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DAMGOOD 528CD
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"This album follows CTMF's Last Punk Standing LP and is something of a left turn. What prompted the decision to make a blues album? I've been making blues recordings since the early 1980s. We've made a few Chatham Singers LPs over the years and I've been meaning to record another and just got round to it. I'm still making regular CTMF recordings at the same sessions it's just the fun of working with different sounds. I was listening to Slim Harpo ('Got Love If You Want It') in a cafe, Jim form Ranscombe Studios was having a coffee and I said 'this is a great song, we should try to get that echo chamber going.' Next day he said he'd been messing with it and I said 'right, let's record!' How does this differ from the previous two Chatham Singers albums? Less country, no poetry, more developed sound, otherwise the same. It features fantastic blues harp playing by guest player Jim Riley, tell us a bit about him. Jim plays with us on the other LPs as well, I just wanted to highlight that a bit on this LP. I've known Jim since '77 when he was in the local R&B group, Wipeout, and I was in the local punk outfit The Pop Rivets. we played together a few times and became pals back then. Jim now runs the local studio where we record with my drum kit from Thee Mighty Caesars. You've really captured that authentic gritty urban blues sound. Gearheads will want to know what guitars and amps you used? My same old Selmer Truevoice guitar 15 amp I've used since the Milkshakes, a 15 Selmer bass combo (15 quid from Rochester flea market. A '59 Jazzmaster guitar and an old Hagstrom bass that Thee Headcoats got on the cheap in Seattle What do you think those other Kent-born musicians, Keith Richards and Mick Jagger would make of the album and how does it compare to their work? We got the sound of that Chess Studios echo chamber, so I guess they'd be pretty envious. I love the Rolling Stones when they were R&B fans, not so much after the rock set in."
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DAMGOOD 528LP
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"This album follows CTMF's Last Punk Standing LP and is something of a left turn. What prompted the decision to make a blues album? I've been making blues recordings since the early 1980s. We've made a few Chatham Singers LPs over the years and I've been meaning to record another and just got round to it. I'm still making regular CTMF recordings at the same sessions it's just the fun of working with different sounds. I was listening to Slim Harpo ('Got Love If You Want It') in a cafe, Jim form Ranscombe Studios was having a coffee and I said 'this is a great song, we should try to get that echo chamber going.' Next day he said he'd been messing with it and I said 'right, let's record!' How does this differ from the previous two Chatham Singers albums? Less country, no poetry, more developed sound, otherwise the same. It features fantastic blues harp playing by guest player Jim Riley, tell us a bit about him. Jim plays with us on the other LPs as well, I just wanted to highlight that a bit on this LP. I've known Jim since '77 when he was in the local R&B group, Wipeout, and I was in the local punk outfit The Pop Rivets. we played together a few times and became pals back then. Jim now runs the local studio where we record with my drum kit from Thee Mighty Caesars. You've really captured that authentic gritty urban blues sound. Gearheads will want to know what guitars and amps you used? My same old Selmer Truevoice guitar 15 amp I've used since the Milkshakes, a 15 Selmer bass combo (15 quid from Rochester flea market. A '59 Jazzmaster guitar and an old Hagstrom bass that Thee Headcoats got on the cheap in Seattle What do you think those other Kent-born musicians, Keith Richards and Mick Jagger would make of the album and how does it compare to their work? We got the sound of that Chess Studios echo chamber, so I guess they'd be pretty envious. I love the Rolling Stones when they were R&B fans, not so much after the rock set in."
