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DAMGOOD 559CD
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"I like this album, Johnny hates it. But why? I think it's more 'Johnny Moped' than any other album out there. What other album has entirely penned JM songs/ditties like 'Soldiers' and 'Moped crash' plus ad-libs and all the other little interludes in between the tracks that are pure 'Moped'. Johnny thinks it sounds like a 'disco' album, which it does in places, but, hey-ho, it was 1989 and it was the age of Stock, Aitken and Waterman. At the time there had been no Moped band since 1985-ish and certainly Slimy hadn't been in the band since the early '80s. Also, there was only one album out there, Cycledelic so there was a lot of songs destined for a follow up album that never happened and it looked like we were going to be a one album band. So, with so much unreleased material and a chronic lack of 'mopedisum' I decided to embark on a little project... This album came out in 1990 on Deltic Records but the deal was that I had to produce a finished master tape that could go straight to the cutting room and be pressed, so I borrowed a 4-track Teac and a Roland sampler and Roland drum machine and got to work. Some of the tracks sound like they were recorded in someone's bedroom, that's because they were, but Captain recorded some great stuff on his 8-track where I had recorded Johnny 'live' and handed over a tape for him to work with ('I'm a Spasm', 'Soldiers', 'Cut Across Shorty'). Also, he provided some decent backing vocals on other tracks ('Corpse Boogie', 'Hiawatha')." --Dave Berk, May 2022
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DAMGOOD 576CD
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"Mini LP featuring outtakes and re-recorded B-sides from the Back In Mono sessions! Back In Mono, The Courettes´ third album, was critically acclaimed worldwide and made it onto numerous best-of-the-year lists in 2021. If, like us, you can't get enough of Back In Mono, here's some good news! Back in Mono - B-sides & Outtakes is coming out in June. Bringing some more 'spit 'n' snarl garage-meets-Phil Spector pop' (Mojo) in three brand new unreleased tracks. Look forward to hearing the three new smash tunes 'Daydream', 'Tough Like That' and 'Talking About My Baby', all wrapped in a new mix by 'Wall of Sound' aficionado Seiki Sato (Japan) and produced by the hit wizards Søren Christensen and C.T. Levine. Also included are the three non-album B-sides from the band's most recent singles. These B-sides have been newly spruced up with extra instrumentation. Making up the eight tracks is the inclusion of a Courettes rarity -- 'So What' was previously only available on a split single with The Jackets released on Chaputa Records back in January."
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DAMGOOD 576LP
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LP version. "Mini LP featuring outtakes and re-recorded B-sides from the Back In Mono sessions! Back In Mono, The Courettes´ third album, was critically acclaimed worldwide and made it onto numerous best-of-the-year lists in 2021. If, like us, you can't get enough of Back In Mono, here's some good news! Back in Mono - B-sides & Outtakes is coming out in June. Bringing some more 'spit 'n' snarl garage-meets-Phil Spector pop' (Mojo) in three brand new unreleased tracks. Look forward to hearing the three new smash tunes 'Daydream', 'Tough Like That' and 'Talking About My Baby', all wrapped in a new mix by 'Wall of Sound' aficionado Seiki Sato (Japan) and produced by the hit wizards Søren Christensen and C.T. Levine. Also included are the three non-album B-sides from the band's most recent singles. These B-sides have been newly spruced up with extra instrumentation. Making up the eight tracks is the inclusion of a Courettes rarity -- 'So What' was previously only available on a split single with The Jackets released on Chaputa Records back in January."
