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Wednesday, September 26, 2018

Jon Lord : Sarabande 1975



John Douglas Lord (9 June 1941 – 16 July 2012) was an English composer, pianist, and Hammond organ player known for his pioneering work in fusing rock with classical or baroque forms, especially with Deep Purple, as well as Whitesnake, Paice Ashton Lord. 


He and drummer Ian Paice were the only continuous presence in the band during the period from 1968 to 1976, and also from when it was reestablished in 1984 until Lord's retirement from Deep Purple in 2002.

In early Deep Purple recordings, Lord had appeared to be the leader of the band. Despite the cover songs "Hush" and "Kentucky Woman" becoming hits in North America, Deep Purple never made chart success in the UK until the Concerto for Group and Orchestra album (1970). Lord's willingness later to play many of the key rhythm parts gave Blackmore the freedom to let loose both live and on record.
On Deep Purple's second and third albums, Lord began indulging his ambition to fuse rock with classical music.


Purple began work on Deep Purple in Rock, released by their new label Harvest in 1970 and now recognised as one of hard rock's key early works. Lord and Blackmore competed to out-dazzle each Ian Gillan said that Lord provided the idea on the main organ riff for "Child in Time" although the riff was also based on It's a Beautiful Day's 1969 psychedelic hit song "Bombay Calling". Lord's experimental solo on "Hard Lovin' Man" (complete with police-siren interpolation) from this album was his personal favourite among his Deep Purple studio performances.

Deep Purple released another six studio albums between 1971 (Fireball) and 1975 (Come Taste the Band). Gillan and Glover left in 1973 and Blackmore in 1975, and the band disintegrated in 1976.

SARABANDE 


 

Sarabande is the second solo album by Jon Lord recorded in September 1975 near Dusseldorf (Germany). The orchestra was conducted by Eberhard Schoener.
The complete Sarabande suite was premiered in live performance in Budapest on 18 September 2010 and later in Sofia on (30 October) and Essen (15 November). 



Lord amended the 1975 orchestrations, and also orchestrated Aria, which was played on piano and synthesizers on the recording, and Caprice which was simply a group performance on record. 'Finale' was made-over to allow the ‘parade of themes’ section -which was done with tape-loops on the recording- to be played live.



( AllMusic Review by Richie Unterberger

As Lord wrote in the liner notes, on this classical-rock fusion album, recorded in Deep Purple's dying days, "The theme behind the music on this album is that of a baroque dance suite; a form of music which was brought to its highest level by Bach. The title of each track is the name of a dance used in one of these dance suites, and I have tried to use the same tempo and feel as an original Sarabande, Gigue etc.


" The wholly instrumental work includes both some purely orchestral/symphonic passages and some fusiony rock chunks, as well as parts where the two forms merge to some extent.

Among the rock section, Lord's keyboards are supported by ex-Spencer Davis Group drummer Pete York and a pre-Police Andy Summers on guitar. German composer and conductor Eberhard Schoener conducts the Philharmonica Hungarica Orchestra. The 1999 CD reissue (Purple 305) has extensive historical liner notes.)


Released : 1976
Recorded : 3–6 September 1975
Genre :    Progressive rock, classical, jazz fusion, symphonic rock
Label :    Purple Records
Producer : Jon Lord and Martin Birch

Track listing

01.  Fantasia – 3:30
02.  Sarabande – 7:20
03.  Aria – 3:42
04.  Gigue – 11:06
05.  Bouree – 11:00
06.  Pavane – 7:35
07.  Caprice – 3:12
08.  Finale – 2:03


Musicians

    Jon Lord - Hammond organ, piano, clavinet synthesizers
    Andy Summers - Guitar
    Paul Karass - Bass
    Pete York - Drums
    Mark Nauseef - Percussion
    The Philharmonia Hungarica directed by Eberhard Schoener

                                                             Flac : Size 301 MB

Thursday, September 20, 2018

Plan 9 : Keep Yoyr Cools And Read The Rules 1985


Plan 9 is an American neo-psychedelic band from Rhode Island formed in 1979.
The group was named for the 1950s science fiction film Plan 9 from Outer Space.