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DAMGOOD 289CD
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"Collection of Revillos! rarities. So many years after the demise of The Revillos, can there be any music rotting in the vaults that hasn't already been regurgitated... I thought we had pretty much exhausted our spare tunes with the From The Freezer CD back in 1996. But, shortly before he passed away, I convened with guitarist Kid Krupa to review some of our still-parked material, and we were encouraged enough to revisit the exercise. As we made our selection, the brief we gave ourselves was to not present yet more versions of our already over-represented songs like Motorbike Beat or whatever, but instead to showcase as many rare, bizarre, unreleased out-takes or alternative versions as possible. This compilation has only been possible by sifting through every one of my boxes of tapes from the shed and the attic to rediscover such oddities. I also checked tracks from some other band members and associates. Understandably, the sonic quality of most of this material reflects its provenance, yet their patent rarity warrants these tracks' inclusion: indeed, almost all the material is culled from solitary existing cassette sources. With a lot of damage, including glitches, drop-outs and missing sections, many of these performances were only preserved owing to the digital diligence of Kid Krupa; plus post-production work by myself and Vince Santini; with further mastering tricks squeezed out by Turan Audio in Oxford. The band line-up was quite fluid across the timeframe of these recordings, which were captured between 1979 and 1994 but, generally, Eugene contributes vocals and sax, Fay sings and plays Farfisa and I play Premier drums on all tracks. Additionally, all songs feature Kid Krupa on guitar and Vince Santini on bass unless otherwise noted. Backing vocals are supplied by Revette Cherie, joined by either Babs or Drax -- except for Scuba Scuba and I Wanna Be Your Man -- which feature Frankie and Polly Revette."
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DAMGOOD 289LP
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LP version. "Collection of Revillos! rarities. So many years after the demise of The Revillos, can there be any music rotting in the vaults that hasn't already been regurgitated... I thought we had pretty much exhausted our spare tunes with the From The Freezer CD back in 1996. But, shortly before he passed away, I convened with guitarist Kid Krupa to review some of our still-parked material, and we were encouraged enough to revisit the exercise. As we made our selection, the brief we gave ourselves was to not present yet more versions of our already over-represented songs like Motorbike Beat or whatever, but instead to showcase as many rare, bizarre, unreleased out-takes or alternative versions as possible. This compilation has only been possible by sifting through every one of my boxes of tapes from the shed and the attic to rediscover such oddities. I also checked tracks from some other band members and associates. Understandably, the sonic quality of most of this material reflects its provenance, yet their patent rarity warrants these tracks' inclusion: indeed, almost all the material is culled from solitary existing cassette sources. With a lot of damage, including glitches, drop-outs and missing sections, many of these performances were only preserved owing to the digital diligence of Kid Krupa; plus post-production work by myself and Vince Santini; with further mastering tricks squeezed out by Turan Audio in Oxford. The band line-up was quite fluid across the timeframe of these recordings, which were captured between 1979 and 1994 but, generally, Eugene contributes vocals and sax, Fay sings and plays Farfisa and I play Premier drums on all tracks. Additionally, all songs feature Kid Krupa on guitar and Vince Santini on bass unless otherwise noted. Backing vocals are supplied by Revette Cherie, joined by either Babs or Drax -- except for Scuba Scuba and I Wanna Be Your Man -- which feature Frankie and Polly Revette."
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DAMGOOD 097CD
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"Reissue of our classic Revillos! compilation. Twenty track CD compilation of rare and unreleased gems from The Revillos! archives including the original versions of their first two singles 'Wheres The Boy For Me' and 'Motorbike Beat'. Great fold-out booklet with loads of rare photos and Revealing facts too! After the blow out of the Rezillos, Sire (their label) agreed to let Eugene and Fay out of their contract on the condition that they didn't use the 'Rezillos' name. So, Eugene came up with a new name - The Revillos! Virgin Records were interested enough to fund a new label specifically for the band (Snatzo) which operated under Virgin's DinDisc subsidiary. The deal was signed in June 1979 and there was a lot of media interest. Eugene Reynolds, Fay Fife, and Rocky Rhythm formed the core of the Revillos! The first incarnation of the band featured original Rezillo-member Hi Fi Harris on guitar, Felix on bass, and Babs and Cherie on backing vocals. This line-up recorded the early singles 'Where's The Boy For Me?', 'Motorbike Beat', and 'Scuba Scuba'. 'Rocky Rhythm' is credited as 'Robo Rhythm' on the first two singles, and the backing vocal credit on 'Motorbike Beat' goes to The Revettes (Jane White, Jane Brown, Tricia Bryce)."
