Little Walter - Hate To See You Go LP

Label: Chess Records; Year: 1990; Format: Vinyl LP

Not too long ago I watched the movie Cadillac Records which chronicles the rise of Leonard Chess, a Polish Jewish immigrant in Chicago and famous for having created Chess Records. While I thought that the movie was alright for what it is I did enjoy the actors playing the roles of Muddy Waters, Howlin' Wolf or Little Walter. This morning I definitely didn't feel like putting on a punk or hardcore record as my head was a bit foggy and god knows what my body has been trying to shake off for some time now, but don't you worry the virus won't jump over the intranet. Good news is though that I was in the mood to listen to some music and I remembered that I have this Little Walter LP on my shelves, an ideal record to relax to without increasing the fogg levels so to speak. Marion Walters Jacobs (Little Walter) was born in Louisiana in 1930 and learned to play the harmonica by the time he was twelve years old. Like many other blues musicians he worked his way up to Chicago through the South by reaching the shores of Lake Michigan in 1947. Walter is for many reasons being regarded as one of the two best and most influential blues harmonica players, the other one being Sonny Boy Williamson. Like so many other of his peers in Chicago Walter played on Maxwell Street before meeting up and joining Muddy Waters' band. It is needless to say that together they created the standard that all Chicago blues bands would be judged by, and rightfully so. I can only imagine how exciting it must have been to hear the newly-electrified harmonica riffs for the first time, but for that you had to be there. The tracks on this originally in 1969 released LP were all recorded between 1952, Walter's first year as a solo artist for Chess, and 1960. Since the songs were recorded over a period spanning several years one would think that they might sound very different only to be reminded that back in the '50s time and trends didn't move as fast as they do today and artists were more likely to stick to what they knew and loved instead of trying to reinvent themselves over and over. One of the best songs on the album is the song "Roller Coaster", a wonderful instrumental, on which a certain Bo Diddley is cited as "probably" having played the guitar. The earliest track ,"Blue Midnight", features Muddy Waters, and is another outstanding track. On most of the tracks Little Walter is accompanied by Willie Dixon on bass and Fred Below on drums and the guitar often played by Robert Lockwood Jr.. You really can't go wrong with this record if you like Chicago blues and/or would like to learn more about it. Little Walter packed in a lot in his short life and died at the age of thirty-eight in 1968. He left behind a lot of great music and for that we should be eternally grateful. 

Motorheadgirlschool - St Valentines' Day Massacre 10"

Label: Earmark; Year: 2003; Format: 33 RPM 10" EP

In hindsight it's clear to see that the collaboration between Motorhead and Girlschool was one of the best in Rock'N'Roll history, period. As a matter of fact the St Valentines' Day Massacre EP reached Number 5 in the UK Singles chart, the highest either band has ever been able to climb in the charts. Back in 1979 when Lemmy discovered Girlschool through their "Take it all away" single he fell in love with the band and thought rightfully so that Girlschool kicked just as much ass as any other band consisting of guys only. Lemmy went even further and invited Girlschool as a support act on their first big tour in support of the "Overkill" album. The friendship between the two bands resulted in the release of St Valentines' Day Massacre, released originally on Valentines' Day of 1981. The concept of the EP is very simple, Motorhead covers a Girlschool song, "Emergency", while Girlschool cover a Motorhead song, "Bomber", and last but not least together they cover the outstanding Johnny Kid & the Pirates classic "Please Don't Touch", which landed the band(s) as Headgirl a TV appearance on Top Of the Pops and definitely played a role in chart success. Personally I like the "Bomber" version with Kelly of Girlschool singing better than the original Motorhead version, and I think that says it all. This is truly one of those records that will never age and be a favorite for many of us for the rest of our lives. Say what you want about Lemmy, but back in the late '70s and early '80s he made sure that an all-female band was offered the same opportunities as every other band and Girlschool went on to have a fine career, deservedly so. It is sad to think that Lemmy, Philthy Animal, Eddie and Kelly are no longer with us, hence I raise a glass to them and this fine record. 