Featuring four guitars and a sound straight from those psychedelic '60s, Rhode Island's Plan 9 dealt with little except period covers on their first album, 1982's Frustration. The group added a batch of originals on

Plan 9 started big playing their first show at a Sire Records showcase in New York City and never really

As the ‘90s approached, like their lineup Plan 9’s sound expanded to include elements of free jazz, further tripping things out.
Whether it was a concession to adulthood, or just that it was financially impossible to break even with a band that could at a given time have up to seven or eight members, Plan 9 became prone to hibernating for prolonged stretches since the end of the century.

Plan 9 may only do a show every few years, but their legend continues to grow. It just so happens that Plan 9 were at work concocting a new record when the Rhode Island Music Hall of Fame induction came down the pipe.

Plan 9 interview with Deborah DeMarco

It's Psychedelic Baby

1. When was Plan 9 born and why the name Plan 9?



Plan 9 is actually a really bad movie, you may have seen.  it's called Plan 9 From outer Space, by Ed Wood.  It features an odd mix of characters...when we took the name, noone really knew about that movie, and we were an odd mix.

2. How do you remember some of the early sessions you had?

I recall some fearless shows...in New York, a battle of the garage bands with the Chesterfield Kings, Slickee Boys, Smithereens, Zantees, Unknowns, Fleshtones, Fuzztones and later the Mad Violets.

3. Frustration is your first LP from 1982. Would you like to share some memories about it?

the song was written by William Hay (go away, black bear, go away) and Greg Shaw thought it would make a good extended side.  He was right.  The maze, incidently, has no solution, hence  frustration.



4. Next year you released Dealing With the Dead. The album is really amazing! All the songs are original except great version of Human Beinz song.

Yah, Keep On Pushin'..Mike Ripa sang...he played a Burns Bison and kept a lit cigarette in the headstock, always.  That album was scary to produce, and we were at Trod Nossell for a while with it.  We kept recording songs we had been working n for about a year or maybe two. There were many tracks to mix and some of them ended up going to Europe for Patrick Mathe's New Rose label.  Then we combined everything and rereleased all of those tracks together. Rick Sloane did some new artwork for the Criswell Predicts reissue.


5. After Dealing With the Dead you released several albums like Keep Your Cool and Read the Rules, Live - I've Just Killed a Man I Don't Want to See Any Meat, Sea Hunt and Ham and Sam Jammin'. Would you like to tell me something about this releases?

The Live LP you mention was recorded at a number of East Coast venues, and then edited together.  We owed Midnight an LP, as a contractual obligation..so that allowed us to move along. We wanted to work with the Enigma people. We released 3 LPs and and an EP with them in 4 years.  We loved working in San Marcos Texas at The Fire Station, owned by Doug Sahm.  Those Sea Hunt sessions took about 3 weeks, and we had these caterpillars take up residency on our truck, sorta like Body Snatchers.  Keep Your Cool was recorded at Trod Nossell. We love the Street Of Painted Lips jam on that LP.


6. I always liked that dark zombie atmosphere you combinated with psychedelic sounds. How did you get this kind of sound out?

Layers and layers of guitars,  vox organ and reverb.

7. If we go back a bit. Since I'm a huge underground psych fan, I would like to ask what are some of the less known psych albums that you love?

The bands that influenced us early on are no longer considered lesser known...but the early Texas punk records are favorites still, and certain west coast bands Tripsichord, Mad River, Love, Spirit..and NW favorites the Sonics, hippie commune records...MC5, Litter of and of course The Painted Ship..