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DAMGOOD 288CD
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"The Revillos! had lain dormant since 1985, but nine years on, we were asked to reform especially for a Japanese tour. All gigs were filmed and the Tokyo performances were captured on an 8-track machine. Finally coming out some two years later in 1996, the resultant album -- on the Vinyl Japan label -- missed off six songs. Most of the original, unreleased mixes became lost. In the ensuing period, Krupa became a very talented producer. In late-2004, he discovered the tapes of all our original mixes, which had been mislaid for ten years. Krupa borrowed my archive of Japanese footage plus audience cassettes, out-takes, and assorted live monitor mixes. Using our rediscovered original mixes as the core, he planned to rebuild the Tokyo show -- pulling the missing elements from these disparate video and audio sources -- using digital technology that was simply not available to us back in 1994. I promised Krupa I'd oversee the release when he'd finished the audio. Sadly, Krupa passed away a few months later, early in 2005. Checking the work on his computer, I found no trace of the Japanese recordings on the hard disk, nor the original masters to which he had alluded. Years went by before I felt up to sifting through the many back-up CDs of Krupa's production and recording output. Eventually I loaded some unmarked data onto the computer and there they were our original mixes transferred to digital! Krupa was keen to see this project through, but his work on compiling the material was still very much unfinished. It was rough, but all there: all the songs, all the original audience response, and even the inter-song banter -- some of which Eugene and Fay had spoken in Japanese. But it had not been segued back into order. Much reconstruction work and EQ-ing was still needed. Fulfilling my commitment, I have personally overseen this restoration. These tapes deserve to be aired, preserving as they do Krupa's final tour with The Revillos." --Rocky Rhythm, London 2019
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DAMGOOD 288LP
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LP version. "The Revillos! had lain dormant since 1985, but nine years on, we were asked to reform especially for a Japanese tour. All gigs were filmed and the Tokyo performances were captured on an 8-track machine. Finally coming out some two years later in 1996, the resultant album -- on the Vinyl Japan label -- missed off six songs. Most of the original, unreleased mixes became lost. In the ensuing period, Krupa became a very talented producer. In late-2004, he discovered the tapes of all our original mixes, which had been mislaid for ten years. Krupa borrowed my archive of Japanese footage plus audience cassettes, out-takes, and assorted live monitor mixes. Using our rediscovered original mixes as the core, he planned to rebuild the Tokyo show -- pulling the missing elements from these disparate video and audio sources -- using digital technology that was simply not available to us back in 1994. I promised Krupa I'd oversee the release when he'd finished the audio. Sadly, Krupa passed away a few months later, early in 2005. Checking the work on his computer, I found no trace of the Japanese recordings on the hard disk, nor the original masters to which he had alluded. Years went by before I felt up to sifting through the many back-up CDs of Krupa's production and recording output. Eventually I loaded some unmarked data onto the computer and there they were our original mixes transferred to digital! Krupa was keen to see this project through, but his work on compiling the material was still very much unfinished. It was rough, but all there: all the songs, all the original audience response, and even the inter-song banter -- some of which Eugene and Fay had spoken in Japanese. But it had not been segued back into order. Much reconstruction work and EQ-ing was still needed. Fulfilling my commitment, I have personally overseen this restoration. These tapes deserve to be aired, preserving as they do Krupa's final tour with The Revillos." --Rocky Rhythm, London 2019
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DAMGOOD 523CD
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"Debut studio album from retro Italian powerpop band Zac! Features members of Giuda."
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DAMGOOD 523LP
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LP version. "Debut studio album from retro Italian powerpop band Zac! Features members of Giuda."
