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LP
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DAMGOOD 536LP
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$21.00
PREORDER
RELEASE DATE: 7/16/2021
"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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CD
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DAMGOOD 5356CD
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$16.00
PREORDER
RELEASE DATE: 7/16/2021
"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 535LP
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$21.00
PREORDER
RELEASE DATE: 7/16/2021
"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 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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LP
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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 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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LP
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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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CD
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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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LP
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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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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 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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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 523CD
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"Debut studio album from retro Italian powerpop band Zac! Features members of Giuda."
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LP
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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 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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CD
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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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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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