

Recorded at Key Club Recording Co. in Benton Harbor, Michigan—same as 2011’s Glazin’—the new record takes full advantage of expert engineers Bill Skibbe and Jessica Ruffins’ sonic sandlot, with Kramer in charge of mastering. The end result? A smashing set of tunes as dazzling as a sparkler.

It’s like that movie you once saw. The one with the boy and the girl and the plastic lounger on the beach. “Be My Prism” was the invitation. “Black Gloves” and “Double Vision” the promise. “Dust” was the rising tide. “Rubble,” the dirty uncle. “Hotline” was the lightning storm, and “Ultraglide” was the ending, the part where he drove her home with the windows down.

You remember you liked it.

It stayed with you while you swam alone in your pool that night.
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