#BOMP! Records

[mymelodic-chapel]

The Brian Jonestown Massacre- Methodrone (Shoegaze, Neo-Psychedelia, Psychedelic Rock) Released: August 25, 1995 [BOMP! Records] Producer(s): Naut Human, David Deresinski

[odk-2]

Josie Cotton https://en.wikipedia.org/wiki/Josie_Cotton

Josie Cotton - Johnny are You Queer? (1981) Bobby Paine / Larson Paine from: “Convertible Music” (LP) “Johnny are You Queer?” / “(Let’s Do) The Black-Out” (Single)

New Wave | Power Pop | Comedy | 1980’s

Tumblr (left click = play | right click = “save as”) (VBR)

Personnel: Josie Cotton: Vocals Pete McRae: Guitar J.B. Frank: Keyboards Bobby Paine: Bass Gary Ferguson: Drums

Produced by Bobby Paine / Larson Paine

Recorded: @ Salty Dog Studios in Van Nuys, California USA and @ Ocean Way Recording in Hollywood, California USA 1981

Single Released: 1981 Album Released: 1982

Bomp! Records (Original) Elektra Records (Reissue)

[spilladabalia]

Bomp Records promotional poster for The Stooges and Iggy Pop & James Williamson.

[annihilation-time]

[whitetrashsoul]

[scoop16]

Fun listen featuring Mark Parenteau and WABX FM djs in Detroit playing a stolen tape of The Stooges 'Raw Power' recording sessions.

[mywifeleftme]

138: Various Artists // Experiments in Destiny

Experiments in Destiny Various Artists 1980, BOMP!

BOMP! is a venerable Los Angeles-based indie label, founded in 1974 and would you believe still going to this day. Experiments in Destiny samples 28 bands either signed to or distributed by the label, and it’s a who’s who of “Who?” with a few starrier names scattered in. They specialized in New Wave, homages to ‘50s and ’60s rock, and springy power pop. I wrote this intro after deciding to do a track-by-track recap below, so uh, let’s get to it because there are too many words as it is.

Side One

Stiv Bators: First time hearing the solo work from the Dead Boys’ Stiv Bators, and it turns out he’s… Tom Petty-ish?

The Real Kids: Pitching this here with no real forethought, but you can divide power pop bands by whether or not their singers sound like their throat is dry. Boston’s The Real Kids are great, great dry-throated power pop, and probably one of the better-known acts here thanks to “All Kindsa Girls” showing up on a lot of compilations. They’d already broken up by 1980, so we get an unreleased demo that probably wasn’t easy to find elsewhere at the time.

The Dadistics: Somewhere between the Slits and Rough Trade, a little Pat Benatar in the vox—puts me in the mind of the similarly cool and obscure Mo-Dettes. The first third of the song is a no wavey fakeout, then it goes into a kinda Feeliesy riff. Extremely cool! And vocalist Audrey Stanzler went on to be part of the original lineup of… Ministry?!

Blake Xolton & The Martians: Tasting notes: Maybe Magazine at their most electronically disassociated? Blake Xolton was a producer with a very sparse discography, who may also have been part of the phony International Society of Poets who set up the controversial Poetry.com, a “poetry shearing site” per Wikipedia.

Jimmy Lewis & The Checkers: Pubby cover of the Aretha Franklin chestnut “Think.” Probably a little too close to Huey Lewis & the News for my taste.

The Nuns: Blondie-esque New Wave, with some very cool guitar and backing vocal effects that make it sound like the action is taking place in a futuristic resurrection chamber.

Gary Charlson: A smooth Kansas City pop rocker—his vocals strongly remind me of some minor prince of '70s classic rock radio, but all I'm coming up with is the guy from .38 Special, and I know that's not it. His sole EP covers a number of the titans of power pop (e.g. the expected Raspberries, Byrds, and Badfinger, the at the time obscure Big Star, the eternally head’s only Crabby Appleton and Vance or Towers), but he somehow never ended up cutting an LP despite a very radio-ready sound. Self-produced wonder? Nice bit o' Middle American flavour to it.

Side Two

Rodney & The Brunettes: Cutesy one-off cover of the surf rock classic by LA DJ Rodney Bingenheimer, who gives a respectable effort.