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DAMGOOD 565LP
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"Brand new studio album by The William Loveday Intention! As part of an incredibly productive year by one of the world's most productive and cherished artists, Billy Childish releases a new LP by The William Loveday Intention as part of his attempt at 'a career in a year'." "The Baptiser is titled after John The Baptiser, Christ's teacher who proclaimed that you don't need to make blood sacrifices in the temple of Jerusalem to have communion with God - it's direct one to one in the desert, wearing a camel hair shirt and eating the fruits of the honey locust tree. The LP has many spiritual highs and blaming lows. It should move and sound like the contents of a thinking mind." --William Loveday, 2022
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DAMGOOD 568LP
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"A limited edition brown vinyl LP put together by Pete Makowski and us at DG to celebrate the reunion gigs by The SS in late 2018 and 2019. The original SS album I Can't Come was released on DG back in 1989 with original frontman Giovanni Dadamo supplying the tapes and helping with the artwork. We started to get to know the other two original shits, Pete Makowski and Dave Fudger in the 2010's and Pete was very keep to 'get the old band back together' as they say... so they got in Tom Crossley on vocals, he was in Giovanni's second band, Famous Monsters after the original shits imploded so he was a perfect replacement, another good friend of Pete's was James Sherry (of Done Lying Down/Toast/Desperate Measures) who took over the drums, and Moyni from Tom's current band on bass. After a few rehearsals they did a lo-key warm up show then their first proper show at the DG 30th anniversary shows at the Lexington on the 15th December 2018 supporting Johnny Moped, this was followed by another show at The Pelton Arms in Greenwich on the 16th February 2019. Both shows were recorded by Lee McFadden and sounded great so Pete suggested making a live album up to 'celebrate' the events. They went onto play in front of a huge crowd at the Rebellion Punk Festival in Blackpool in August 2019. That was the last show as soon after the pandemic hit and very sadly Pete Makowski died in late 2021. We've really proud to have this coming out, albeit lot later than planned due to the vinyl shortages. It's a fitting tribute to Pete (who oversaw the artwork and tapes) and the band's amazing comeback shows. It also includes two demos from the original line-up that appeared as a very limited 7" for sale at the Rebellion Festival show in 2019. Pete would only let us release it if it was on brown vinyl... so that's what it is!"
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DAMGOOD 560LP
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"Brand new studio album from your favorite Brazilian/Danish garage rock duo! The Courettes are back... Back In Mono!!! The Courettes proudly present their third album, Back In Mono. It's a milestone in their career so far. You can look forward to some 'spit 'n'snarl garage rumble-meets-Phil Spector pop' showcasing the band in top form -- great songwriting skills, Spector-esque arrangements, with broader nuances, influences and production qualities added to their garage rock recipe. Fourteen Wagnerian teen-trash-tragedy masterpieces -- it's as if The Ronettes and The Ramones were invited to a wild party in Gold Star Studios' echo chamber. Fuzz guitars, loud drums, trashy pianos, jingle bells, tambourines and three-minute dance floor garage killers where a Wall of Sound blasts the songs out of the speakers! Produced and recorded by Søren Christensen at Starr Sound Recording Studios in Denmark and mixed by top producer/wall of sound aficionado Seiki Sato in Japan."
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DAMGOOD 558LP
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"The Shadracks are a three-piece rock n' roll group hailing from Medway, Kent. With timeless and expert precision, the Shadracks play from 37.3 years in the past 33.7 years into the future. The actual origins of the group date back even further with their cultural appropriation of Babylonian rhythm and punk. A mere three years ago Huddie Shadrack and Elisa Abednego had a brief encounter in deserted parkland. Discovering sheared an interest in vacant park benches, herbaceous borders and beat music it became paramount that they form a group - and quickly. After the release of their self-titled debut LP, a subsequent live BBC 6Music session for Marc Riley and a fast-selling EP, Elle Meshack retired from The Shadracks to peruse a career as a Poly Styrene impersonator aboard a Tahitian cruise liner: SS Honolulu Baby. Fortunately for the bass bereft Shadracks an advert placed in the window of a local stationers was answered by a certain Rhys 'King Nebuchadnezzar' Webb. A meeting issued and after proclaiming 'Oh merciful Marduck, may the house that I have built endure forever.' Their followed a two-hour induction ceremony (in which to learn all the new tracks for their forthcoming long player From Human Like Forms and Webb, for it was he, was sworn into The Shadracks fraternity. From Human Like Forms sees The Shadracks achieving giddy new heights in their song writing and performing abilities -- pushing their ancient sound 3.7 years ahead of the current lunar time module."
