Re: AM Research Results [fact.]
Andres Notte:I think its AM and not AMG.
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Andres Notte:I think its AM and not AMG.
Biography by Todd Kristel
Based in Stockholm, The Nomads have stood out from other garage rock revivalists because of the intensity of their performances and the wide range of their influences, which extend beyond the usual '60s bands to encompass '70s punk, heavy metal, rockabilly, and blues. Their first release was a crude remake of the Sonics' "Psycho"; the band pressed 500 copies of this self-financed single in 1981 but had to discard 50 copies because of defects. They followed this with another single, a blistering rendition of "Night Time" by the Strangeloves, and received wider recognition with their first mini-album, Where the Wolf Bane Blooms. In 1984, they conducted their first European tour and garnered attention in the United States for their Outburst album. Despite successful attempts to broaden their sound, such as using horns on a recording of Jeff Conolly's "She Pays the Rent" and a trashy synthesizer on the Suicide-influenced "My Deadly Game," they have not managed to gain more than a small cult following in the States; this may be because they have recorded only a limited number of original songs. Nonetheless, they have managed to create some genuinely exciting, if not particularly innovative, music.
You digging dem Swedish garage heroes, Gert???
Ye I am swede! Rad gnarly sounds. Thanks for the discs!
Sure, no problem, pal! Glad you like it. I think they stand out as a very raw sounding band. They were very loud live and I think that they were in the studio as well....at least it sounds like it.
Btw, I can't import your mixes to my computer, I can play one of dem but can't import. Doesn't work on da hi fi either...:(
I can imagine they would be really loud live!!
Oh, sorry about that. Is it the dub ones that don't work? Think I did them as data cd's because they were big. Thought you would be able to get them onto your computer. Perhaps I can try sendspacing them or something?
Please do if possible....I'd really like dem!
No probs swede, i'll do it. Did the Cherry Pye one work?
No probs swede, i'll do it. Did the Cherry Pye one work?
Nope! Sorry, maybe it's just me being stupid...? I dunno...I look into it again...
kkkkkkkk ok. Might have been me being stoopid though!
The New York City-based trio Uncle Wiggly originally formed in 1989, and consists of members William Berger (guitar and drums), Michael Anzalone (bass and guitar), and James Kavoussi (drums and guitar), with all three sharing vocals. Mixing concise alt-pop tunes with some retro psychedelia straight out of the '60s, Uncle Wiggly issued their debut album, He Went There So Why Don't We Go, a year later on the independent Austrian label Nur Sch Records, before signing on with Shimmy Disc, which issued the trio's next two releases: 1991's Across the Room and Into Your Lap and 1992's There Was an Elk. The trio issued a 12" EP titled Non Stuff in 1995, as well as their fourth full-length release overall, Jump Back, Baby, in 1996.