Members

    Eric Stumpo
    Debora D
    John DeVault
    Albertron
    Harry Keithline
    Mike Meehan (1979 -1984)
    Alex Nagle
    John Florence
    Brian Thomas (1985)
    Brent Hosier (1985-86)
    Evan Laboissionniere
    Steve Anderson

ΤRACKS

SIDE A


01. That's Life     5:44
02. Poor Boy     4:09
03. The Beast Was An Old Tale     3:33
04. For Hillary     3:03
05. Machines     3:17
06. Face In The Box     1:25

SIDE B 


07. 11th Hour     2:09
08. Street Of Painted Lips     6:54
09. King Nine Will Not Return     4:09
10. Keep Your Cool     3:36
11. Hot Day     4:53


Label : Enigma Records  VG 50169, Virgin  VG 50169
Format : Vinyl, LP
Country : U.S.A
Made in : Greece
Release : 1985
Genre : Rock
Style : Garage Rock, Psychedelic Rock 


Monday, September 10, 2018

Spiritualized : Ladies and Gentlemen We Are Floating in Space 1997


Spiritualized are an English space rock band formed in 1990 in Rugby, Warwickshire by Jason Pierce (often known as J. Spaceman), formerly of Spacemen 3. The membership of Spiritualized has changed from album to album, with Pierce—who writes, composes and sings all of the band's material—being the only constant member.


Spiritualized have released seven studio albums. The best known and most critically acclaimed of these is 1997's Ladies and Gentlemen We Are Floating in Space, which NME magazine named as their Album of the Year.
Following a breakdown in relations between Spacemen 3 co-frontmen Peter Kember and Jason Pierce, the group's bassist Will Carruthers, drummer Jonny Mattock, and guitarist Mark Refoy were asked by Pierce to form a new group alongside local friend Steve Evans, subsequently calling themselves Spiritualized. The band


took their name from an adaptation of the text on the back label of a bottle of Pernod.
"Ladies and Gentlemen We Are Floating in Space" is the third studio album by English space rock band Spiritualized, released on 16 June 1997. The album features guest appearances from the Balanescu Quartet, The London Community Gospel Choir and Dr. John.

( Spiritualized's third collection of hypnotic headphone symphonies is their most brilliant and accessible to date.
Largely forsaking the drones and minimalistic, repetitive riffs which have characterized his work since the halcyon days of Spacemen 3, Jason Pierce re-focuses here and spins off into myriad new directions; in a sense, Ladies and Gentlemen We Are Floating in Space, with its majestic, Spector-like glow, is his classic rock album.



"Come Together" and the blistering "Electricity" are his most edgy, straightforward rockers in eons, while the stunning "I Think I'm in Love" settles into a divided-psyche call-and-response R&B groove, and the closing "Cop Shoot Cop" (with guest Dr. John) locks into a voodoo blues trance.



Lyrically, Pierce is at his most open and honest: The record is a heartfelt confessional of love and loss, with redemption found only in the form of drugs -- designed, no less, to look like a prescription pharmaceutical package, Ladies and Gentlemen is pointedly explicit in its description of drug use as a means of killing the pain on track after track.


Conversely, never before have the literal implications of the name "Spiritualized" been explored in such earnest detail -- the London Community Gospel Choir appears prominently on a number of songs, while another bears the title "No God, Only Religion," pushing the music even further toward the kind of cosmic gospel transcendence it craves.

A masterpiece.

 AllMusic Review by Jason Ankeny )

TRACKS

01."Ladies and Gentlemen We Are Floating in Space (I Can't Help Falling in Love)"    3:54
02."Come Together"         4:40
03."I Think I'm in Love"    8:10
04."All of My Thoughts"         4:36
05."Stay with Me"         5:08
06."Electricity"         3:45
07."Home of the Brave"         2:35
08."The Individual"         4:02
09."Broken Heart"         6:38
10."No God Only Religion"    4:21
11."Cool Waves"                 5:06
12."Cop Shoot Cop…"         17:00

Total length:    69:41

 
Label : Dedicated – DEDCD 034
Format : CD, Album
Country : UK
Released : 16 Jun 1997
Genre : Electronic, Rock
Style : Psychedelic Rock, Space Rock

MP3 @ 320 Size : 161 MB
FLAC  Size : 447 MB




Monday, September 03, 2018

Radio Birdman 1981 ( 2005 remastered reissue BONUS CD )


Radio Birdman was one of the first Australian independent bands to carry the punk label, along with the Saints. They were formed by Deniz Tek and Rob Younger in Sydney in 1974.The group influenced the work of many successful, mainstream bands, and are now considered instrumental in Australia's musical growth .

