Porno Sponges - Going Places, Eating Things 12" (1986)

Rhode Islands' Porno Sponges released this two song 12" single in 1986 on Mutha Records. Like an amped up Fleshtones, I found this garage rocker at Tracks in Wax in Phoenix, complete with a note from manager Sketch McCain to an unnamed magazine.




Porno Sponges:
Jonathan Hall
Bernard Kelley
Dave Adae
Bruce Moravec

Manager - Sketch McCain
Roadie - Chris Pierik
Photos - Cynthia Mendes

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The Individuals - Aquamarine E.P. (1981)

From Wikipedia.com:
The Individuals were a Hoboken, New Jersey-based band led by Glenn Morrow (guitar, vocals, sax, keyboards) and featuring Janet Wygal (bass, vocals, guitar, keyboards), Janet's brother Doug Wygal (drums, percussion), and Jon Light Klages (lead guitar, keyboards, vocals). The band played regularly at Maxwell's and were a central part of the early 1980s Hoboken music scene. Village Voice critic Robert Christgau called them "easily the best of En Why's Pop Three on stage [the other two being the Bongos and the dB's], scruffy and forceful and lithe".

Their debut EP, Aquamarine, was produced by the dB's Gene Holder. It was voted one of the best EPs of 1981 in the Village Voice's annual Pazz & Jop critics' poll. The band's one album, Fields, was also produced by Holder and engineered by Mitch Easter. While Christgau criticized their lyrics as "lack[ing] that universal touch" , critic Robert Palmer, writing in the New York Times in May 1982, called Fields "remarkably mature" and "the most impressive rock debut so far this year."
The Individuals broke up in 1983. Morrow went on to help found Bar/None Records.


From their myspace website:
The Individuals formed in 1979 in the New York City metro area through a Village Voice ad that brought guitarist Glenn Morrow and drummer John Klett together with bassist Janet Wygal and lead guitarist Jon Klages. When John Klett left the band in 1980, he was replaced by Janet’s brother Doug Wygal. With Gene Holder of the dB’s producing, this lineup recorded the EP Aquamarine, the album Fields, and one single, “Dancing with My Eighty Wives.” Fields was the first full-length album recorded at Mitch Easter’s Drive- In Studio in Winston-Salem, North Carolina. (At the same time, R.E.M. were working on their first EP at Mitch’s.)



Inspired by the late-seventies CBGB bands and the early-eighties No Wave groups on the club scene (along with classic sixties rock and soul music), the Individuals made melodic pop music with an art school edge. They became associated with the music venue Maxwell’s, in Hoboken, New Jersey, where Morrow had already been performing with the band “a.” Sometimes referred to as the “a band,” the combo included all three original members of the Bongos and were the first group to play the club. Drawn by Hoboken’s cheap rents and Maxwell’s as a hub of musical activity, a number of bands gravitated to the town and became loosely indentified with what the press dubbed the “Hoboken Sound.” These groups included Human Switchboard, the Bongos, the Feelies, the dB’s, the Cucumbers, the Cyclones, Red Buckets, the Phosphenes and an early incarnation of Yo La Tengo called Georgia and Those Guys. Many more would follow.

The Individual’s first EP, Aquamarine, was released on Charles Ball’s Lust/Unlust Infidelity Records in 1980. It was named one of the ten best EPs of the year by Robert Palmer of The New York Times. The next year Fields, on Plexus Records, was similarly named one of the year’s ten best by The New York Times. Fields garnered great critical success; “Dancing with My Eighty Wives” was a much played song on WLIR on Long Island; and “Walk by Your House” was a hit at WHFS in Washington, D.C.

The Individuals melded dance beats to interlocking guitar parts, layering call-and- response vocals on top, constantly messing with the possibilities of what a pop song could be. Their lyrics often told enigmatic, fractured stories that attempted to tease out listeners’ emotions while keeping everybody dancing.
Their myspace page

Glenn Morrow was also in Rage To Live and playted with Chris DeBurgh and The Far Corporation. He has producer credits with The Embarrassment, Chris Mars and Lou Reed.
Janet Wygal played in The Wygals and worked with Chris Stamey and Tim Lee and most recently in Takka Takka. Her brother Doug has an extensive list of production credits and has played with Amy Rigby and Tim Lee.
Jon Klages went on to play with Russ Tolman.