Last edited by Markus (2010-08-12 03:07:58)
Long-running but not exactly prolific, New York's Fly Ashtray was a band of warped pop eccentrics working in territory most commonly referenced through Pavement and Thinking Fellers Union Local 282. Fractured pop songs that buried their hooks under heaps of lo-fi noise were FA's stock in trade, along with a goofy brand of psychedelia and a dry, absurdist sense of humor. Elements of British Invasion pop, new wave, jangly R.E.M./Television-style alt-rock, and avant-garde rock weirdos from the Red Krayola to the Residents were all audible in the group's eclectic sound as well. Fly Ashtray's lackadaisical attitude toward recording certainly contributed to their relative lack of exposure — it often took them years to issue new material, and what they did release was often on small, poorly distributed labels. Yet that informal aesthetic also contributed to a loose — if uneven — charm cited by many of the critics who did hear their albums.Fly Ashtray was formed in 1983 at Fordham University, in the Bronx area of New York City. Charter members included singer/bassist/guitarist John Beekman, guitarist/bassist Chris Thomas, and guitarist/bassist Mike Anzalone. They were soon joined by keyboardist/guitarist/bassist/singer James Kavoussi and drummer Eric Thomas (Chris' brother). It would take until 1987 for the group to issue their first recording, a 7" single called "The Day I Turned Into Jim Morrison." They next appeared with a brief track on ROIR's New York Scum Rock compilation in 1989. Despite their lack of available material, the band had been recording off and on for most of the ‘80s, and issued a self-released, cassette-only compilation of its early work in 1990, called Nothing Left to Spill. It was accompanied by a four-song EP, Extended Outlook, on the See Eye label, plus a 7" single, "President Stoned." Another 7", the three-song "Soap"/"Bip"/"Feather," followed in 1991. By this time, Eric Thomas had left the group to move to Japan, and Mike Anzalone also departed to concentrate on playing in Kavoussi's other project, Uncle Wiggly. Thomas was replaced by new drummer Glenn Luttman, leaving the group a quartet.Fly Ashtray's first proper full-length was 1991's Clumps Take a Ride, which appeared on Kramer's Shimmy Disc label and collected material from the previous three years, including their signature song "Ostrich Atmosphere." The EP Let's Have Some Crate followed on the British label Hemiola in 1992, and finally — after a decade of existence — the band released its first full-length album of all-new material, Tone Sensations of the Wonder-Men, on Shimmy Disc in 1993. After this unprecedented level of activity, a hiatus of several years followed, during which time Kavoussi embarked on a solo project under the name pHoaming Edison. Fly Ashtray returned in 1997 with the Flummoxed EP, their first release for indie Dark Beloved Cloud. In 1998, they experienced their first personnel shift in quite some time, as Beekman departed, to be replaced by bassist/guitarist/banjoist David Abel (also of Autobody). A third full-length album followed in 1999, under the title Sawgrass Subligette; it featured contributions from Abel's crony Jim Abramson, an Autobody bandmate who also drummed for Dymaxion. In 2002, Fifth Beetle released a long-delayed EP, Stop the Zockos, which had been completed in 1995. The following year, Glenn Luttman took his leave from the band, and was replaced by Autobody/Drumhead percussionist Eric Marc Cohen.
Few of punk rock's founding fathers could have anticipated the extreme to which Half Japanese took the music's do-it-yourself ethos. Founded by brothers Jad and David Fair, Half Japanese was quite probably the most amateurish rock band to make a record since the Shaggs, all but ignoring musical basics like chords, rhythms, and melody. However, the brothers made that approach into a guiding aesthetic, steadfastly refusing to progress in their primitive musicianship over a career that lasted decades. David Fair's article "How to Play Guitar" outlined the Half Japanese philosophy: if you rejected conventional ideas about fingering, tuning, and even stringing a guitar, there were no limits on how you could express yourself on what was, after all, your instrument. The band's proponents (who included Kurt Cobain) saw them as the epitome of a pure, unbridled enthusiasm for rock & roll, the ultimate expression of punk's dictum that rock should be accessible to anyone who wanted to pick up an instrument and play. Detractors found them gratingly noisy, borderline unlistenable, and too self-conscious and willful about their naïveté. That naïveté extended to their lyrical outlook too, not just their technical abilities; when they weren't singing about horror movies or tabloid headlines, most of their songs were about girls, veering between innocent longing and wounded sexual frustration. Early on, with less outside influence, their work was more chaotic and cathartic; as time passed, David Fair became a sporadic contributor, and the prolific Jad built a core of semi-regular backing musicians who brought a rudimentary sense of songcraft to the proceedings. Jad and David Fair formed Half Japanese in their bedroom in the mid-'70s. Accounts differ as to exactly when (somewhere around 1975-77) and where (either Michigan or their eventual base of Maryland; the family apparently