The "B" Girls: Toronto girl group who might've been able to get some of that Go-Go's money with a little polishing. Good harmonies, lead singer had a nice voice on her.

The MnM's: Excellent shake and pop, written by Paul Collins of the Nerves and the (American) Beat, and featuring the latter band's Steve Huff on bass. Vocalist Marci Marks is the kind of diminutive punk girl I’d probably have been crazy for at the time.

Paul Collins: Speaking of Collins, this is a second reminder in a row that I really need to get around to listening to his post-Nerves material, because this is a great sub-two minute blast of punkified Merseybeat.

Nikki & the Corvettes: Three-piece girl group from Detroit that sound strikingly like Tweens, a 2010s pop punk fav of mine. I'm addicted to this particular kind of snotty/bratty femme vocal, love how much room the single guitar gives to hear the bassist noodling around. Somehow I think this is the first time I’m hearing these guys.

Kathy & the Lawnmowers: After five straight '60s revival songs, we take an abrupt detour into Devo world. Kathy & the Lawnmowers were produced by the notorious Kim Fowley, who provides a blurb in the liners explaining that the mysterious bandmembers arrived at a session wearing masks having never met before, cut some tracks, then removed their masks, didn't like the looks of one-another and split for good. That's obviously baloney, but I prefer it to the version where Fowley did something terrible to them, which would not be uncharacteristic. They’re also credited as Jukebox Rebel Queens on the back cover? Anyway, fun trash sci-fi ramble about green children.

Side Three

The Sonics: "Up (to) the Junction"—sadly not a Squeeze cover, but pretty fetching stuff from the legends nonetheless. The bluesy rocking side of the Sonics (as opposed to the frothing proto-punk side), nice biting guitar tone.

The Weirdos: Per the liners, allegedly LA's first punk band, a claim I can't dispute because I continue to not know much of anything about LA punk, this is fun rockabilly style fair, like a less stylish Cramps. Good stomping beat.

The Zantees: A Gene Vincent cover in a Stray Cats vein, with a guitar player who can really go in that zippy old school Scotty Moore style.

Jon & the Nightriders: A surf rock instrumental cover—I wondered if "Super Jet Rumble" might've been by the Jet-Tones (of "Jet Tone Boogie" 'fame'), but no, seems to be a tune by The Breakers. Anyway, this sounds like every surf rock song, which is to say it rules but not in a way you'll necessarily remember.

The Lipstick Killers: High energy Australian garage rock that the band apparently called "straight edge music"; presumably Ian MacKaye had to go down to the Yabba and win a few rounds of the game from Wake in Fright to win the rights to that term. While we're at it, the song's called "Hindu Gods (of Love)"—Warren Zevon and R.E.M., you've got some explaining to do! Presumably on the B-side of the original single they also coined the term 'hyphy' and invented Lou Barlow.

The Hypstrz: A Minneapolis band with a legendary live reputation, but I can't really fuck with bands whose main gimmick is garaged up versions of old R&B sides. They probably absolutely crushed it live, but this version of "In the Midnight Hour" just kinda exists for me.

The Last: Clearly a last-minute (not a pun, fuck you) addition as it's not listed on the back of the sleeve or in the liners, the Last's "She Don't Know Why I'm Here" is a slashing piece of Anglophile psych-pop and one of the best things on this entire comp. It stuffs a remarkable number of twists and turns, false finishes, and secondary riffs into its three-and-a-half-minute runtime. The Last have a small cult following for their run of singles and debut LP LA Explosion! My only regret is that they didn't include the original single version of this one, as it elevates a groovy jam into a thrashing raveup.

The Dead Boys: Stiv Bators' second appearance on the comp; the Dead Boys were an almighty force in their day, but there's something kinda funny to me about ol' sloppy Stiv being the centrepiece of any label's roster. A good-enough take on "3rd Generation Nation" from their live LP Night of the Living Dead Boys—RateYourMusic reviewer mofoking shares some interesting backstory on how that LP came to be distributed by Bomp! and why nearly all of Stiv's vocals had to be overdubbed.

Side Four

The Crawdaddys: Perfectly competent Velvets cover, though the vox sneer their way past Lou into a Dylan impression.