Wretched Ones - S/T LP; Live EP; Tributes Suck EP and Live on a Five Single 

Label: Headache Records; Year: 1993; Format: Vinyl LP

I had planned to do this Wretched Ones entry quite a while back as May 23 of this year marked the 25 year anniversary of seeing them in Hamburg, Germany supporting the Angelic Upstarts. Anyway better late than never so here we go with a longer entry dedicated to this quartet from Midland Park in New Jersey. Not too long ago I posted about one of the Headwound EPs on Headache Records and had a bit of a look on their FB page since they seem to be still going strong. There I stumbled upon a German podcast dedicated to Headache Records, which was run by Pit, the singer in the Wretched Ones. Quite frankly not much is to be found on the worldwide intranet about the New Jersey '90s Oi scene, or the Wretched Ones in particular, but in a way I really like that even though the band deserves much more recognition for their output. In said podcast the guys talked about quite a few bands that appeared on Headache Records, but I was really mostly interested to hear what they had to say about the Wretched Ones. It was no surprise that they too thought the band brought a fresh wind to the Oi genre. I have never been much of a fan of Oi per se but during the '90s the Wretched Ones from the East Coast and Bonecrusher from the West Coast were two of my favorite bands, both capable of fusing elements of '80s hardcore punk with mean and raw Street Rock'N'Roll. In that sense the American Oi bands set themselves apart from the more traditional '80s UK Oi sound, which in my opinion was more often than not quite lame in contrast. The Wretched Ones have a history in hardcore punk as two of their members, Pit on vocals and B.T. on guitar, were members of The Burnt who released an LP on Mutha Records back in 1985, followed by a few EPs on Headache Records. The band transitioned into the Wretched Ones as early as 1988, but it wasn't until 1993 when the first LP was released, and what a cracker of an LP it is. I am nearly ashamed to say that at one point I had almost the entire catalogue of the Wretched Ones in my collection but when I needed money the records exchanged hands and wandered to a friend of mine in the UK, at least they are in good hands. Luckily some years ago I was able to find a copy of this LP for cheap and I will continue buying back whatever I don't have anymore. The 16 songs on the LP can be described as American Oi classics, and I do mean each one of them. Stand out tracks are "Going down the Bar", "Working Man" or "Time marches on" but again they're all brilliantly simple yet ass-kicking songs. The Wretched Ones had a habit of writing as many songs as possible about drinking beer and working bonebreaking jobs without ever getting boring, and I mean that as a compliment. In all fairness Schaefer Beer should have paid the guys large sums for their free advertisement and the Toxic Avenger should have hailed these guys when saving New Jersey from the next chemical disaster. Fill your fridge with beer and give this one a spin, you won't regret it.  

Label: Knock Out Records; Year: 1999; Format: Picture 7" EP

God knows how many days I have lived now in my nearly fifty three years of existence on this screwed up planet, but in all fairness how many of those days do I or any of us remember? I think it's fair to say not many. But, there are those days which we'll never forget, and for me May 23 of 1998 is certainly one of them. On said beautiful Spring Saturday I boarded a train heading from Zurich, Switzerland to Basel early in the morning and from there I got on a Deutsche Bundesbahn express train that got me to Hamburg by around 4pm. I recall heading straight to the Hafenstrasse by Hamburg's vast port and there was already a large contingent of Punks and Skins drinking cans of beer and generally having a good time. A friend of mine from Switzerland was meant to come along on the trip but had to cancel last minute. I had no problem going up to Hamburg on my own as up to that point I had never seen the Upstarts and the Wretched Ones alone would have made that trip worthwhile for me hence it was a no brainer. On top of that the gig took place at Grosse Freiheit 36, a renowned venue that hosted early Beatles gigs and is up to this day one of the most famous locations for live music in Hamburg. The atmosphere leading up to the gig in front of the venue was absolutely electrifying as people from around Europe had made the trip to Hamburg to witness an unforgettable evening. It so happened that at some point I was approached by a group of Skins who had made the trip from the Eastern parts of Germany (former GDR) asking me where I came from. Somehow they were fascinated by the fact that I had come up from Switzerland and bought me several rounds of beers throughout the night which I definitely didn't mind. What can be said about the gig, and in particular the Wretched Ones? I thought all bands put in a great shift, including Oxymoron who jumped in last minute to replace the Dropkick Murphys. By 1998 the Wretched Ones were not as unknown in Germany as one would think as Mosh of Knock Out Records has licensed the first two LPs by the band and as a result of that the guys from New Jersey had a dedicated fan base in Europe, mainly in Germany. The fact that the band was flown in just for the one show in Hamburg baffles me to this day, but I am glad they were. The Wretched Ones sure as hell didn't disappoint and the crowd of more than 1'000 thanked them loudly. The four songs on this Live EP are proof for the remainder of this civilization that New Jersey produced some fine music, and the Wretched Ones are never to be forgotten for that. After the gig I joined some of the people of Klasse Kriminalle from Italy, members of Red London and B.T. from the Wretched Ones on a trip to a bar on the famed Reeperbahn and I'll never forget how B.T always ordered two beers at the same time, one to down really fast and the other one to last a bit longer. After a long night of great live music and drinking I walked down to Hamburg's train station and took a train to Cologne to catch Motorhead the next day, a Sunday night. It wasn't until Monday morning that I finally returned to Switzerland, tired and with my ears ringing, but full of memories I will never forget. Cheers! 

Back of the Live EP as well as the ticket to the gig and to my surprise I even kept the train ticket in the record, great memories!