The Individuals:

Glenn Morrow- Lead Vocals, Guitar, Amp Noise
Janet Wygal - Bass, Voice, Keyboards, Synth on "OK Chorale"
Doug Wygal - Drums, Assorted Percussion, Trumpet
Jon Klages - Lead Guitar, Voice, Keyboards, Bells

Produced By Gene Holder


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Nonnie And The Onnies - I'm In Love With A Rent Boy 12" (1985)

Nonnie Thompson's Dance record form the mid-80's with Gary Pozner, Ariel Powers and Paul Sanchez. Described by CD Baby: "If you took 25% of Madonna mixed with 25% of Marilyn Monroe and added 50% Annie Lennox you would have Nonnie". Buy their other release Here.
Pozner went on to be an award winning composer in both TV and Movies after working with Tom Tom Club and Ziggy Marley. Sanchez released a solo CD and was in the 90's band Cowboy Mouth (Not the 80's group who released Cowboys and Indians). Thompson released the single "I Hate Simon Cowell" in 2006.


Released on Select Records.




Nonnie And The Onnies:
Nonnie Thompson - Lead Vocals, Background Vocals
Gary Pozner - Synthesizers, Drum Programs, Background Vocals
Ariel Powers - Bass Guitar, Background Vocals
with
Paul Sanchez - Guitar

Produced and Recorded by Gary Pozner




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Phil 'N' The Blanks - Head Screwed On (1983)

From the blancheblacke website:

Phil ‘n’ the Blanks formed in Chicago in early 1980. Best described as the thinking person’s dance band, they recorded two singles and three albums for Pink Records. Their songs received wide acceptance on college and progressive radio shows, including WXRT in Chicago and KROQ in Los Angeles and reached top forty on several national new music charts. MTV aired three of their dramatic videos in rotation. Phil ‘n’ the Blanks toured the Midwest and East Coast. Chicago shows often sold-out with lines circling the block. Anxious fans didn’t mind waiting for their chance to dance to ‘Autosex’.


Here is their third record, Head Screwed On, a 6 song ep produced by Craig Williams, Phil 'N' The Blanks and Kane Engler.


Phil 'N' The Blanks:

Blanche (LeBlanc)- Lead Vocals
Phil Bimstein - Lead Vocals, Keyboards
Bill Hyland - Bass
Roman Zabicki - Drums
Eric Kister - Guitars


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Head Screwed On

Vi-Sectomy (from the LP Choice)

From PM Magazine 1983

Lou Miami - Lou Miami and the Kozmetix (1982) & Rituals (1985)

Two ep's from Boston's Lou Miami. 1982's Self-tiled ep was produced by Ann Prim and Kearney Kirby from November Group. Lou sadly passed in 1995 at age 39.
Read More Here


Lou Miami & the Kozmetix:
Lou Miami - Vocals
Jack Rootoo - Guitar
H.P. - Bass
Laurel Blanchard - Drums

Executive Producer: Michael Dreese

Modern Method Records


Rituals:

Lou Miami - Vocals
Jack Rootoo - Lead Guitar
Helen Privett - Bass Guitar
Laurel Blanchard - Drums
Toby Ingalls - Rhythm Guitars

Additional Musicians:
Chris Spedding - Guitars
Kristi Rose - Vocals


Produced By Garry Velletri


Throbbing Lobster

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1981's Blonde In A White Car

Dancing Hoods - Dancing Hoods ep (1984) & 12 Jealous Roses (1985)

The killer 1984 debut ep from New York's Dancing Hoods as well as their follow-up LP 12 Jealous Roses released in 1985. Graveyard Shift is one of those cool, simple songs , that still stands up today. The following is the review from Allmusic, which mistakenly lists the bass player as Mike Garacino (he didn't join until their third and final recording, Hallelujah Anyway. Eric Williams handled bass duties on both of these recordings.