moved around a lot). It is known that the brothers made their first home recordings in 1977, issuing their debut EP that year, Calling All Girls, on their own 50 Skidillion Watts label. Several homemade cassettes circulated in the underground, which resulted in a deal with the small British independent Armageddon. In 1980, Half Japanese became the first band in history to release a three-record box set as their debut album; 1/2 Gentlemen/Not Beasts collected some of their earlier home recordings, while throwing in barely recognizable covers (the Temptations, Buddy Holly, Bob Dylan) and sound experiments cobbled together from guitar noise, electronics, and odd effects. Yet their primary influences were clearly the minimalism of the Velvet Underground and the innocence of Jonathan Richman, with some Iggy Pop angst at times. Over the years, 1/2 Gentlemen/Not Beasts became something of a cult legend (helped out by its scarcity), and foreshadowed the lo-fi movement of early-'90s indie rock. A second album for Armageddon, the aptly titled Loud, followed in 1981; it matched the brothers' atonal squall and stream-of-consciousness compositions with a supporting cast of free jazz musicians. The Horrible EP — a collection of songs paying tribute to horror movies — followed on Press in 1983. Around that time, Jad Fair began a concurrent and equally prolific solo career, releasing records under his own name, and in collaborative side projects well into the '90s. Moving to the Iridescence label, Half Japanese took a musical step forward on 1984's Our Solar System, which flitted between rock and improvised chamber jazz while using different musicians in different contexts. Some of those musicians — multi-instrumentalist John Dreyfuss, guitarist Don Fleming (also of B.A.L.L., the Velvet Monkeys, and Gumball), bassist/guitarist Mark Jickling, and drummer Jay Spiegel among them — would continue to work with Half Japanese in the years to come. Featuring many of the same musicians, the follow-up, 1984's Sing No Evil, was an even greater concession to accessibility (relatively speaking, of course) with its improved sense of songwriting and structure; it's still acclaimed by many as one of the band's best works. Iridescence subsequently went under, and the band revived its 50 Skidillion Watts imprint with help from an avowed fan, magician Penn Jillette. In 1987, David Fair took a temporary leave of absence to attend to his family; for the remainder of the band's existence, he would come and go as time permitted. Recording without his brother for the first time (as Half Japanese), Jad Fair worked with Shimmy-Disc label honcho Kramer on 1987's Music to Strip By, which spun off the single "U.S. Teens Are Spoiled Bums," and continued the trend toward greater musicality. David Fair returned for 1988's upbeat Charmed Life, which earned some of the strongest reviews of Half Japanese's career. He departed once again by the time of the more experimental follow-up, 1989's The Band That Would Be King, which found Jad Fair backed by Kramer and free improvisation gurus John Zorn and Fred Frith, along with several semi-regular bandmembers. The loose, spontaneous vibe carried over to the next album, 1990s uneven We Are They Who Ache With Amorous Love, which appeared on the New Jersey label T.E.C. Tones. It featured a large cast of Half Japanese cohorts past and present, including the musicians who would anchor the '90s lineup: guitarist John Sluggett, Swiss-born drummer Gilles-Vincent Rieder, guitarist/bassist Mick Hobbs, and bassist Jason Willett, plus longtime supporter Mark Jickling. 1993 brought Half Japanese the greatest visibility of their career. Longtime fan Kurt Cobain — a champion of innocent, amateurish indie rock acts like the Vaselines and the Raincoats — invited Half Japanese to open the East Coast leg of Nirvana's In Utero tour. A documentary film on Half Japanese, titled The Band That Would Be King, after their recent album, was released to art-house theaters by director Jeff Feuerzeig, and T.E.C. Tones also reissued 1/2 Gentlemen/Not Beasts as a two-CD set. In the meantime, Half Japanese released a new album, Fire in the Sky, on the Safe House label. One of the most straightforward rock records in their catalog, it boasted a guest appearance from one-time Velvet Underground drummer Moe Tucker, who sometimes used Half Japanese as a touring band, and frequently welcomed Jad Fair as a guest on her own records. 1995's Hot continued the rock-oriented approach of its predecessor; the same year, Safe House released a double-disc, career-spanning retrospective, the ironically titled Greatest Hits. The following year, Jad and David reunited under their own names to record the album Best Friends. 1997 brought Heaven Sent, which appeared on drummer Gilles Vincent's own Kitty Kitty label; its title track — the product of a session for Amsterdam radio — was over an hour long, and was believed to be the longest "song" ever released. The same year, Half Japanese signed with Alternative Tentacles and issued Bone Head. In the years that followed, Jad Fair's flood of recorded material finally began to slow to a trickle, although he did continue his work in the visual arts (his paintings were exhibited periodically in Europe). After a four-year absence, Half Japanese finally returned in 2001 with their second album for Alternative Tentacles, Hello.