Label: Headache Records; Year: 1998; Format: 7" EP

In 1998 the Wretched Ones and Headache Records had enough of waiting on some labels to release Tribute records and decided to put their contributions on an EP appropriately called "Tributes Suck". The four songs enshrined on this EP are all classics in their own right, and I'll be a lazy bastard and just type up what the back of the EP says: 

1. Pirate Love - Originally recorded for Sky Krebs Records (who?) over four years ago. This guy was gonna put out the best tribute ever, blah...blah...Last we heard the master tape was stolen out of his car (yeah right). 

2. Just To Get Away - We agreed to get this in right away, the release date, after all is already next month. Half a year later we get word it's out. We are lied to a few more times that copies are in the mail. We figure we'll never see it. (Note: we got 'em now as this goes to print, thanks)

3. No More Heroes - Recorded for Elevator Records, this guy has bullshited us along for two years now that this thing would be out in another "month or two" Our feeling is he's about an hours drive away from a punch in the head. 

4. America The Beautiful - Dictators! OK now we're cooking. What song do you want us to do? What's that? America? That's note a Dictators song. Huh? It was on a Japanese 45 or in a movie? Can we do something else? Oh well OK we'll do this if it's that important. Well it's been way over a year ago, we've heard nothing about a release date, and our contact has since quit the label. Serves us right I guess. 

Well, hopefully in the end the band got copies for all those wonderful Tribute records, but even if not, this EP rules as the Wretched Ones obviously paid tribute to those songs the right way. 

Label: Headache Records; Year: 1996; Format: 5" Single

Well, time to grab a beer, some food and finish this off with the last record for this extended Wretched Ones blog entry. And guess what, it's a 5" record, and the only one in my collection. Two live songs are to be found on this tiny piece of vinyl with "We're not stopping now" recorded live in Wanaque, NJ by Harry Baggs one one side, and correct me if I am mistaken but I think that's the place I looked up when reviewing the Headwound EP hence the show was probably with them. And by the way the town seems almost as small as the 5" record. On the other side you get "I hated school" recorded live in Newark, NJ by an unknown audience member. Who knows and maybe this blog entry will solve the mystery and we'll finally find the unknown audience member. Please contact the HQ of HFTP as soon as you can! Cheers! 

Exodus - Bonded by Blood LP

Label: Century Media/Combat; Year: 2022; Format: Gatefold Vinyl LP

Every music genre has defining records on offer and when it comes to Thrash Metal then "Bonded by Blood" by Bay Area Thrashers Exodus is one of them, and in my opinion probably the album that defines Thrash Metal at its best. If someone out there without any idea about Thrash Metal asked me to describe the genre I would simply suggest to put this record on as it is without exaggeration a masterpiece from the second the needle drops. It is almost needless to say that at one point I did own an early pressing of this album but as it goes I got rid off it in my haze believing that I would never feel the need to listen to Metal ever again. How wrong I was all those decades ago as quite a few of those albums that I sold or traded for next to nothing are collector items and hard to get these days. Well, let me not bother you for too long with my so called dilemmas as thankfully there are reissues and so I am again an owner of this album and this time it will stay with me until I drop dead I suppose. The other night I watched "Murder in the Front Row" again, a powerful and insightful documentary about the early days of Bay Area Thrash Metal. Exodus played a huge role in the development of a scene that started out around a record store where Metal Heads would meet to buy and exchange the latest imports from around the world. The New Wave of British Heavy Metal with bands like Motorhead, Iron Maiden, UFO or Saxon were the primary influence for a lot of the kids in the Bay Area and it wasn't long before bands like Venom or Discharge started to make the rounds in tape trading circles signaling a change in Metal towards a faster, more direct and more brutal sound influenced by NWOBHM and Hardcore Punk alike. I nearly laughed my head off when Gary Holt and co. were describing the scenes at Ruthie's Inn where Exodus and especially their singer Paul Baloff (RIP) would encourage to rip people's Hair Metal shirts off their bodies as to signal that only real Metal was accepted and posers were not welcomed. It brought back memories of my own youth and my buddies in Suburban Zurich, Switzerland. We acted so tough and evil without being evil and made fun of posers ourself, but to be fair we didn't advocate for any harsher actions. Speaking of Ruthie's Inn I recall reading about the club some time ago and thought it was fascinating to learn that the former owner Wesley Robinson (RIP) was an original jazzer who just happened to have an extremely open mind, a big heart and definitely a lot of patience by having opened the doors to a scene that was young, loud and obnoxious but generally speaking good natured. Back in the Mid-80s when I started to get into more extreme music "Bonded by Blood" had far more appeal to me than say the Sex Pistols or the Clash. My friends and I were looking for bands that could shock, would piss off our parents and stood apart from everything else. Exodus was one of those bands and it speaks volumes if an album can still live up to the hype nearly forty years after its original release. When I sat down to listen to the album tonight I felt pretty much the same excitement as all those years back and the nine songs were over with in no time. My favorite tracks have always been 'Bonded by Blood', 'Metal Command' and 'Piranha' but there really are no fillers on this album and in 2023 I can probably proclaim that I love this album even more than I ever had. Play loud and go wild!