The Martians: Previously appearing on this comp backing up "Blake Xolton" on a weirdo New Wave Christmas song, their own sound is traditional Merseybeat stuff. This isn't a classic, but it's a damned fine pastiche. Apparently they were a pair of record producers who joined together for this project, sharing lead vocal duties and playing all of the instruments themselves. No wonder it sounds great.

Pete Holly & the Looks: Heavy New Wave from Boise, Idaho, sporting a hilarious watery vocal filter and waka-waka guitar riffing. The chorus conceit is goofy ("Look out! Below!") but the Boiseans acquit themselves well. Somebody had to hold down the fort between Paul Revere & the Raiders and Built to Spill, so my thanks to Pete Holly.

The Wombats: Not the ’60s Wombats from Illinois or the ‘90s Wombats from also Illinois or the ‘00s Wombats from Liverpool, but rather a fourth Wombats from Cleveland, presumably the marsupial capital of the Lower Midwest. This (“Utter Frustration”) is sloppy and great and went by very quickly while I was trying to research whether Ohio's indeed part of the Lower Midwest, so I had to listen to it again.

Rainbow Red Oxidizer: A former sideman for the Seeds' Sky Saxton (presumably around the time he was fucking around with the Source Family), Rainbow Neal is accompanied by members of Focus, Spirit, Captain Beefheart's Magic Band, and even Mars Bonfire from Steppenwolf. I've got like six tabs open trying to figure out what this guy's deal is--love when a compilation sends me down a research hole like this. I'm sampling the Oxidizer LP now, and despite its New Wave window dressing, it's viciously sarcastic garage rock with the occasional jangly gem—if anything Rainbow's voice reminds me of Wire's Colin Newman. What a great song "When You Walk in the Room" is!

Cheek: Okay, these guys are Australian, covering an old Easybeats song, and are even produced by Vanda & Young, who give them something like a vintage AC/DC production sound, though these guys are considerably poppier than Angus and company. Vocalist does have a faint Bon Scott keen to his voice at times though.

The Romantics: Detroiters best known for "What I Like About You" (one of those songs I have heard ten thousand songs and never questioned the provenance of) turn in a rarity in "Running Away," a slab of pristine midwestern power pop that was apparently intended to be issued as a single with BOMP! but ended up seeing its first release here. They'd lose the Romantics to the Atlantic-distributed Nemperor Records right before they blew the fuck up, which has gotta be a label owner's nightmare.

Well, that took goddamn forever. If you’re still around, the tracks I most recommend fishing out are the Real Kids, Dadistics, “B” Girls, MnMs, Paul Collins, Nikki & the Corvettes, Last, Martians, Wombats, and Rainbow Red Oxidizer tunes. Not a bad haul!

138/365

[weneverlearn]

Lost STIV BATORS footage found - made into amazing new video!!

Interview with Stiv solo/latterday Dead Boys bassist, Frank Secich, about how this new clip appeared - featuring exclusive pix!!

"Me and Stiv Bators at record release party for the Orchids in Hollywood in 1979." - Frank Secich (photo by Lisa Secich)

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Frank Secich is an endlessly inspiring rock'n'roll lifer who began his career as bass player for the great early 1970s Northeast, Ohio, proto-power pop legends, Blue Ash.

Later in the decade he hooked up with fellow rust-belter, Stiv Bators, as part of Stiv's ongoing post-Dead Boys projects. That sometimes led to Dead Boys reunions too, of which Frank was the faithful bottom end. -- You can read this full interview I did with Frank a few years ago when he released his wild biography, Circumstantial Evidence.

"Me with Stiv Bators at my old apartment on the West Hill in Sharon, PA, December 17, 1978. I think we (me, Stiv, Lisa and Cynthia Ross) went to see the Talking Heads and hang out that night in Youngstown!" - Frank Secich (photo by Lisa Secich)

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But first check out this INCREDIBLE new video for "Circumstantial Evidence"!

Circumstantial Evidence - Stiv Bators Band

Frank got the video from his pal who made it last week, and when he posted it on Facebook, it led to a goodly portion of classic punk fandom freaking out.

I asked Frank if he could answer a couple of quick questions about the new video, and as it turns out his friend made a new Dead Boys video from found 1979 footage too, which can be seen on Frank's FB page.

For now, check out the interview with Secich below.

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So, who made this video, and this is the first time you've seen it, right?