From Trouser Press:

Formed on Long Island, birthplace of the Stray Cats and Billy Joel, Dancing Hoods (following a self-released eponymous EP) debuted with familiar-sounding heartland rock on 12 Jealous Roses, a confident and likable collection of tuneful originals. Singer-guitarist (and future A&R executive) Bob Bortnick, guitarist-singer (and future Sparklehorse leader) (Freddy) Mark Linkous and bassist-singer Eric Williams (who actually has the most writing credits here) pen simple rockers about the usual topics and deliver them in a melodic cut-to-the-chase style that isn't all that dissimilar to, say, the Del-Lords. A flatfooted cover of the Left Banke's pure-pop harmony classic "She May Call You Up Tonight" only serves to demarcate the quartet's vocal limitations.
Leaving Williams behind (replaced by one Mike Garacino), the Hoods relocated to Los Angeles and took a shot at heavy rotation with Hallelujah Anyway, an unambitious mainstream rock record produced by a John Mellencamp associate, Greg Edward. Although the songs aren't nearly as fresh or memorable as those on the first LP (well, there is a Leonard Cohen cover), the arrangements (colored by guest keyboards and pedal steel) make better use of them. Enjoy the Hoods' rudimentary debut and leave this one to radio programmers in satin jackets.[Ira Robbins]

From Allmusic.com:

The Dancing Hoods featured one member, Mark Linkous, who found wider acclaim with Sparklehorse. Because of Sparklehorse, the Dancing Hoods were spared from vanishing into the abyss of forgotten alternative artists. Formed in New York by Linkous (guitars, vocals), Bob Bortnick (vocals, guitar), Don Short (drums), and Mike Garacino (bass), the Dancing Hoods recorded their first LP, 12 Jealous Roses, for Relativity Records in 1985. 12 Jealous Roses amassed a number of flattering reviews, and the band's no-frills rock & roll sound attracted fans of the Replacements and the Del Fuegos. In 1988, the Dancing Hoods released their second album, Hallelujah Anyway. "Baby's Got Rockets" was somewhat successful on college radio, and the video for the track was even added to MTV's 120 Minutes. The group then moved to Los Angeles to look for a major-label deal. However, they were unable to find one and the band split up afterward. Linkous returned to Virginia and joined the Johnson Family (eventually called Salt Chunk Mary). In 1995, Linkous started recording as Sparklehorse. Far more quirky and edgy than the Dancing Hoods, Sparklehorse released Vivadixiesubmarinetransmissionplot in 1995. "Someday I Will Treat You Good" was spun frequently on alternative radio stations, and Sparklehorse developed a cult following that renewed interest in the Dancing Hoods. ~ Michael Sutton, All Music Guide

Dancing Hoods:

Bob Bortnick - Vocals, Guitar

Freddy Mark Linkous - Guitar, Vocals

Don Short - Drums, Percussion
Eric Williams - Vocals, Bass

on the ep:

Glen Morrow - Background Vocals, Producer

Ed Tomney - Piano, Guitar Treatments

on 12 Jealous Roses:

Frankie Marino - Keyboards

Produced by Dancing Hoods

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Whirling Dervishes - History Kicks You (1985) & Affordable World (1986)

This Westfield New Jersey act lasted through the 90's, with their moody guitar based new wave rock. History Kicks You is a 6 song ep and 1986's Affordable World ep features the classic title track. They released a CD in 1992 (Strange & Wonderful), released the Grinch ep in 1995 and eventually morphed into Everlounge. Both ep's were released on WM Records.


Whirling Dervishes:

Will Siegel - Keyboards
Dan Paola - Lead Guitar
Don D. Dazzo - Vocals
Jerry Heer - Bass
Robert Ardrey - Rhythym Guitar
John Joseph Bryan - Percussion



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Two Videos from their 1990's releases

Suburbs - Suburbs (1986)

One of those records that makes no sense why it has never been released on CD, #9 was one of my favorite songs for some time when this came out, don't know why the label pushed Life Is Like (although not very hard if I recall).