Deniz Tek and Rob Younger formed Radio Birdman in mid-1974 in Sydney, having recently left their bands TV Jones and the Rats respectively. The pair sought to begin a band that would challenge the commercial mainstream and be completely uncompromising. They recruited classical keyboard player Philip "Pip" Hoyle, drummer Ron Keeley and bassist Carl Rorke. The band took their name from a misheard lyric from the Stooges' song "1970" (the actual lyric is "radio burnin'").


After being rejected many times from various venues, and having resorted to putting on its own concerts in rented garages and tiny community halls, by mid 1975 Radio Birdman found an upstairs room at the Oxford Tavern in Taylor Square, Sydney. Soon, a small but growing subculture grew around Radio Birdman. This
coincided with the beginnings of the Sydney punk scene.After unsuccessfully trying several studios, Radio Birdman found a supportive recording milieu with the help of Rock Australia Magazine editor, Anthony O'Grady. They recorded an EP, Burn My Eye. and their first album Radios Appear, produced by John L Sayers and Charles Fisher at Trafalgar Studios in Annandale.

While Radios Appear (overseas version) remains the full-fledged classic by Radio Birdman, the reissue of Living Eyes shows that it was damn near as good as the first one, and maybe a bit more original.

Living Eyes was the second studio album released by Sydney, Australia punk-rock band Radio Birdman. It was the last recorded album by the band as they split up shortly after it was recorded in 1978.The album was recorded over a three-week period at the Rockfield Studios in Waleswhilst the band was on its first overseas tour, supporting the Flamin' Groovies around Britain and Europe.


Fully loaded with classic songs that inspired several generations of Australian rockers, Living Eyes is an album that has benefited greatly from modern technology as well as a little luck. Recorded at the legendary Rockfield Studios in Wales when the band went to Europe to tour with the Flamin' Groovies (their first shows outside Australia), the original master tapes disappeared before the album was released.
The band then broke up and Living Eyes ended up being mastered from a cassette. While no one really complained about the sound quality at the time, it wasn't all it could've been.
Flash forward to the '90s and the master tapes are found on a dusty shelf at Rockfield. The band bakes them up and remixes, remasters, and re-sequences the album. It is now a total monster, screaming out of your speakers with intent to do damage.

From the time Chris Masuak's stun guitar comes in at the beginning of "Hanging On," it is apparent that this is not your big brother's Living Eyes. The sound is deeper by degrees. The songs remain superb. "Crying Sun" and "Breaks My Heart" were both made classic by the New Race but rock in a slightly more tempered way here.

"More Fun" is an upbeat little punk-surf tune while "Smith & Wesson Blues" is truly chilling.
Sample lyric: "You're never alone with a Smith & Wesson, baby...." There are plenty of references to the Ann Arbor, MI, area where guitarist/songwriter Deniz Tek grew up, particularly "I-94," which was covered on the Dodge Main disc and has even inspired a website dedicated to Detroit/Australian rock & roll.


Living Eyes, unlike its predecessor, doesn't have any "there's an MC5 riff" moments. In fact, one of the four bonus tracks, "Didn't Tell the Man," finds guitarist Chris Masuak heavily influenced by the Flamin' Groovies, and it is simply a gorgeous, twangy rock song. Singer Rob Younger is as ferocious as ever, a true original to the hardcore, and Deniz Tek solidifies his place as father of real Australian rock & roll.