half Japanese! (my daughter is one)
I wrote to Jad 30 years ago. He sent me some perfunctory handmade art. One of the raddest dudes ever.
interesting.....was planning on listening to this at some point this weekend
Biography by Eduardo Rivadavia
One of Japan's most iconic purveyors of early-‘70s heavy/blues/psych rock, Speed, Glue & Shinki was composed of three uncommonly talented, freakishly tall (six-foot-plus!), and exceptionally wasted longhairs of mixed descent; Shinki was half Chinese, "Glue" half-French, "Speed" a Filipino, and, yes, their drugs of choice inspired the group's moniker. As is often the case, the group's legend was established primarily posthumously, but the improbable nature of their very existence and the retrospectively appreciated uniqueness of their spare musical output totally warrants it.
Speed, Glue & Shinki started out as the brainchild of Atlantic Records impresario Ikuzo Orita and guitar hero Shinki Chen, who was just 21 but already deemed the "Japanese Hendrix," thanks to a résumé boasting stints with Brit-blues purveyors Powerhouse, Super Session emulators Foodbrain, and the house band for Japan's own production of the musical Hair, to name just his most then-recent exploits. However, rather than settling on faceless no-names to support Shinki's genius, the duo sought his instrumental and charismatic equals in highly respected bassist Masayoshi "Glue" Kabe -- himself a veteran of Group Sounds staples the Golden Cups, among others, including Shinki's first pro band years earlier -- and the comparatively inexperienced, Filipino-born singing drummer Joey "Speed" Smith (aka Pepe), whose larger-than-life persona, pharmaceutical fixations, and songs to match helped define the group's radical musical vision. Ironically, and despite its shared instrumental pedigree, when the band unveiled their 1971 debut album, Eve, it was distinguished by astonishingly raw, loose, and at times even clumsy extrapolations on the era's reigning heavy blues and acid rock templates. Even more astonishing was how its abject commercial failure to chart on Japan's still very buttoned up hit parade actually surprised all involved, expediting Speed, Glue & Shinki's dissolution when the easily distracted Kabe took to vanishing after just a few scattered public band performances. The far more driven Joey did manage to coax a chronically unmotivated Shinki back into the studio, alongside former Zero History bassist Mike Hanopol, but the band's sprawling eponymous sophomore double album, literally lost the plot in a maze of proto-metal/art-rock chaos and indulgence. The LP was pretty much dead on arrival upon release in early 1972, and it wasn't long before Joey and Hanopol both gave up the fight and moved back to Manilla, where they founded a new power trio named, oddly, Juan de la Cruz. Shinki Chen proceeded to squander his six-string gifts by forming an organ-dominated outfit named Orange before fading away into session work, while the free-spirited Kabe resumed his itinerant lifestyle, whereabouts unknown (just kidding: he settled down in old age, but where's the romance in that?). Speed, Glue & Shinki duly graduated to cult band status, and yet, for a brief moment, in a flash of light, this ragged trio forced the rock & roll firmament to its bended knees and carved a monument to primal guitar rock for the ages.
Get With The Realness!! wrote:
Good idea Mak! (oh and Bronco Bullfrog sound interesting, funny that album was recorded at ToeRag studios, I was looking at the ToeRag site yesterday following the tape machine chat!)
We are all connected thru dem horns!