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DAMGOOD 535LP
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"Remastered reissue of debut LP with new sleeve artwork! 1000 copies on cream coloured vinyl! The Courettes´ debut album from 2015. Recorded in only two days by Kim Kix from the iconic PowerSolo in a small, cramped studio in Denmark. Unpolished tunes -- fresh, raw and alive tunes -- and the garage is shaking! Minimal overdubs, no editing, no auto tune, no bullshit. Punk straight out of the garage and a lot of riot grrrl charisma. Mixed by Kim Kix and Nikolaj Heyman. The album features eight original songs all in Mono. Now it's reissued with a new sleeve, coloured vinyl and new mastering making it sound better and louder than ever! The Courettes are an explosive garage rock duo from Denmark/Brazil, highly praised by the world's coolest music magazines. Their first single for Damaged Goods, 'Want You! Like A Cigarette', was released in 2020 in the middle of the Covid-19 pandemic and received airplay on BBC6 Music in the UK and spins at P6Beat and P4 in Denmark. 'This extraordinary 45 marries a super-charged pop top side to a charging, rampaging flip' wrote Kieron Tyler (MOJO). A brand new single, 'Hop The Twig', followed in Spring 2021. Back In Mono, the duo's third album is being mixed now in Japan by Wall of Sound aficionado Seike Sato and shows the band in top form, with great songwriting and Spector-esque arrangements. The album also sees them add broader nuances, influences and sound qualities to their garage rock recipe. The tunes are teen-trash-tragedy garage meets The Ronettes and The Ramones in Gold Star Studios' echo chamber. Fuzz guitars, loud drums, trashy pianos, jingle bells, tambourines and three-minute dance floor garage killers where a Wall of Sound blasts the songs out of the speakers!"
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DAMGOOD 5356CD
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"The Courettes' first two albums remastered and reissued on a 2-on-1 CD! Here Are The Courettes: The Courettes´ debut album from 2015. Recorded in only two days by Kim Kix from the iconic PowerSolo in a small, cramped studio in Denmark. Unpolished tunes -- fresh, raw and alive tunes -- and the garage is shaking! Minimal overdubs, no editing, no auto tune, no bullshit. Punk straight out of the garage and a lot of riot grrrl charisma. Mixed by Kim Kix and Nikolaj Heyman. The album features eight original songs all in Mono. We Are The Courettes: The Courettes´ 2nd album was produced by PowerSolo's Kim Kix with Nikolaj Heyman as engineer in 2018. This album goes deeper in its songwriting showing The Courettes´ love for '60s girl groups like The Ronettes and Shangri-Las. Fuzzy wild sounds are there, loud as hell drumming also, but some additional elements were added to their garage recipe: soul ballads and a handful of '60s girlie pop. Sonic quality is now stereo and overdubs like organ, piano and backing vocals were allowed -- all performed by The Courettes themselves, of course! Including "Boom! Dynamite!", "Time is Ticking" and "Voodoo Doll" (featuring horror movie legend Coffin Joe)."
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DAMGOOD 536LP
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"Remastered reissue of the second LP with new sleeve artwork! 1000 copies on transparent red vinyl! The Courettes´ 2nd album was produced by PowerSolo's Kim Kix with Nikolaj Heyman as engineer in 2018. This album goes deeper in its songwriting showing The Courettes´ love for '60s girl groups like The Ronettes and Shangri-Las. Fuzzy wild sounds are there, loud as hell drumming also, but some additional elements were added to their garage recipe: soul ballads and a handful of '60s girlie pop. Sonic quality is now stereo and overdubs like organ, piano and backing vocals were allowed -- all performed by The Courettes themselves, of course! Including 'Boom! Dynamite!', 'Time is Ticking' and 'Voodoo Doll' (featuring horror movie legend Coffin Joe). The Courettes are an explosive garage rock duo from Denmark/Brazil, highly praised by the world's coolest music magazines."