Radio Birdman – Living Eyes ( 2005 remastered reissue  BONUS CD )
Label : Red Eye Records – 529 441 2, Red Eye Records – RED CD 53
Format : CD, Album, Reissue, Remastered
Released : 1981
Recorded : 1978
Country : Australia
Genre : Rock
Style : Garage Rock, Punk 

    Artwork – Ray Maras
    Bass – Warwick Gilbert
    Drums – Ron Keeley
    Guitar, Backing Vocals – Chris Masuak, Deniz Tek
    Lead Vocals – Rob Younger
    Organ, Piano – Pip Hoyle
    Producer – Deniz Tek
    Written-By – Deniz Tek



DISCOGRAPHY

Studio EPs/albums

Burn My Eye EP Trafalgar Records     1976
Radios Appear LP Trafalgar Records     1977
Radios Appear LP (Sire)     1978
Living Eyes LP     1981
Zeno Beach CD and LP     2006

Live albums

More Fun! (ep)     1988
Ritualism     1996
Live In Texas     2011
Live at Paddington Town Hall     2015



     TRAXS

01. Hanging On     3:38
02. 455 SD     2:45
03. Do The Movin' Change 2:28
04. T.P.B.R. Combo     2:12
05. I 94     2:49
06. Iskender Time     1:49
07. Burn My Eye '78     1:35
08. Alien Skies     3:15
09. Time To Fall     3:11
10. Smith and Wesson Blues 2:55
11. Crying Sun     2:56
12. Breaks My Heart     3:02
13. More Fun     2:00
14. Alone In The Endzone 2:07
15. Dark Surprise     3:29
16. Didn't Tell The Man 3:12
17. Death By The Gun     3:05
18. Dark Surprise     3:56
19. Breaks My Heart     2:54
20. More Fun     2:00




Πέμπτη 25 Οκτωβρίου, Fuzz Live Music Club (Πειραιώς 209 ΠατριάρχουΙωακείμ 1, Ταύρος, Αθήνα, 210 3450817

Οι Radio Birdman, ένα από τα σπουδαιότερα και επιδραστικότερα groups της καταπληκτικής Αυστραλέζικης σκηνής των 70s-80s, επιστρέφουν στην Αθήνα, 11 χρόνια μετά την τελευταία τους επίσκεψη στα μέρη μας. Ο Deniz Tek (κιθάρα, φωνή), ο Rob Younger (φωνή), ο Pip Hoyle (πλήκτρα), μαζί με τους Jim Dickson (Survivors, Barracudas, The New Christs), Dave Kettley (The New Christs), Nick Rieth (The Celibate Rifles, The Visitors), έρχονται για να μας ξαναθυμίσουν για ποιο λόγο θεωρούνται πρωτοπόροι της high energy rock'n'roll σκηνής, την Πέμπτη 25 Οκτωβρίου, στο Fuzz Live Music Club.

Η προπώληση ξεκινάει προς 24 ευρώ και για περιορισμένο αριθμό εισιτηρίων. Μετά την εξάντλησή τους, θα συνεχιστεί στα 27 ευρώ. Στο ταμείο, η τιμή θα είναι 30 ευρώ.

Monday, August 27, 2018

Died Pretty : Free Dirt 1986



Died Pretty was formed in 1983 in Sydney after vocalist Ron Peno had left his previous band, Screaming Tribesmen. Peno had been a member of Sydney punk band The Hellcats (as Ronnie Pop, 1977), and followed with The 31st (in Brisbane, 1979–1981) and Screaming Tribesmen (Brisbane then Sydney, 1981–1983).

In April 1983, music journalist and keyboardist Frank Brunetti of Super K had formed a duo with lead guitarist and vocalist Brett Myers from The End (in Brisbane then Sydney).
Myers was a fan of American group Velvet Underground and the duo modelled themselves after experimental New York protopunk band Suicide.



Brunetti suggested Peno join as singer and their first five performances were in Brisbane under the name Final Solution, after the song by Pere Ubu.[4] Peno provided the name Died Pretty, and on drums, they recruited Rob Younger (Radio Birdman, Super K) for two months.