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DAMGOOD 519CD
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"Kiss My Ring is the fourth full-length studio album from London-based rhythm 'n' blues garage rockers, the follow-up to 2017's Goin' Back To Wurstville. It features fourteen tracks, a mix of brand new original compositions and the band's eclectic choice of covers. The album was recorded at London's legendary Gizzard Studios by Ed Deegan (Holly Golightly). The band truly represents the best of multi-cultural London, the members having a mix of Caribbean, French, Japanese and Spanish heritage. With a repertoire influenced by many of the great songs of the '50s and '60s made to sound fresh and new to modern ears, you won't be able to help but move your feet when the Cumberland Three are blasting out of your speakers. The King howls like Screaming Jay Hawkins with Bo Diddley chasing his coat-tail whilst Andre Williams tries to offer up some of his bacon fat, and the Trashmen do the Surfin' Bird behind him. This is a man that never stops shakin' and twistin' and groovin'. The Cumberland Three (former members of punk rock bands, including The Parkinsons) rock up a storm with their own branded mix of vintage rockabilly, desperate rock 'n' roll and stomping soul, with fire, energy, gusto and, above all, fun! The band has played pretty much everywhere in Europe, plus Australia, the USA and Japan, and more recently in China (Shanghai, Beijing, Nanjing, Wuhan, and elsewhere from big cities to rural villages), the Middle East, Turkey, and recently the South Pacific, and have shared a stage with the likes of the Standells, Pretty Things, Trashmen, and the Mummies, to name a few. You might have catch them starring on BBC's TV series UK's Best Part-Time Band (presented by Rhod Gilbert), and they also have 2 songs in the soundtrack of the Hollywood movie Death Race 2050 (remake of Death Race 2000) produced by the legendary Roger Corman! Equal parts rock 'n 'roll and soul, with a healthy dose of blues and rockabilly and a good bit of punk rock attitude!"
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DAMGOOD 519LP
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LP version. "Kiss My Ring is the fourth full-length studio album from London-based rhythm 'n' blues garage rockers, the follow-up to 2017's Goin' Back To Wurstville. It features fourteen tracks, a mix of brand new original compositions and the band's eclectic choice of covers. The album was recorded at London's legendary Gizzard Studios by Ed Deegan (Holly Golightly). The band truly represents the best of multi-cultural London, the members having a mix of Caribbean, French, Japanese and Spanish heritage. With a repertoire influenced by many of the great songs of the '50s and '60s made to sound fresh and new to modern ears, you won't be able to help but move your feet when the Cumberland Three are blasting out of your speakers. The King howls like Screaming Jay Hawkins with Bo Diddley chasing his coat-tail whilst Andre Williams tries to offer up some of his bacon fat, and the Trashmen do the Surfin' Bird behind him. This is a man that never stops shakin' and twistin' and groovin'. The Cumberland Three (former members of punk rock bands, including The Parkinsons) rock up a storm with their own branded mix of vintage rockabilly, desperate rock 'n' roll and stomping soul, with fire, energy, gusto and, above all, fun! The band has played pretty much everywhere in Europe, plus Australia, the USA and Japan, and more recently in China (Shanghai, Beijing, Nanjing, Wuhan, and elsewhere from big cities to rural villages), the Middle East, Turkey, and recently the South Pacific, and have shared a stage with the likes of the Standells, Pretty Things, Trashmen, and the Mummies, to name a few. You might have catch them starring on BBC's TV series UK's Best Part-Time Band (presented by Rhod Gilbert), and they also have 2 songs in the soundtrack of the Hollywood movie Death Race 2050 (remake of Death Race 2000) produced by the legendary Roger Corman! Equal parts rock 'n 'roll and soul, with a healthy dose of blues and rockabilly and a good bit of punk rock attitude!"