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DAMGOOD 548LP
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"Limited edition vinyl release featuring original Croydon punks The Daleks along with their associated bands! '... honest, heartfelt songs, steeped in earnest melancholy and charming naivete. Equal parts Menace, Members, Lurkers and Television Personalities'" "I started the group In the summer of 1977 after listening to Rattus Narviticus about 100 times on a church youth club holiday. Slimy Toad's brother, Nicky, who co-wrote 'I'm A Cunt' with me, had it on tape cassette. I remember we used to turn it right up in the middle In the middle of Ugly...because Hugh Cornwall shouted 'it's only the fucking rich that get to be good looking'. And all the church leaders would have a right go at us. That was it. Had to start a band! Up until 1979 just I had a guitar although we had a drummer a singer and a bass player that were going to get their instruments it never happened. I had loads of the songs already written by the time the first other member with an instrument joined. Mark Adams (Bass), who later joined Case. Then Woodie joined and things started to move quickly with Gaz joining (the original singer. Nicky Fitzgerald, Slimy Toads brother, bailed out when it started to become a real thing. Then Dean replaced Mark Adams." --Eddie Turtle, 2021
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DAMGOOD 546LP
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"I never really bothered putting my poetry into pop music before, it showed up now and again but I never made a point of it. However, in lockdown it just came to my mind as something to follow through on. As is quite normal for me, I booked the studio time then under that pressure wrote two or three songs the night before, (on a few occasions, at eight in the morning before I left home. As usual there where no rehearsals, but under the lockdown conditions over half of the tracks are just me and Jim Riley (engineer) doing everything -- drums, guitar, bass, organ -- because no one else would brave the plague and come into the studio. Those tracks sit hidden within the actual group recordings and sound the same as if recorded by the group. When mixing we see it all visually - the room in the mind's eye - where all the players sit; the drummer to the right; the vocalist is stood up front; the wood paneling on the walls of a top end US studio in the '60s / '70s. Jim was in the local R'n'B group in '77, and I was in the local punk group. We came to be friends then and are both obsessed with the 'sound' in music. This is how music is to me: a picture in sound. It has to have an origin, an emptiness and a vulnerability. I don't look for guitars to be impressive, I'm sick of impressive ego driven music -- I want authentic heart music. No one asked for one LP of this stuff, now there are five (including the Hangman Records release The New and Improved Bob Dylan.) As in all my endeavors, games and life, I only do what I do irrespective of what's wanted or required and then force it on the world regardless." --William Loveday (December 1st 2020)
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DAMGOOD 547LP
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"I never really bothered putting my poetry into pop music before, it showed up now and again but I never made a point of it. However, in lockdown it just came to my mind as something to follow through on. As is quite normal for me, I booked the studio time then under that pressure wrote two or three songs the night before, (on a few occasions, at eight in the morning before I left home. As usual there where no rehearsals, but under the lockdown conditions over half of the tracks are just me and Jim Riley (engineer) doing everything -- drums, guitar, bass, organ -- because no one else would brave the plague and come into the studio. Those tracks sit hidden within the actual group recordings and sound the same as if recorded by the group. When mixing we see it all visually - the room in the mind's eye - where all the players sit; the drummer to the right; the vocalist is stood up front; the wood paneling on the walls of a top end US studio in the '60s / '70s. Jim was in the local R'n'B group in '77, and I was in the local punk group. We came to be friends then and are both obsessed with the 'sound' in music. This is how music is to me: a picture in sound. It has to have an origin, an emptiness and a vulnerability. I don't look for guitars to be impressive, I'm sick of impressive ego driven music -- I want authentic heart music. No one asked for one LP of this stuff, now there are five (including the Hangman Records release The New and Improved Bob Dylan.) As in all my endeavors, games and life, I only do what I do irrespective of what's wanted or required and then force it on the world regardless. I'm so happy to have made these records that are for no audience -- but hopefully will find one. These are as true to my heart as anything I've done." --William Loveday (December 1st 2020)
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4CD
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DAMGOOD 544CD
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"I never really bothered putting my poetry into pop music before, it showed up now and again but I never made a point of it. However, in lockdown it just came to my mind as something to follow through on. As is quite normal for me, I booked the studio time then under that pressure wrote two or three songs the night before, (on a few occasions, at eight in the morning before I left home. As usual there where no rehearsals, but under the lockdown conditions over half of the tracks are just me and Jim Riley (engineer) doing everything -- drums, guitar, bass, organ -- because no one else would brave the plague and come into the studio. Those tracks sit hidden within the actual group recordings and sound the same as if recorded by the group. When mixing we see it all visually -- the room in the mind's eye -- where all the players sit; the drummer to the right; the vocalist is stood up front; the wood paneling on the walls of a top end US studio in the '60s/'70s. Jim was in the local R'n'B group in '77, and I was in the local punk group. We came to be friends then and are both obsessed with the 'sound' in music. This is how music is to me: a picture in sound. It has to have an origin, an emptiness and a vulnerability. I don't look for guitars to be impressive, I'm sick of impressive ego driven music -- I want authentic heart music. No one asked for one LP of this stuff, now there are five (including the Hangman Records release The New and Improved Bob Dylan.) As in all my endeavors, games and life, I only do what I do irrespective of what's wanted or required and then force it on the world regardless. I'm so happy to have made these records that are for no audience -- but hopefully will find one. These are as true to my heart as anything I've done." --William Loveday (December 1st 2020)