Frank Secich: The first time I ever saw the "Circumstantial Evidence" video was a few days ago. Filmmaker Rob Luttrell just recently made it with his old film he had found and restored. He sent it to me, and I was stunned and shocked how good it was. It was the first time I had ever seen these old clips in "Circumstantial Evidence" from footage that he shot at the Whisky a Go Go in L.A. and the Heat Club and Town Hall in New York City in 1980. Stiv's solo band at this point was Stiv Bators, Jimmy Zero, guitar, George Cabaniss, guitar, David Quinton Steinberg on drums and me on bass. Also, guest starring in the video is Dee Dee Ramone!

Stiv Bators and Frank Secich recording "It's Cold Outside" at Bijou Studios in Hollywood, CA in April, 1979. - Frank Secich (photo by Theresa Kereakes)

"Frank Secich, Stiv Bators and Greg Shaw (Bomp Records head) recording "It's Cold Outside" at Bijou Studios in Hollywood in April of 1979." - Frank Secich (photo by Theresa Kereakes)

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So Robert had all that original film? Will we maybe see more such footage?

F.S.: Yes, there is one more of "Sonic Reducer" from 1979. Rob and Marty Abrahams made this one in early 1980. We used to use it as a promo film back then, and we would play it right before we took the stage. Rob has digitalized it and improved it, and it is very cool. It features the Dead Boys at that moment -- Stiv Bators, Johnny Blitz, Jimmy Zero, George Cabaniss, and myself. Cheetah had just broken his wrist right before this gig at Irving Plaza, so George was filling in for him. This film was done at Irving Plaza in New York City in January, 1980.

While watching the videos, what are some memories that popped to mind?

F.S.: I was just flooded with memories. Rob really captured the spirit of our chaos back then. We used to have so much fun. It really was a wild ride like that almost every night; and of course you could never predict what Stiv might do. It was an exciting time and we toured North America constantly from 1979 until January of 1981, with slight variations of that band. I am really glad the line-up of the band has been preserved on film for posterity.

Do you have specific memories about any of the shows that are seen in this clip?

F.S.: The fans ripping Stiv's shirt off are indelibly imprinted in my mind. He would also hang himself on stage with a microphone cord which would scare the hell out of me. One time during those gigs we were all flying around on stage, and I turned around quickly and he jumped up and I accidentally knocked him out cold with my bass. He came to pretty quick and said to me, "Did it look cool?" I said "yeah!" The Stiv beer fountain at the end of the film is really cool as well.

"Donna Santisi's cool photo of me and Stiv at the Tropicana Motel in W. Hollywood in early 1979!"

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Anything you want to say at all about these new videos…?

F.S.: It really brought back such great memories of a time and place that was very special and now forever gone. In one day, there have been over 5,000 plus views of "Circumstantial Eveidence" just on my Facebook site, and people's reactions have been amazing. I hope that Rob has more films because these are very special and quite a tribute Stiv and his legacy.

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Hope you will remember those days at the Whisky after seeing the video. I used what I could salvage after 44 years of deterioration (mold and color loss and scratches). These two films were shot on no budget before MTV existed. - Rob Luttrell

"Mick Rock's picture sleeve photo of Stiv and Frank for Bomp's single "Not That Way Anymore" in 1980." - Frank Secich

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All photos exclusive and courtesy of Frank Secich.

[ppnuggie]

Hello there! I'd like to make a request if that's ok, I made sure to double check the rules and characters that you write for before requesting ^^

Can I please request for comfort tfe soundwave with gn s/o? I really find his design on earth spark very pretty tbh, it can be hcs or a oneshot :')

　　　　　　SOUNDWAVE x gn human reader

　　　　『　soundwave ,, gender neutral human reader 』

　　-> soundwave hcs

　　— fluff ,, sfw ,, crack ,, comfort

　　— tysm for reading them😭😭 i swear most the time ppl dont 😞😞 but i did do just general hcs of soundwave ,, if thats okay :>

• soundwave absolutely adores you ,, he treats you nicely

• being with him means having to put up with his minicons 💀

• he makes sure they dont bother or harm you ,, but he does love to record you when yall play together ,, and watches them later

• he loves receiving kisses ,, but can’t exactly kiss you back ,, so he just bomps your head in return