The second Captain Howdy album finds Jillette and Kramer essentially doing what needs to be done — low-key music blending Kramer's garage/art rock with perverse accessibility and Jillette's half-sung half-spoken rants and ruminations, plus a few extra folks helping out. Anyone who's watched Comedy Central for even a little bit of time will immediately think of his endless series of spoken word spots for the station, but with music and him in charge of all the programming. Two covers appearing near the start help to set the tone. First, a revamp of the Bacharach/David standard "Always Something There to Remind Me" is ironically even more stiff and robotlike than Naked Eyes' early-'80s cover. Snippets from some talk show float around the mix while the blend of drum machines and guitar sets a loping, moody tone accentuated by the echo on Jillette's vocals on the chorus. Neil Young's "Old Man" then lets the two harmonize in high-pitched fashion while otherwise pulling off a reasonably straightforward version with attractive guitar from both Kramer and Billy West. Otherwise, it's all originals, with Jillette's lyrical flights and Kramer's own contributions resulting in songs like the sleazy "Don't Fuck With the Phoenix" and the pretty, acoustic guitar float of "I Just Wanna Get Laid" (with a hilarious T. Rex reference in the lyrics). The music is generally loose, a step above full-on jamming but otherwise not making a particular fuss about what it's doing. One amusing combination is the slow, almost waltz-time "Man Bites Dog," with Jillette backed up by squeaky backing harmonies, and the immediately following "If You Love Me, Kill Your Dog," a gentle ramble (with piano and, apparently, oboe) that's practically dreamy. The overall tone of the album is loopy, gentle trippiness as opposed to in-your-face antics, making Money Feeds a worthy treat for listeners.
By playing pure and simple rock & roll without making an explicit issue of her gender, Joan Jett became a figurehead for several generations of female rockers. Jett's brand of rock & roll is loud and stripped-down, yet with overpowering hooks -- a combination of the Stones' tough, sinewy image and beat, AC/DC chords, and glam rock hooks. As the numerous covers she has recorded show, she adheres both to rock tradition and breaks with it -- she plays classic three-chord rock & roll, yet she also loves the trashy elements (in particular, Gary Glitter) of it as well, and she plays with a defiant sneer. From her first band, the Runaways, through her hit-making days in the '80s with the Blackhearts right until her unexpected revival in the '90s, she hasn't changed her music, yet she's kept her quality control high, making one classic single ("I Love Rock 'n Roll") along the way.
Jett was born in Philadelphia, PA; her family moved to Los Angeles when she was 12 years old. By the time she was 15, she had formed her first band and was performing around town. Kim Fowley, a Los Angeles record producer, discovered the band at one of their gigs and became their manager; soon, he renamed the all-female group the Runaways and secured them a contract with Mercury Records. The band released three albums that never had much commercial success in America, yet were very popular in Japan; the group was popular in both the Los Angeles hard rock and punk scenes, which led to Jett's production of the Germs' first record, (GI). The Runaways group broke up in 1980 and Jett moved to New York to begin a solo career.
Teaming up with producer/manager Kenny Laguna, Jett independently released her self-titled debut album in 1980 in America, since no labels were interested in signing her. The record was a more traditional rock & roll record than the punky Runaways, yet it retained her previous band's defiant attitude. The record sold very well for an independent release, leading to a contract with Boardwalk Records, who reissued the album under the title Bad Reputation; it soon climbed to number 51 on the American charts.
Jett formed the Blackhearts between Bad Reputation and her second album, 1981's I Love Rock-n-Roll; the group included guitarist Ricky Byrd, bassist Gary Ryan, and drummer Lee Crystal. Released at the end of 1981, I Love Rock-n-Roll became her greatest success, sending her into the Top Ten. Originally the B-side of an Arrows single, the title track was an enormous success, spending seven weeks at number one in the spring of 1982. The follow-up single, a version of Tommy James & the Shondells' "Crimson and Clover," went Top Ten as well; a single of Gary Glitter's "Do You Wanna Touch Me (Oh Yeah)," taken from the Bad Reputation album, reached number 20 in the summer of 1982. Album, released in 1983, went gold yet had no hits that compared with either "I Love Rock 'n Roll" or "Crimson and Clover."