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DAMGOOD 537CD
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"Heavenly's classic singles on a brand-new compilation album! A potted history of Heavenly... Heavenly debuted with the 7" single 'I Fell in Love Last Night', followed by another 7", 'Our Love Is Heavenly', both released in 1990 on Sarah Records. Heavenly vs. Satan, the group's debut album, came out in 1991. Before releasing the critically acclaimed Le Jardin de Heavenly, Cathy Rogers (keyboard, back-up vocals) joined the band. Her harmony vocals and keyboards became an integral part of the group's sound. Before their next long-player, Heavenly released two non-album 7" singles, 'P.U.N.K. Girl' and 'Atta Girl'. These signaled a growing complexity in Amelia's songwriting, particularly 'Atta Girl', in which Amelia and Cathy sung in rapid-fire trade-off vocals. A broadening (and darkening) of lyrical subject matter was shown in the B-side, 'Hearts and Crosses', which told the story of a date rape, with an upbeat keyboard riff providing an ironic counterpoint. The band's third LP was The Decline and Fall of Heavenly (1994). Here the group were at their most commercial and at their most attuned with the growing Britpop movement. The arrangements expanded even more to include strings and a large amount of percussion, and the dual-vocal trick was used on several tracks. Lyrically, the old romantic view of love was largely banished, but the tunes remained as upbeat and joyful as ever. The group's last album was Operation Heavenly (1996). Arriving in the middle of the Britpop boom, the album contained such fine singles as 'Space Manatee' and 'Trophy Girlfriend'. Despite the closing of Sarah Records and release on Wiiija, the album was still recognisably the Heavenly sound. Shortly before the release of Operation Heavenly, Mathew Fletcher, the band's drummer and Amelia's brother, committed suicide. The remaining members announced that the band name Heavenly was to be retired."
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DAMGOOD 537LP
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2021 repress; LP version. "Heavenly's classic singles on a brand-new compilation album! A potted history of Heavenly... Heavenly debuted with the 7" single 'I Fell in Love Last Night', followed by another 7", 'Our Love Is Heavenly', both released in 1990 on Sarah Records. Heavenly vs. Satan, the group's debut album, came out in 1991. Before releasing the critically acclaimed Le Jardin de Heavenly, Cathy Rogers (keyboard, back-up vocals) joined the band. Her harmony vocals and keyboards became an integral part of the group's sound. Before their next long-player, Heavenly released two non-album 7" singles, 'P.U.N.K. Girl' and 'Atta Girl'. These signaled a growing complexity in Amelia's songwriting, particularly 'Atta Girl', in which Amelia and Cathy sung in rapid-fire trade-off vocals. A broadening (and darkening) of lyrical subject matter was shown in the B-side, 'Hearts and Crosses', which told the story of a date rape, with an upbeat keyboard riff providing an ironic counterpoint. The band's third LP was The Decline and Fall of Heavenly (1994). Here the group were at their most commercial and at their most attuned with the growing Britpop movement. The arrangements expanded even more to include strings and a large amount of percussion, and the dual-vocal trick was used on several tracks. Lyrically, the old romantic view of love was largely banished, but the tunes remained as upbeat and joyful as ever. The group's last album was Operation Heavenly (1996). Arriving in the middle of the Britpop boom, the album contained such fine singles as 'Space Manatee' and 'Trophy Girlfriend'. Despite the closing of Sarah Records and release on Wiiija, the album was still recognisably the Heavenly sound. Shortly before the release of Operation Heavenly, Mathew Fletcher, the band's drummer and Amelia's brother, committed suicide. The remaining members announced that the band name Heavenly was to be retired."
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DAMGOOD 545LP
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"This winter sees the release of four albums by The William Loveday Intention. They will be staggered, one a month beginning in October with People Think They Know Me But They Don't Know Me. This is the second album in the series, entitled Will There Ever Be A Day That You're Hung Like A Thief? For the uninitiated, The William Loveday Intention is the latest band put together by Billy Childish. The four-album project includes guest appearances by James Taylor (The Prisoners, JTQ), Dave Tattersall (The Wave Pictures) and Huddie Hamper (The Shadracks) amongst others."
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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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LP
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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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CD
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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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CD
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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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LP
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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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CD
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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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