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DAMGOOD 522CD
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"Fabienne Delsol's new album Four is a culmination of a year or so's activity at Toerag studios. The big change this time around is the co-production by Fabienne alongside Luke Oldfield, himself a long-time engineer and producer at Toerag. Though swathed in the same toil and tears of her previous three solo albums, Four has a more nuanced and mature sound, rooted in psych whilst retaining some snappy French pop and '60s garage styles of auld. There is also a mass of complimentary instruments, in particular the Mellotron is a welcome and worthy addition to many of the tracks. The contemporary and original songs 'I'll Never Be Lonely Again' and 'See How They Run' are masterfully crafted for Fabienne's distinct delivery, and both feature a strong '60s groove in-keeping with her trademark sound, the latter being a contender for the highlight of this classy album. As is archetypal of a Fabienne Delsol LP, carefully chosen covers are lovingly interpreted via Fabienne's delicate voice - take Lyme and Cybelle's 'Follow Me', itself a wonderful heavy-handed garage-folk jaunt, or the stunning take on the Human Beinz' second album opener 'Face', a spellbindingly solid piece - praise indeed to the assembled players on both. A lifelong devotee of "the Quo", it's no surprise then to hear Fabienne tackling a Spare Parts album track, only here 'When I Awake' is pared-back and sparkling, whilst Francoise Hardy's smouldering French classic 'J'ai Fait Du Lui Un Reve' is reimagined with a sumptuous air of the ethereal, with stark emotion in that voice and slowly building up tonal layers as the track progresses -- you'll struggle to hear anything as haunting this year."
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DAMGOOD 522LP
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LP version. "Fabienne Delsol's new album Four is a culmination of a year or so's activity at Toerag studios. The big change this time around is the co-production by Fabienne alongside Luke Oldfield, himself a long-time engineer and producer at Toerag. Though swathed in the same toil and tears of her previous three solo albums, Four has a more nuanced and mature sound, rooted in psych whilst retaining some snappy French pop and '60s garage styles of auld. There is also a mass of complimentary instruments, in particular the Mellotron is a welcome and worthy addition to many of the tracks. The contemporary and original songs 'I'll Never Be Lonely Again' and 'See How They Run' are masterfully crafted for Fabienne's distinct delivery, and both feature a strong '60s groove in-keeping with her trademark sound, the latter being a contender for the highlight of this classy album. As is archetypal of a Fabienne Delsol LP, carefully chosen covers are lovingly interpreted via Fabienne's delicate voice - take Lyme and Cybelle's 'Follow Me', itself a wonderful heavy-handed garage-folk jaunt, or the stunning take on the Human Beinz' second album opener 'Face', a spellbindingly solid piece - praise indeed to the assembled players on both. A lifelong devotee of "the Quo", it's no surprise then to hear Fabienne tackling a Spare Parts album track, only here 'When I Awake' is pared-back and sparkling, whilst Francoise Hardy's smouldering French classic 'J'ai Fait Du Lui Un Reve' is reimagined with a sumptuous air of the ethereal, with stark emotion in that voice and slowly building up tonal layers as the track progresses -- you'll struggle to hear anything as haunting this year."
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7"
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DAMGOOD 526EP
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"New limited edition 7" EP from CTMF! 600 copies on black vinyl! In April CTMF recorded a session for Marc Riley's BBC 6Music show. We're releasing the recordings on a new 7" EP. ''When You Stop Loving Me' was a 45 for Thee Headcoats on Sub Pop Records in the '90s. In my view it's a top tune that hasn't been played live for going on 20 years so we took this opportunity to re-introduce it. 'My Love Was Felled' -- this track nearly made it onto the new LP but didn't fit the running order I wanted. 'Hurt Me' is a great track by Thee Headcoatees. For some reason I never sang a version. I decided to travel back in time and give it a shot. In my view i do a great job! 'Pretend' is another track of Thee Headcoatees that I thought we could have a shot at. Despite being brought up on Sgt. Pepper and the Jimi Hendrix Experience we don't record much psychedelic stuff but here's our splendid rendition of another hit tune." --Billy Childish, July 2019
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LP
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DAMGOOD 518LP