After various bass guitarists, Jonathan Lickliter joined and Younger was replaced by Colin Barwick both from The End with Myers.



Free Dirt is the first full-length album by Australian alternative rock band Died Pretty, released in 1986. The album was repackaged in 2008 by Aztec Music with a second CD containing seven singles and six live recordings from 1986.

The band's first full-length album found the group starting to come into its own more and more. While the various influences that can be referred to are still present, Died Pretty are starting to sound more like a group finding a distinct sound instead of taking a cue from good influences.


Helped in the studio by a variety of guests on everything from sax to pedal steel guitar, and with good, full production from Rob Younger continuing the job he started with the Pre-Deity tracks, Free Dirt is a fine, fiery effort.

"Wig-Out" serves as good an example of its quality as any -- with martial drumming and a very Celtic drinking tune atmosphere made just that much more intense by being performed on rock instruments; it shows how the band hotwires the past for its own purposes. Opening song "Blue Sky Day" is, perhaps, the band's best-yet, an energetic but never overbearing rocker with a comfortable glow and surge to it, Brett Myers' really wonderful guitar matched by the additional performances on mandolin and violin.

Personnel

    Frank Brunetti – keyboards
    Tim Fagan – saxophone
    Graham Lee – pedal steel
    Mark Lock – bass
    Brett Myers – guitar, vocals
    John Papanis – mandolin
    Ron S. Peno – vocals
    Louis Tillett – piano
    Julian Watchhorn – violin
    Chris Welsh – percussion, drums

Track listing


01. Blue Sky Day – 3:29
02. Round and Round – 2:41
03. Wig-Out – 3:06
04. Laughing Boy – 3:34
05. Through Another Door (Myers) – 3:17
06. Life to Go (Landsakes) – 5:31


07. Just Skin (Myers) – 6:37
08. The 2000 Year Old Murder – 4:31
09. Next to Nothing – 6:47
10. Stoneage Cinderella (Atkinson, Myers, Peno) – 3:19

Albums

    Free Dirt (August 1986)
    Lost (June 1988)
    Every Brilliant Eye (1990) – AUS #79[5]
    Doughboy Hollow (1991) – AUS #24[5]
    Trace (1993) – AUS #11[5]
    Sold (1996) – AUS #29[5]
    Using My Gills as a Roadmap (1998)
    Everydaydream (2000)

Label : What Goes On
Format : Vinyl, LP, Album
Made in : France
Country : Australia
Released : 1986
Genre : Rock
Style : Alternative Rock 







Saturday, August 18, 2018

MDC : Millions Of Dead Cops 1982 + Multi Death Corporation : "7" 1983 + Millions Of Dead Children / Chicken Squawk : "7" 1984 + Live At CBGB's 1983 + Stains : "7" 1980

Formed in the late 1970s as The Stains and playing their first gig under this name in August 1980, MDC were one of three pioneering hardcore punk bands in Austin, Texas, in the early '80s, alongside The Dicks and Big Boys.
These bands frequently played together and established the Austin hardcore scene.

Based in San Francisco during the '80s, MDC trumped the Dead Kennedys by performing politically charged hardcore punk that was arguably more extreme than what got the Kennedys into trouble.

Alternately known as Multi-Death Corporation, Millions of Dead Cops, or Millions of Damn Christians, the group formed in Texas in 1980 but moved to the West Coast by the time of their first release, a 1981 7"
titled "John Wayne Was a Nazi." After their album debut, 1982's Millions of Dead Cops, the band released a 1983 EP but then was silent for several years.
They released one single as the Stains in 1981, featuring a slower version of the future MDC song "John Wayne Was a Nazi" backed with "Born to Die".Both songs were later released on the debut MDC album.