• he’ll hold you in his servos and coo at you sometimes ,, or just hold you close to him if he’s feeling down about something

• soundwave would know and quote memes ,, all or as many as he can ,, and sometimes frenzy does it too ,, she just takes after her father after all

• he’ll probably do a deadpool move and give you a ringpop ,, hopefully not from his ass 💀

• he might snatch up a whole mcdonalds and give you happy meals too 🫣

[randomvarious]

1970s Punk Rock Playlist

So, like, isn't it kind of ridiculous that I've had this 70s punk rock playlist for a few years now, but I've never once put any UK stuff on it before? Isn't that a very crucial place where punk rock really blew up between its late 60s Detroit/Ann Arbor founding and The Ramones? Like, there's such a rich history from over across the pond that I haven't tapped into at all yet!

But, fortunately, that changes now. At long last, the Brits have arrived to fuck shit up, folks. And no, I didn't bring in any super obvious choices like The Sex Pistols or Buzzcocks or The Clash, because that's not really how I operate 😁. Instead, you're getting awesome tracks from a quartet of bands that you've probably never heard of before, unless you're either a) British or b) happened to read my 1970s power pop playlist post from last week, because there's a tiny bit of crossover there with the pop-punky and super catchy anthem that is Fast Cars' "The Kids Just Wanna Dance," which is by far this update's most popular track, as it's currently sitting at over 100K plays on Spotify.

But the rest of these adds, in spite of how good they are, have not proven nearly as popular as we keep getting nearer to their five-decade anniversary. Songs like the unfortunately oh-so-relevant-again-and-also-quite-salient anti-fascist bop, "They're Back Again" by a band called The Cigarettes, is only nearing 29K plays at this moment. And in true Brit punk fashion, this tune that was calling out a noticeable late 70s far-right rise, and was also released in the same year that Margaret Thatcher became UK prime minister too, really sounds like it pairs well with cracking some skinhead skulls! 🤘

I'm not a violent person, I'll make exception for you

And then "East Coast Kids" by The What?, which only has a little over 2.8K plays, has a bassline on it that's so prominent that, although it's most likely being played by a fretless, it could easily be mistaken for being that of a double. Really cool!

The Cigarettes - "They're Back Again, Here They Come" Fast Cars - "The Kids Just Wanna Dance" Squire - "Livin' in the City" The What? - "East Coast Kids"

And there's, of course, a YouTube version of this playlist too. Normally, I'd have at least one song to add to that one that can't be found on Spotify, but remarkably, this update doesn't actually have any.

And this playlist is also on YouTube Music.

So with this update, our Spotify version of this playlist now stands at 22 songs that run for 54 minutes, but over on YouTube, we now have 27 songs that run for 77 minutes. So if you want a little extra 70s punk rock, like a track from the legendary Stooges that somehow wasn't actually on YouTube until I showed up and somehow only has 28 plays(?) as of this writing, give that one a look.

And if you want something more specific and concise, I've got a punk playlist that's solely focused on 1979 too.

1979 Punk Rock: YouTube / YouTube Music

And here's the list of compilations that were used to build this playlist:

Motor City's Burnin' (1998, Total Energy) Destination Bomp! (1995, Bomp! Records) What? Stuff (1990, Iloki Records) Dangerhouse, Volume 2: Give Me a Little Pain! (1992, Frontier Records) Dangerhouse, Volume One (1991, Frontier Records) The Roots of Powerpop! (1996, Bomp! Records) 100% British Mod (1998, Captain Mod)

Back to some power pop next week 😎.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[guessimdumb]

The Choir - I Only Did It Cause I Felt So Lonely (1967)

Cleveland garage rockers the Choir had something of a hit with It’s Cold Outside in 1966.  This folk rock song was recorded in 1967 but never released until Bomp Records released it in 1976. Members Wally Bryson and Dave Smalley eventually became founding members of the Raspberries.

[mymelodic-chapel]

Black Lips- We Did Not Know the Forest Spirit Made the Flowers Grow (Garage Punk, Garage Rock) Released: May 18, 2004 [Bomp! Records] Producer(s): Bradford Cox, Chris Bishop, Mike Wright

[theloosepage]

The Damned outside BOMP! Records in LA, 1977

photo: Jenny Lens

[afuaama]

I have a wonderful habit of sending my friends recordings of me telling folktales. At the end I like to ask them, " WHAT DID YOU HEAR WHEN YOU HEARD THE STORY? or, " " DOES THIS REMIND YOU OF...." anywhos. This is my typed version the hungrian-roma ("gypsy") folktale "the magic bag." * * * * * * * * *

mini magic mojo bags.