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LP version. "'You're the One I Idolise': This is a love song, along the lines of some of the ballads we used to do in the Milkshakes -- inspired by Arthur Alexander. There also seems to be some Richard Hell in there (the Voidoids have been a big inspiration over the years (I saw them supporting the Clash at Hastings Pier Pavilion in '77. 'Like an Inexplicable Wheel': The strangest thing in life is time, not clocks but that there was a past and there will be a future (apparently). Life seems to be an inexplicable wheel, and I thought there should be a pop song (or two) about that. 'Last Punk Standing': A more CTMF sounding track. This should really be called 'Who'll be the Last Punk Standing?' but it looked better as a shortened title. Again it's about time, and knowledge running out. When a generation passes there's no one left to explain the true nature of their experience, eg. those who fought in WW2 are all but gone and that's how we get the rise of the new right: we learn from history that we don't learn from history. Who'll be left to pass on the essence of what punk was about -- home-made, please yourself music. PS: the character Roberta, is from a Leadbelly tune -- I thought it nice to have her and Mark E. Smith in the same pop song (Mark was still with us when we recorded this number).' --Billy Childish, May 2019"
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DAMGOOD 512LP
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"The crucial ingredients of The Prisoners, Prime Movers, Solarflares and The Gaolers extracted and squeezed into one stripped down power trio... Graham Day, Allan Crockford and Wolf Howard have been intermittently blasting out their muscular version of Medway garage-rock (tm) in various combinations and guises over a period of more than 30 years, releasing dozens of albums between them. Graham and Allan were in The Prisoners (82-86), before forming The Prime Movers with Wolf in 1988, releasing 3 albums before they split in 1993. The trio were re-united in 1999 as the Solarflares, releasing another 5 albums until once again calling it a day in 2004. They also found time to play in various pairings over that period in the original line-up of The James Taylor Quartet and Goodchilde (Allan and Wolf), and Billy Childish's Buff Medways (Graham and Wolf). These days Graham and Wolf also play cinematic instrumentals in The Senior Service, and Allan leads psych-popsters The Galileo 7 (both bands also on Damaged Goods). The three re-united as a live band in 2013. The Forefathers formed around the idea that the time was right for rifling through the Graham Day Songbook and delivering a 'best of...' set: stripped down live versions of the best of The Prisoners, The Prime Movers, The Solarflares and Graham's most recent band, The Gaolers. Recent gigs have proved that time has not dimmed their fire, energy and passion. If anything, their live performances have been more ferocious than ever. One school of thought says that The Forefathers are essentially a 'tribute act' -- a tribute to themselves and their shared musical history... if that is true, they are the purest and best tribute act in existence -- no one delivers a Graham Day song like Graham Day, Allan Crockford and Wolf Howard."
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DAMGOOD 515LP
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"Heritage can be a harsh mistress. Ex-This, formerly of That. Past acclaim -- particularly when it's attached to some of the most visceral and elemental rock 'n' roll of one's generation -- can become both a help and a hindrance; impossible to shake off but crucial to continued acceptance in the fickle world of pop music. Not that this is any concern of The Galileo 7 of course. As the title of their sixth album proudly proclaims, There Is Only Now, and this record is nothing if not Now! From humble beginnings 10 years ago as a DIY outlet for Allan Crockford's songwriting ambitions (he was rarely afforded such luxuries as bass-wielding anchorman of The Prisoners, JTQ, Prime Movers, Solarflares et al) The Galileo 7 has evolved into a powerhouse live act delivering the kind of lysergically-inclined technicolour garage-rock rarely witnessed these days; one born of experience, exploration and an enjoyment of one's own craft. Following a period of fluctuation, the present line-up stabilised around Crockford (vocals, guitar), Paul Moss (bass, vocals), Viv Bonsels (keyboard, vocals) and the busiest man in garage, Matthew 'Mole' Lambert (drums, vocals) -- yep, there are a lot of vocals in the mix here and the record is all the brighter for it. The G7's long-players since 2016's storming 'live in the studio' set Live-O-Graphic have carried way more clout as a result of this newfound energy, breathing fresh life into Crockford's songs as the songs themselves delve ever more skillfully into a pool populated with Dandyish psychedelic pop, British Invasion muscle, new-wave sparkle and that ever-present Medway magic."