During the summer of 1982 they became involved in the Rock Against Reagan Tour.
By 1982 the band had relocated to San Francisco, California, and renamed themselves MDC. By this point the band were active participants in the growing hardcore scene and released their debut LP Millions of Dead Cops on their own label, R Radical; Jello Biafra's Alternative Tentacles helped with distribution.


Their involvement in the Rock Against Reagan activities continued through 1983 and they returned to recording with the EP "Multi-Death Corporations" which was distributed in the UK by British anarcho-punk label Crass Records and R Radical in the U.S.
The EP broke new ground by addressing, in the lengthy liner notes and artwork, the growth of corporations and the violent suppression of left-wing politics in Central America.

In 1984 they released another EP, Millions of Dead Children (also known as Chicken Squawk), this time dealing with vegetarian and vegan issues via a cowpunk tune.

The album is now widely considered a punk classic, and features songs such as "John Wayne Was a Nazi", "Dick for Brains", and the harsh criticism of the police, "I Remember". Other targets of criticism devoid of irony included capitalism ("Corporate Death Burger"), homophobia ("America's So Straight"),and American culture ("Violent Rednecks").
 It was like they thought there was something to be gained politically from cops busting the heads of kids, the old Yippies routine.... [C]onfrontational barricades politics are tactics that failed, only helped those they were intended to hurt. Now that was an awful thing for me to say right? But when MDC met with Crass in England, Crass told them they were bothered by the name Millions of Dead Cops and wouldn't include them on a compilation album they were plotting unless they changed it. So Mega Death Corporation was born.


Their third album, This Blood's for You, followed in 1987 and saw them continuing to showcase orthodox hardcore punk style and classic rock, including a cover of the Cream song "Politician". Themes again included intervention in Central America and criticism of the Reagan Administration. MDC toured Europe in 1988, where the live album Elvis - In the Rhineland was recorded. The band released the album Metal Devil Cokes in 1989 with guitar player Eric Calhoun and bassist Joe Strom.

The 1990s opened with a number of lineup changes, swiftly followed by the 1991 album Hey Cop! If I Had a Face Like Yours..., featuring Bill Collins (formerly of Fang, Special Forces, Intensified Chaos) on guitar and Matt Freeman (of Operation Ivy and Rancid) on bass. Collins wrote all the music on the album and sang three of the songs. This lineup toured the US and Europe. The acclaimed Shades of Brown album appeared in 1993, released by New Red Archives in the U.S. and We Bite in Europe.

MDC's singer, Dave Dictor, returned with an entirely new backing line-up in 2000, which included Long Island musicians Matt Van Cura,(bass) Erik Mischo,(guitar) and John Soldo,(Drums). MDC released a new album, Magnus Dominus Corpus, in 2004.


In November 2016, MDC released a video for the forthcoming release of a new recording of "Born to Die",[7] made to protest the Donald Trump presidential campaign. The song's slogan "No Trump, no KKK, no fascist USA" was reported to be heard at anti-Trump demonstrations in Chicago.

Singles/EPs

    Stains - "John Wayne was a Nazi" 7", R Radical Records, 1980
    Millions of Dead Cops - "John Wayne was a Nazi" 7", R Radical Records, 1981
    Multi-Death Corporations - "Multi-Death Corporations" EP, Crass Records, 1983
    Millions of Dead Children - "Chicken Squawk" EP, R Radical Records, 1984

Albums

    Millions of Dead Cops (1982)
    Smoke Signals (1986)
    This Blood's for You (1987)
    It's The Real Thing (1989)
    Hey Cop, If I Had A Face Like Yours (1991)
    Shades of Brown (1993)
    Magnus Dominus Corpus (2004)
    Mein Trumpf (2017)


M.D.C.– Millions Of Dead Cops - Millennium Edition
Label : Beer City Records – BCR175-2
Format : CD, Album, Reissue, Remastered
Country : US
Released : 28 Nov 2014
Genre : Rock
Style : Hardcore, Punk

Tracklist

    Millions Of Dead Cops 1982

 