Jett starred in Paul Schrader's 1987 film Light of Day, which featured the Top 40 title song, yet she didn't have another Top Ten hit until 1988, when "I Hate Myself for Loving You," taken from the Up Your Alley album, hit number eight; the album became her second platinum record. After the album's success, her career had another slow period, with 1990's all-covers album The Hit List making it to number 36 and 1991's Notorious failing to chart. Between Notorious and 1994's Pure and Simple, a new generation of female rockers came of age and everyone from hard alternative rockers like L7 to the minimalist, riot grrrl punk rockers like Bikini Kill claimed Jett and the Runaways as an influence. As a consequence, Pure and Simple received more press and positive reviews than any of her albums since the mid-'80s. In 1995, Jett recorded the live album Evilstig with the remaining members of the Gits, a Seattle punk rock band whose lead singer, Mia Zapata, was raped and murdered in 1993. Jett reunited with the Blackhearts for the 1999 album Fetish, and in 2006 Sinner, a return to her punk roots (and ten of whose 14 songs were found on the 2004 Japanese-only record Naked), came out.
Often dismissed during their existence as a crass marketing gimmick, the Runaways have grown in stature over the years as the first all-female band to make a substantial impression on the public by playing loud, straight-up, guitar-driven rock & roll. Since all of the members were teenagers (some of whom were still learning to play their instruments when they passed their auditions), the band's music was frequently raw and amateurish, but it neatly combined American heavy metal with the newly emerging sound of punk rock. In the media, the Runaways were victims of their own hype, supplied by maverick promoter/manager Kim Fowley. Fowley's insistence on a sleazy jailbait image for the group made it easy for the press to dismiss them as nothing but a tasteless adolescent fantasy -- an impression bolstered at the time by the admittedly erratic quality of their music. But in the end, the Runaways' sound and attitude proved crucially important in paving the way for female artists to crank up the volume on their guitars and rock as hard as the boys; plus, they produced one undeniably classic single in the rebel-girl manifesto "Cherry Bomb."
The genesis of the Runaways can be traced to a 1975 Alice Cooper party, where Fowley met teenage lyricist Kari Krome. Fowley was impressed with Krome's streetwise perspective and set about putting together a female band. Krome's friend, guitarist Joan Jett (born Joan Larkin), had been forming a band of her own with drummer Sandy West (born Sandy Pesavento), and Fowley quickly had a trio on his hands. However, it soon became apparent that Krome was not much of a singer, and she was replaced by vocalist Michael "Micki" Steele (born Sue Thomas), who also began learning the bass. As a trio, this lineup recorded a demo titled Born to Be Bad in late 1975; shortly thereafter, guitarist Lita Ford successfully auditioned through a trade-paper ad, and Steele left the group (she would later join the Bangles). Cherie Currie became the new lead vocalist, and after an extremely brief stint with a bass player known only as Peggy (which lasted just a few weeks), the band settled on Jackie Fox (born Jacqueline Fuchs), who switched to bass from guitar in order to join the band.
Thus constituted as an entirely teenaged quintet, it didn't take long for the Runaways to score a record deal; Currie's stage wardrobe (lingerie) and Fowley's well-established contacts made sure of that. After signing with Mercury in February 1976, the band began recording their self-titled debut album, which was released just a few months later. However, it was not greeted well. Fowley was preceded by his reputation for overhyping gimmicky acts, and the sheer number of roles he played in guiding the Runaways' career made him appear a manipulative, Svengali-like figure. Moreover, regardless of whether or not the Runaways were simply a cheap exploitation act (an endlessly debatable question), the entire concept of the band -- teenage girls playing their own instruments and singing frankly and enthusiastically about sex, booze, and life on the streets -- was simply too discomforting for much of America. Fowley's extensive involvement (some called it near-total control) made it easy for journalists and radio programmers to dismiss the group out of hand as a male-concocted sham; it was also a convenient way to ignore the myriad cultural buttons the Runaways were pushing.