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DAMGOOD 514LP
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"Johnny Moped's first album since 2016's It's A Real Cool Baby! Time flies! It's three years since the band's last album, It's A Real Cool Baby, but the band have been busy in the meantime. Following the amicable departure of founding member Dave Berk, they welcomed Marty Love as their new drummer. Since then the band have had successful tours of the UK, Germany, Holland and Scandinavia. They've had prestigious slots at Blackpool's famous Rebellion Festival, recorded radio sessions for Marc Riley's BBC 6Music Show, and played a storming set at Damaged Goods 30th Anniversary show at London's Koko last September along with touring with The Damned and a headline Christmas show at The Lexington. A biography of the band is currently being written. More details to follow on that nearer to publication date. There's even talk of gigs in the US and Japan in the not too distant future. Fingers crossed eh So what can we tell you about the new LP? Well it has 14 tracks including recent sold out single 'Catatonic'. There's a guest appearance from none other than Captain Sensible, a longtime friend and champion of the band. The original Mopeds Johnny and Slimy Toad have been joined by long time members, Jacko Pistorious, Rock N Roll Robot (also know as Rob from legendary Ska/Punk band 'Case') and Marty Love for the new album. It was recorded at Panther Studios, Reigate and produced by longtime associate Dick Crippen."
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3LP
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DAMGOOD 499LP
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Triple LP version. "How did Billy come to be? Holed away in the distant inter tidal marshland of mid-70s Kent, breaking rocks in the hot sun as a teenage dockland stonemason, undiagnosed dyslexia and general insubordination denying him the educational path he might have taken, Childish took the punk gospel Malcolm McLaren and the Sex Pistols preached in 1976 as revealed scriptural truth. Forty-two years later Childish is the last man standing, the most enduring, uncorrupted and prolific of the class of '77. And some heroic fool has now tried to sum him up in a mere forty-eight songs, from the thousand or so he has recorded. This compilation provides tiny tasters of each of Childish's phases, and some snippets of short-lived side-projects too. Administered correctly, it will make an addict of you. You have been warned. Here's a field guide to the many faces of Billy Childish."
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DAMGOOD 499CD
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"How did Billy come to be? Holed away in the distant inter tidal marshland of mid-70s Kent, breaking rocks in the hot sun as a teenage dockland stonemason, undiagnosed dyslexia and general insubordination denying him the educational path he might have taken, Childish took the punk gospel Malcolm McLaren and the Sex Pistols preached in 1976 as revealed scriptural truth. Forty-two years later Childish is the last man standing, the most enduring, uncorrupted and prolific of the class of '77. And some heroic fool has now tried to sum him up in a mere forty-eight songs, from the thousand or so he has recorded. This compilation provides tiny tasters of each of Childish's phases, and some snippets of short-lived side-projects too. Administered correctly, it will make an addict of you. You have been warned. Here's a field guide to the many faces of Billy Childish."
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DAMGOOD 498LP
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"Holly Golightly is back... With her first full band album since 2015's Slowtown Now! Do The Get Along features 12 songs performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar) and Bradley Burgess (guitar). Alongide nine original tracks there are three choice covers - 'Satan is His Name' by Steve King & The Echelons, 'Love (Can't You Hear Me)' by the Knight Bros., and 'I Don't Know', originally recorded by Ruth Brown. Holly first came to musical prominence as a member of Thee Headcoatees, a Billy Childish/Thee Headcoats all-girl splinter group in 1991. Four years later she broke away from the garage punk scene with the release of her debut solo album The Good Things, which featured a mix of folk, early electric blues, & '60s beat influenced rock 'n' roll. It's a template that she's honed over the course of 13 solo albums, along the way impressing celebrity fans such as Jim Jarmusch (Holly's track 'Tell Me Now So I Know' featured as the main title theme in his Broken Flowers movie), and most notably Jack White who duetted with Holly on 'It's True That We Love One Another', the final track on the classic White Stripes album Elephant. Holly's been busy over the last decade as half of blues/Americana duo Holly Golightly & The Brokeoffs (The Brokeoffs being multi-instrumentalist Lawyer Dave). The pair have released a string of well received albums, and undertaken many tours on both sides of the Atlantic."