01. Business On Parade    
02. Dead Cops / America's So Straight    
03. Born To Die    
04. Corporate Deathburger    
05. Violent Rednecks    
06. I Remember    
07. John Wayne Was A Nazi    
08. Dick For Brains    
09. I Hate Work    
10. My Family Is A Little Weird    
11. Greedy & Pathetic    
12. Church And State    
13. Kill The Light    
14. American Achievements
    
    Multi Death Corporations  : "7" 1983


15. Multi Death Corporations    
16. Selfish Shit    
17. Radioactive Chocolate    
18. No Place To Piss
    
    Millions Of Dead Children / Chicken Squawk  : "7" 1984


19. Chicken Squawk    
20. Death Of A Nun    
21. Kleptomaniac    
22. (R)Evolution In Rock    
23. Pay To Come Along    
24. Pecking Order
   
        MDC - Live At CBGB's 1983, Beer City Records BCR190-1, 2015 (Limited to 1000 copies, on translucent green vinyl)



25. Intro    
26. Multi Death Corporation    
27. Selfish Shit    
28. Pay To Come Along    
29. Dick For Brains    
30. I Remember    
31. John Wayne Was A Nazi    
32. Warning To Bouncer    
33. Born To Die    
34. Radioactive Chocolate    
35. (R)Evolution In Rock    
36. Corporate Deathburger    
37. Greedy & Pathetic    
38. Church And State (Intro)    
39. Church And State    
40. Business On Parade    
41. Dead Cops / America's So Straight
   
    Stains  : "7" 1980

42. John Wayne Was A Nazi    
43. Born To Die

Credits

    Backing Vocals [Back-up Vocals] – Buxf, J.J., Tammy
    Bass [On Half The Album] – Franc'o, Mike Offender
    Cover [Front Cover Art Adapted By] – Carlos Lowry
    Cover [Original Front Cover Art] – Raul Valdez (2)
    Drums [Stix] – Alschvitz
    Engineer [Mastering Engineer] – Eric Wolfe
    Engineer [Recording Engineer] – Dan Yaney
    Guitar [Gits] – Ron
    Vocals [Guts] – David

 MDC – John Wayne Was A Nazi  Lyrics


John Wayne was a Nazi
He liked to play S.S.
He had a picture of Adolph ole' boy
Tucked in his cowboy vest.

Well, he would string up your mama
Sure he would torture your pop
Sure he would march you up to the wall
Sure he would hang you by your last ball.

He was a nazi!
But not anymore
He was a nazi, life evens the score
He was a nazi!
But not anymore
He was a nazi

John Wayne slaughtered our Indian brothers
Burned their villages and raped their mothers
Now he has given them a white man's lord
"Live by this, or die by my sword!"

He was a nazi!
He's not anymore
He was a nazi, life evens the score
He was a nazi!
But not anymore
He was a nazi

John Wayne killed a lot of gooks in war.
We don't give a fuck about John anymore.
We know his tale of blood and gore,
Just another pawn for the capitalist whore.

He was a nazi!
He's not anymore
He was a nazi, life evens the score
He was a nazi!
But not anymore
He was a nazi

John Wayne wore an army uniform
Didn't like us reds and fags that didn't conform
Great White Hero had so much nerve,
Lived much longer than he deserved

You were a nazi!
You're not anymore
You were a nazi, life evens the score
You were a nazi!
But not anymore
You were a nazi

Late show Indian or Mexican dies
Klan propaganda legitimized
Hypocrite coward never fought a real fight
When i see John i'm ashamed to be white
Death Bed Christian of this you avowed
If god's alive, you'll roast in Hell
Well done, we've got no regrets,
As long as you died a long and painful death.

You were a nazi!
You're not anymore
You were a nazi, death evened the score
You were a nazi!
But not anymore
You were a nazi!
Death evened the score,
You're dead, dead, dead.





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Milwaukee, WI 53201-1759
Ph. 414.672.9948
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MP3 @ 320 Size : 164 MB
FLAC  Size : 470 MB




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