From — Steve Huey, All Music Guide:
Minneapolis new wavers the Suburbs began recording for local label Twin/Tone in 1978 with a lineup comprised of vocalist Blaine John "Beej" Chaney, guitarist B.C. Allen, keyboardist Chan Poling, bassist Michael Halliday, and drummer Hugo Klaers. Their first full-length album, In Combo, was released in 1980, featuring tense, energetic playing and offbeat lyrics. The 1981 double album Credit in Heaven consolidated the band's approach, incorporating elements of funk, disco, jazz, and Roxy Music. The 12" single "Waiting" got the band substantial play in dance clubs and attracted the attention of Mercury, which signed them in 1983 and re-released their Dream Hog EP. Their major-label debut, Love Is the Law, was a harder-rocking effort which emphasized Chaney and Poling's novel lyrics and featured a horn section. 1986 found the band on A&M working with producer Robert Brent, who played drums in Prince's Revolution under the name Bobby Z; the resulting self-titled album strikes a balance between their traditional sound and, unsurprisingly, that of the Revolution. The band broke up in 1987; Twin/Tone released a best-of collection, Ladies and Gentlemen, the Suburbs Have Left the Building, in 1992. Poling contributed piano work to the Replacements' 1984 masterpiece Let It Be.


Suburbs:
Bruce C. Allen - Lead Guitar
Beej Chaney - Vocals, Beejtar
Michael Halliday - Bass Guitar
Hugo Klaers - Drums
Chan Poling - Vocals, Keyboards

Additional musicians:
Tom Burnevik - Saxophones
Kevin Nord - Trumpet, Voice Tracker
Dusty Cox - Sax Solo on "Heart of Gold"



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Bugs Tomorrow - Bugs Tomorrow (1980)

This is a pretty accurate review from Allmusic.com:
Casablanca's contribution to the early wave of new wave, Bugs Tomorrow skitters off the turntable, combining left-field originality with the usual references: Graham Parker, XTC, and Elvis Costello. Each ditty is a diverse entity, and even with printed lyrics, some of these wild ideas fly in one ear and out the other. Luckily, tunes this tasty make the songs stick in the cerebrum cortex. "Bitter Rice" collides xenophobia with weddings. The slammin' "Summer Camp" is a single for any season. "Chimpanzees" catches an early Phish feel. The lullaby "She Walks" simply transcends, before that potent power pop perennial "tonight" puts a wrap on the work in "Everything Tonight." Bugs Tomorrow runs where most would never dare (or care) to even walk. Sententious critics called Bugs' sole slab a calculated blender, but like Devo, that's the point. (Where London Calling mentions Montgomery Cliff, this record mentions Montgomery Ward.) Just kick back and enjoy this kooky capsule from one of rock's most erratic and entertaining eras. ~ Whitney Z. Gomes, All Music Guide

Morley Bartnof was in Arizona's own Cosmo Topper. David Vaught played bass or engineered numerous groups including Primitive Radio Gods, Toad The Wet Sprocket and Lone Justice.


Bugs Tomorrow are:
Bugs - Guitars and Vocals
Morley Bartnof - Keyboars and Vocals
Andrew Campbell-Hare - Drums, Percussion and Vocals
David Vaught - Bass
Barry Carson - Bass on "Experience"

Executive Producer Bruce Bird

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Modest Proposal - Nobody Says No / I've Seen Your Face ...7" (1985)

Nobody Says No is a long-time favorite of mine from this Washington, DC band. Released on One Dimension Records in 1985. I don't believe they had any other records.

Modest Proposal:
Neal Augenstein - Vocals
Bill Crandall - Guitar: Backing Vocals
Perry Flint - Electric Bass
Bob Minard - Drums


Produced by: Wick

Recorded at Hit & Run studio in Rockville, MD


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Illustrated Man - Mini LP (1984)

From Wikipedia: Illustrated Man (circa 1984) were a funk-rock band featuring Hugo Burnham (ex-Gang of Four), Roger Mason (The Models)(keyboards), Rob Dean (ex-Japan guitarist) and Australian singer/bassist Philip Foxman(Supernaut).

They had hits with songs such as ‘Head over Heels’ ‘Just Enough’ and ‘Fall from Grace’ and their sound was likened to UK bands such as Japan, Simple Minds and Duran Duran - they are also believed to have influenced Inxs.