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2CD
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DAMGOOD 500CD
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"Seems like only yesterday but it's 30 years since the first Damaged Goods release! As part of the anniversary celebrations we're releasing this compilation bringing together a selection of top tracks, deep cuts, lost gems and personal favourites. Punk, garage and indie are all well represented, with artists including Thee Headcoats, Holly Golightly, Johnny Moped, Manic Street Preachers, Cowbell, Pete Molinari, Fabienne Delsol, Thee Dagger Debs and many more! The past is a foreign country and there's certainly been many changes in the musical climate since 1988. Formats have come and gone (and returned!). Online, digital and streaming music were all pure science fiction then. But good music is as they say timeless. With this in mind we bring you some of the best music Damaged Goods Records has released since its humble beginnings in Ian Damaged's front room. With 500 releases to date it was difficult to whittle this collection down onto two pieces of vinyl and one shiny compact disc but we're happy with the result. As a handy best-of or taster for further investigation we hope you'll enjoy this selection. Place it on your turntable, crank up the volume and enjoy!"
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2LP
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DAMGOOD 500LP
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Double LP version. "Seems like only yesterday but it's 30 years since the first Damaged Goods release! As part of the anniversary celebrations we're releasing this compilation bringing together a selection of top tracks, deep cuts, lost gems and personal favourites. Punk, garage and indie are all well represented, with artists including Thee Headcoats, Holly Golightly, Johnny Moped, Manic Street Preachers, Cowbell, Pete Molinari, Fabienne Delsol, Thee Dagger Debs and many more! The past is a foreign country and there's certainly been many changes in the musical climate since 1988. Formats have come and gone (and returned!). Online, digital and streaming music were all pure science fiction then. But good music is as they say timeless. With this in mind we bring you some of the best music Damaged Goods Records has released since its humble beginnings in Ian Damaged's front room. With 500 releases to date it was difficult to whittle this collection down onto two pieces of vinyl and one shiny compact disc but we're happy with the result. As a handy best-of or taster for further investigation we hope you'll enjoy this selection. Place it on your turntable, crank up the volume and enjoy!"
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LP
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DAMGOOD 096LP
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"**Finally Out Of Moth Balls!** **Reissue Of Thee Headcoats' 1996 Classic Lp Featuring Some Of Their Finest Cuts!** Thee Headcoats were mainly Billy Childish (Git/Vox) Bruce Brand (Drums) and Johnny Johnson (bass), they formed in 1989 after Billy's previous band Thee Mighty Caesers gave up the ghost. By 1992 they had already released something like 6 albums and 15 singles. Lots more releases followed including this great LP In Tweed We Trust, originally released in 1996, the follow up to the equally great Conundrum. Thee Headcoats carried on touring and releasing records in every corner of the world until mid-2000 when they called it a day. During the '90's I must have seen them 60 times, I even went over to Japan with them in 1993. There was something really natural about them, no bullshit. We did the 'We hate The Fuckin' NME' single after NME journo Johnny Cigarettes walked out of their gig in Archway after insisting that he should get in for free as he was from the NME and then reviewing Thee Headcoatees by saying there were no girls in the band (he left before they came onstage!!)."
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LP
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DAMGOOD 496LP
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"Medway garage upstarts! Debut LP! The Shadracks are a three-piece rock n' roll group hailing from Medway, Kent, with Babylonian overtones. Drawing lyrics from the forgetfulness and lost hope the group aims to play 40 years in the past, but with modern precision. The origins of the group date back over 6 months when Huddie Shadrack and Ellisa Abednego had a brief encounter in deserted park land. With a sheared an interest in incompetent punk and beat music it became paramount that they form a group, and quickly. At that very moment they heard the dulcet twang of old onion strings being plucked in the near versinity. Scouring the herbaceous borders the two friends happened upon Elle Meshack, harp in hand. Could she fix them into shape? The answer was 'yes!' So via a frosty garage in upper Strood The Shadracks' sound came into being. After just two rehearsals the cocky kids decided it was high time they recorded a debut LP. And so it came to pass."
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