musicanidi
musicanidi
20 feb 23

DeRank™: 3,00

Molotov - Rastaman- Dita @[cofras] here the party is open to everyone...
 
Marcorock
Marcorock
20 feb 23

DeRank™: 15,00

Moby - Raining Again
may it be auspicious
 
JonatanCoe
JonatanCoe
20 feb 23

DeRank™: 33,00

Ingrandisci questa immagine
COELUMBIA
[Action! Let’s get it twisted!]

Episode [25x 30]
 
SAYNEWS
SAYNEWS
20 feb 23

DeRank™: 27,87

Ingrandisci questa immagine
 
JonatanCoe
JonatanCoe
20 feb 23

DeRank™: 9,00

Ingrandisci questa immagine
COELUMBIA
[Action, take! It’s distorted!]

Preview [25x 30]
Associated LP from 1987
 
SAYNEWS
SAYNEWS
20 feb 23

DeRank™: 30,00

Ingrandisci questa immagine
 
Battlegods
Battlegods
20 feb 23

DeRank™: 12,95

Francesco Bruno 1989 Time Sharing
I’m also being wrapped up by his records with that beautiful guitar synth style of Holdsworth/Lee Ritenour. Bruno is the guitarist of Kaleidon, the ones behind Free Love, Italian jazz rock from the '70s.
 
iside
iside
20 feb 23

DeRank™: 3,00

@[withor] Prima di continuare su YouTube being friends with the right people helps, especially if there are no women around, Massarini back in 1982 helped quite a bit Flavio and even your Francuzzo... Not Fausto, both wanted Laura... Flavio Giurato - Il manuale del cantautore
 
Armand
Armand
20 feb 23

DeRank™: 3,00

Doubting Thomas - Fourteen Or Maybe 8 (1987)
A piece from an incredible record by the little-known label Motiv Communication.
 
musicanidi
musicanidi
20 feb 23

DeRank™: 23,47

Tori Amos - Smells Like Teen Spirit …at times it reminds me of a Nirvana song…
 
cofras
cofras
20 feb 23

DeRank™: 7,47

Nossa - Mas Que Nada

Could we organize a party with a train?
 
Valentyna
Valentyna
20 feb 23

DeRank™: 12,00

IAN BROWN - GRAVY TRAIN

Happy 60th King monkey
 
IlConte
IlConte
20 feb 23

DeRank™: 25,52

Clutch - Freakonomics

A clutch a day…
 
kyra1
kyra1
20 feb 23

DeRank™: 6,00

Caterina caselli - Il carnevale 1968 a piece of history (full of off notes)
 
IlConte
IlConte
20 feb 23

DeRank™: 35,12

The Count Bishops - Train, Train

What a band, first part - thank Rev

THE COUNT BISHOPS – Punk foam in London pubs

So you want to know which was the most badass band of the short and ephemeral pub-rock phenomenon at the end of the 70s?

Well, folks, they came from London and were called Count Bishops. Their sound was hot, blended with soul, blues, and the hard beat of Kinks and Who; they were somewhat the English equivalent of bands like Real Kids or Hysptrz, but ahead of their time.

Speedball is the famous SW1.

That is, the Penny Black of British independent music.

The birth of Count Bishops and Chiswick is concurrent and dates back to the summer of 1975 when, from the ashes of the London Chrome and after recruiting a couple of new musicians through an ad in Melody Maker, Mike Spenser and Zenon Hierowski set the pub-rock powder keg of the old band aflame inside the tanks of Count Bishops. Roger Armstrong brings them into the studio to record a dozen covers and decides to release the tracks that fit into a seven-inch while holding back the others, setting up a label through which bands like Damned and Motörhead would be passing in the next couple of years. Speedball is released on November 28 of that year, “distributed” and sold from the trunk of Armstrong’s partner’s Peugeot until the thousand copies run out. Inside are four rock ‘n’ roll covers as tight as you hadn’t heard since the days of the Downliners Sect, of which the Bishops immediately legitimize themselves as the perfect heirs.

The “leftovers” from those sessions would finally be published in the “extended” version of that fantastic single and two documents from the only studio recording of Chrome, including a cover of I Want Candy, which a few years later, with Mike Spenser having stepped down from the car to form the Cannibals, would bring the English group considerable visibility at home. The rest of the world, however, would continue to ignore one of the wonders of English pre-punk, one that, with arrogance and ruthless punkishness, would allow itself to trim the branches of the tangled prog forest to bring the English botanical garden back to the unspoiled essentiality of the early Sixties.