Consisting of some excellent musicians with a successful track record, the band was initially hailed as a supergroup - Roger Mason had recorded and toured internationally with artists such as Gary Numan, Rob Dean had been an integral part of Japan and Hugo Burnham had been part of the highly influential Gang of Four (Jon King, Dave Allen, Hugo Burnham and Andy Gill).

Regarded as an excellent live band they were thought to be the next big thing but their success was relatively short-lived.


Foxman is still making music: Buy his CD!

Robert Dean - Guitar And Noises
Roger Mason - Keyboards And Computers
Hugo Burnham - Premier Drums And Percussion
Phillip Foxman - Bass Guitars And Lead Vocals


Produced By John Punter

Both Head Over Heels Mixes by Steve Thompson
Just Enough remixed by John Luongo



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The Nightmares - Baseball Altamont 7" (1985)

The Nightmares released this Garage Rock 7" record on Coyote Records (Twin/Tone- distibutor) and it rocks! According to a band member: " They had a record release party at Shea Stadium in the luxury boxes complete with catering and booze. This VP at Columbia Records, Steve Rabalski was there and a few months later Springsteen had that Glory Days song and John Fogerty's whole album was about baseball. To add insult to injury, the Springsteen video was shot at Maxwell's (our label owner Steve Fallon's club). Ira and Georgia from Yo La Tengo were there rolling around on the floor tripping. There was a little feature about it in Spin with a picture of the Shea Stadium scoreboard which read: The Mets welcome The Nightmares Baseball Altamont record release party. True Story -".

Philip Shelley - Vocals, Guitar (also was in Student Teachers and Pianosaurus)
Ned Hayden - Vocals, Guitar (Action Swingers)
Tex Lyon - Guitar
Ed Shanahan - Bass
Stephen Dansiger - Drums (Artless, GG Allin)






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Destiny - Destiny ep (1980)

Standard rock radio fare from Tucson's Destiny, which featured Brian Page on vocals (later a Star Search winner with Brian Page & The Next!)and managed by Jay Zucker, founder of Telemundo and owner of the Tucson Sidewinders AAA Baseball team. In addition to the 4 song ep, I have also included a song from Brian Page & The Next from an Arizona Sounds compilation.

Destiny:

Brian Page - Vocals, Electric Guitars
Brian Yingling - Vocals, 12 String Guitar
Brad Patrick - Drums
Garry Stafford - Bass,Vocals
Alan Adler - Saxophone, Flute
Dave Cook - Keyboards


Ron Pick - Sound Technician
Jay Zucker - Manager



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Steve Almaas - Beat Rodeo (1982)

Leader of Beat Rodeo, this is the ep that Steve Almaas (Suicide Commandos) put out with the help of Mitch Easter (Let's Active) and Richard Barone (The Bongos) that led to the formation of Beat Rodeo. Released on Coyote Records, these 4 songs were recorded at Easter's Drive In Studio and definitely have his touch on them. Beat Rodeo went on to release a couple of albums (without Barone and Easter). Almmaas is still pyutting out quality work - check out his latest: - http://www.stevealmaas.com/

Steve Almaas - Bass, Guitar, Vocals
Mitch Easter - Drums, Guitar, Bass, Vocals
Richard Barone - Guitar, Vocals

Produced by Richard Barone
Recorded by Mitch Easter





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Luke Skood - It's All Pink (1986)

Transferred from cassette, Luke Skood was a fixture on the Arizona scene and received airplay with the title track, which along with Japan and Life Is A Bitch are the outstanding tracks here. Style varies wildly from New Wave to Calypso!
Produced by Andy Barrett and released on Gibbon Head Records.

Guitars by: Danny Dean, Kerry Jackson, Michael Fisher and Tom Connell
Violins on Believe: Kerry Jackson
Percussion by: Stephen Banks and Plato T. Jones
Background Vocals by: Kerry Jackson, Michael Kellogg, Linda Cushma, Francine Reed and April Dawn
Sensual Spoken Voices by April Dawn
Childrens vocals by: Brian C. Mulloney, Emily Garanes, Jason Herd, Melissa Ginn, Azar Hassan, Amy Shem,Albert DeAnda of the Aguilar Elementary School Honor Choir
Drum Over-dubs by Michael Barton

Video thanks to Joel Samuel






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Suzie Caruze - We Can Laugh 7" (1984)

Susan Mouch led this Bay Area band (Oakland), I believe this single was their only release, a Motels influenced sound, it was recorded in San Francisco. Produced by T.J. Tindall (MFSB,Sal Soul Orchestra, Trammps). I picked this up by chance one day at Zia Records in Chandler, AZ.