Despite a wave of publicity on Fowley's part, The Runaways just barely scraped the bottom of the charts in the early fall of 1976, around the same time the band played their first gig at the legendary New York punk club CBGB's. The second Runaways album, Queens of Noise, was released in early 1977 and fared little better on the charts than its predecessor, thanks to radio's continued reluctance to program the group's music. However, when the Runaways mounted a tour of Japan in June of that year, they were greeted with sold-out arena gigs and rabidly enthusiastic audiences who didn't consider them a joke ("Cherry Bomb" had, in fact, topped the Japanese charts). A concert record, Live in Japan, was culled from the tour, but wasn't released in the U.S.
Despite this taste of success, relationships between some of the group members had begun to fray, thanks partly to substance abuse problems and partly to unconcerned negligence on the management's part. Upon their return to Los Angeles in July 1977, Jackie Fox departed the group; a story circulated that she had attempted suicide on the Japanese tour, though it was later discredited. Before the year was out, Currie too had left, spurred in part by consistent disagreements with Fowley. Jett took over as lead vocalist, and new bassist Vicki Blue was hired for the group's third album. Waiting for the Night was released at the end of the year, and failed to even hit the U.S. charts. By this point, Fowley had lost interest in the band, and quit as manager early the next year. Jett's unofficial leadership role within the group became more serious, but unfortunately, musical differences were beginning to arise (Jett's punk and glam rock influences clashed with West and Ford's love of straight-up hard rock and heavy metal). One more album, And Now...The Runaways, appeared toward the end of 1978, but it was released only in the group's core markets of Europe and Japan (it later appeared in America with a different running order under the title Little Lost Girls). Blue quit the band after their New Year's gig and was replaced by Laurie McAllister, but to no avail; Jett left the group in April 1979, and the Runaways officially disbanded not long after.
Currie released a solo album in 1978 titled Beauty's Only Skin Deep, and then teamed up with her twin sister Marie for 1980's Messin' With the Boys. Jackie Fox went to law school and became an attorney. Meanwhile, West and Ford formed a short-lived outfit of their own, after which Ford went solo and scored several hits as a pop-metal artist during the '80s. An even better indicator that there was more to the Runaways' music than met the eye was the success of Joan Jett's solo career. Jett formed her own band and record label, landed an enormous number one smash with 1982's "I Love Rock n' Roll," and continued to produce albums of tough hard rock into the 21st century. The heavily feminist riot grrrl punk movement claimed Jett as a major inspiration, prompting a re-examination of the Runaways' output divorced from Kim Fowley's marketing tactics. Rumors of a full-band reunion surfaced periodically but never resulted in an actual gig, although the release of a summertime biopic in 2010 -- one that starred Kristen Stewart as Jett and Dakota Fanning as Currie -- helped rejuvenate interest in the band.
Brainville is a collaboration between Shimmy Disc founder Kramer and three of the legends of Canterbury rock, Gong founder Daevid Allen, Soft Machine bassist Hugh Hopper, and Pip Pyle, who drummed for Gong, Hatfield and the North, and National Health. Despite three of the musicians having made their names during the psychedelic and progressive rock eras, the band's music has a contemporary sound. Kramer collaborated with both Allen and Hopper on two albums each and so it was only a matter of time before he collaborated with both at once. The most logical choice of drummer would then be Pyle, who has played frequently with Allen and Hopper over the last three decades.
When People Were Shorter and Lived Near the Water (frequently shortened to WPWSALNTW) was an American experimental psychedelic rock band from New York City active from 1986–1996. The group's recorded output consists solely of cover versions of older pop, country, swing and rock songs performed in obtuse arrangements.