Suzie Caruze:
Susan Mouch - vocals, acoustic guitar
Keith Evans - guitar, vocals
David Wegner - bass
Steve Harris - synthesizer, piano
Peter Carland - drums


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Giant Sandworms - Will Wallow And Roam After the Ruin ep (1980)

Arizona Legend Howe Gelb's debut recording, on white vinyl, was released on Boneless Records 5 years before changing the name to Giant Sand.

From Lost In the Grooves:
taking his cues from the new wave/ power pop sounds of the day, Gelb assumes a variety of personas for the EP's five tracks, ranging from Bryan Ferry to Mark Mothersbaugh. certainly fast, if not furious, 'Electro-gospel' sets the rapid chord-changing trend with chugging riffs, a tight rhythm section and deft organ fills. standout 'Me and My Rocket', plays down the frantic, new wavey guitars in favour of some wonderfully rich organ textures, and sees Gelb give a perfectly respectable turn as David Byrne(!). and whilst the horribly straight-laced 'Lipstick Criminals' lets things down somewhat, 'Steadfast' closes things in style by slowly building up to a grinding climax, helped by well-placed piano throughout and some subtle electronics.


From musicianguide.com: Howe Gelb was born in Scranton, Pennsylvania, around 1956. In 1972, ...his father moved to Arizona, so Gelb began to go visit him and relocated to Tucson in 1975. There, he met German-born guitar virtuoso Rainer Ptacek, who was playing at a small local cafe. Soon after, Gelb returned to Wilkes-Barr and worked in a soda factory in order to earn enough money to make a permanent move to Arizona. Meanwhile, he started writing songs and remained in contact with Ptacek, talking to him often on the phone about starting up a band. Shortly before Gelb moved back to Tucson, Ptacek assembled a group with drummer Billy Sedlmayer and bass player David Seger to form the Giant Sandworms. They put out the EP Will Wallow and Roam after the Ruin on the local Boneless label in 1980. Two decades later, Gelb confessed in Magnet, "I'm totally embarrassed by this sort of David Byrne-style of singing I was latching onto." After this debut, the Giant Sandworms moved to New York City, but Sedlmayer's drug abuse forced them back to Arizona in 1981.

Soon, Ptacek quit the group as well, and Seger left to join Naked Prey. Gelb replaced Seger with bassist Scott Gerber, and changed the band's name to Giant Sand.

Giant Sandworms:
Howe Gelb (guitar, keyboards, electronics, bass, vocals)
Dave Seger (bass, guitars, vocals)
Billy Sedlmayer (drum kit, vocals)
Rainer Ptacek (guitars, wammy bar, background vocals)




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Johnny Analog - Agent Provocateur (1988)

From North of the border, Toronto electronic pioneer Johnny Analog released this 6 song ep in 1988. A former member of Digital Nation, Analog teamed with Nathan Berman to produce this digital Electro dance piece.
Cookie from Canada was kind enough to send this cool vinyl my way so I could share it, thanks!




Produced by Johnny Analog and Nathan Berman
Recorded at PVO Studios Toronto

Johnny Analog- vocals, voltage, sequencers
Nathan Berman- sequencers, guitar, b-vocals
Cathy Septembre- b-vocals




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Paul Murphy - Montgomery Clift 7" (1985)

A real gem I picked up a while back, a mid 80's 7" single from Paul Murphy and Doug Dinadell recorded right here in my hometown of Scottsdale, Arizona at Cereus Studios.
I'm sure these guys were in other bands but I haven't been able to track down any more information on either of them.

Paul Murphy - Vocals, Drums
Doug Dinadell - All Guitars, Bass

Produced By Paul Murphy




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Punk Rocktober

This month I plan on focusing on obscure punk groups from the 80's. Hope you enjoy it!