The group formed in 1986 around vocalists Kim Rancourt and Joe Defilipps (who also played trombone) and guitarists David Raymer and Bob Meetsma. The band based its repertoire around deconstructive cover versions of other artists' songs, alternating between precise and loose arrangement techniques resulting in renditions that were "not exactly affectionate tributes, but not complete jokes either".  The group thus held the double-identity of art rock and party band. Featuring bassist Mitch Strassberg and drummer Ron Spitzer (of Band of Susans), the group's 1987 debut EP found them covering Ray Davies and reciting the Gettysburg Address.
Their second EP, 1988's Uncle Ben, was their first with bassist Dave Rick (of King Missile, Bongwater and briefly Yo La Tengo) and drummer David Licht (of the Klezmatics, Bongwater, Shockabilly and Eugene Chadbourne's band). The record also marked the beginning of their work with Shimmy Disc, a like-minded New York-based experimental rock label run by Bongwater leader Mark Kramer who frequently played on the group's recordings. This was followed by 1989's Bobby, their first LP, composed entirely of Bobby Goldsboro covers. Keyboardist/multi-instrumentalist Chris Xefos (also of King Missile) played extensively on the record as a guest and joined the group as a full-time member shortly thereafter.
In 1991, the band released Porgy, an album of material from Ira and George Gershwin's Porgy and Bess. WPWSALNTW's last LP, 1994 Bill Kennedy's Showtime, was composed of songs by obscure or semi-obscure 1960's Detroit rock bands (as Rancourt grew up in the area during that time). Talk of an album of material popularized by Louis Armstrong arose as plans for the band's fourth LP, but the record never materialized, and the group fell into inactivity.
Rancourt and Rick next co-founded the group Shapir-O'Rama, who played original music. The band recorded several albums, including two with Jad Fair. Rancourt currently plays in a group called JFK with Andrew W.K. and Don Fleming. Defilipps plays in a band called Gravy, and other members have also remained musically active.
The Differents were a Connecticut-based duo comprised of guitarist Stanley Walter and drummer Peter R., who both sang and wrote. Pitched somewhere between the abrasiveness of Half-Japanese and standard bar band-style guitar pop, the Differents didn't last long. Their sole album, 1994's Scratch, was produced by indie overlord Kramer and released on his Shimmy-Disc label.
Ernest Noyes Brookings is another character who emerged from the world of the Duplex Planet, a 'zine that David Greenberger started in 1979 that documented the conversations and activities of the residents of the Duplex nursing home. In 1980, Greenberger, the activities director of the nursing home, encouraged the 82-year-old Brookings, a former machine parts designer, to write poetry. Noyes produced several hundred poems and Greenberger executive produced several albums of Noyes' lyrics set to music by artists such as XTC, Morphine, Ben Vaughn, Peter Holsapple, the Young Fresh Fellows, Fred Frith, and dozens more.
Daevid Allen was one of the founders of the British progressive rock band the Soft Machine in 1966. After recording just one album with the group, he became the founder/leader of Gong, which he left in 1973 to begin a solo career (though his first solo album, Banana Moon, was released in 1971 while he was still in the group). Allen explored his quirky, folky take on rock throughout the '70s and '80s on albums like 1976's Good Morning and 1983's Alien in New York. His solo work also included collaborations with underground rock impresario Kramer like 1993's Who's Afraid? and 1996's Hit Men, which was released on Kramer's Shimmy Disc label. Allen returned in 1999 with Money Doesn't Make It, followed a year later by Stroking the Tail of the Bird. Nectans Glen also followed in 2000. In 2003 Allen formed a new version of Gong with members of the Japanese collective known as Acid Mothers Temple, as well as playing and releasing material with his California-based band University of Errors. He continues to release numerous live sets and one-off collaborations in limited editions on various independent labels under his own and various group names. A best-of, Man From Gong, which only scratches the surface of his lengthy discography, appeared from Snapper Music in 2006.