* * * * * * * * *

Once upon a time there was a gypsy woman Roma woman who had a l ot of mouths to feed and not a lot of means to make it happen. Her unemployed husband's mouth was the biggest and loudest of the lot. "I've had it up to here with this BS life!" Maartiska (that was the Roma woman's name) shouted into the void while washing laundry. (The kids were at school.) " Our lives are miserable because of GOD. God is going to take responsibility! God is going to fix our lives! ARGH!~ - STOMP STOMP STOMP - Out the little yard. Laundry unhung. // On the way to god's house, Maartiska hears, "Young lady I know where you're going....Rather there, why not sit here? The old voice of an old lady sitting under an old tree. "I'm busy!" Maartiska shouted back. "Busy? " The old lady puffed a pipe smoke. "Folks are always too busy these days." "You ain't lied about that." Hmm - Maartiska changed her mind. She had a sit under the tree. "I work two jobs" - blah blah blah - "kids need a new pair of shoes and the light bill is due" - blah blah blah - " god said " - blah blah blah - blah blah blah- "I demand god fix my life!

Maartiska didn't wait to asked "what's the matter" before telling it. The old lady -puff puff puff - on her smoke. Reached into her dress pocket. "Take this bag. And go home. It was a small burlap bag. "Say these magic words: mojo mojo, show me what you got some like it cold I want it hot Maartiska squinted at the bag, back to the old lady, back to the bag, back to the old lady. "You aren't trying to trick me? "You never know. Not that I would. The bag was placed in Maartiska hands. // Still, Maartiska was steady on going to god's house. - bang bang bang - Maartiska slammed her fist on the thick door. "God! Open up! .... ! "Maartiska! All this ruckus!" God managed to open the door in between Maartiska's tirade. Felt kinda bad for her. "Here, take this. (It was a velvet bag.) "Go home. Say these magic words: thank you for all you have done for me She thanked god and returned home satisfied. // That night, in the dark quiet kitchen, Maartiska pulled out the velvet bag. "thank you for all you have done for me she recited. . . . . . . - wham! bam! whack! crack! - Whips, chains, belts, switches, wire coat hangers, electrical cords! sprang out and on command whooped up on Maartiska. "Back! Back I say! Holding up an hand to fend off the weapons, she snatched a cast iron skillet with her free one. Eventually she whacked them back from where they came. Then, she remembered the other bag.... "May as well.... Maartiska pulled out the other bag - the burlap bag - from her pocket. Gulped. "mojo mojo, show me what you got some like it cold I want it hot she recited. - bomp bomp bomp bomp~ - Cakes, candies, collard greens, beans, taters, breads, pies, roasted vegetables, and cool drinks paraded out the bag. Every empty cupboard, counter, and cranny filled with delicacies and deliciousenss. Maartiska eyes watered, this time from happiness. // The next morning she and her kids were up early feasting and having some fun. Awoken by the chatter - Maartiska husband sauntered in the kitchen. Before him was a sight previously unseen - a full table. He was confused. He was suspicious. "Where did come from? We don't have the means for all this. How? ... He slanted his eyes at Maartiska. >:/ ( -___-) "How? >:/

The wife in question had been eating piece of huckleberry toast. Casually, Maartiska licked some tidbits off her fingers. It had been an easygoing morning for a change. "HOW. How DID I get all this? I got help. "Help from who? "A friend. He crossed his arms over his chest. Unamused. "Who?

Maartiska grinned. "Don't be like that - I bet you can go get some help, too. All you have to do is go..... ask...... * * * * * * * * *

Who? I'll leave that up to you. Who does Maartiska send her husband to? * * * * * * * * *

toodle lou~~!

[vmonteiro23a]

ONCE IN ’79: Weirdos - "Happy People"

ONCE IN ’79: Weirdos – “Happy People” “September 22, 1979 THE WEIRDOS are slow about releasing records, and after two years, they only now have out a 12-inch bit of vinyl, and still, it’s not length album. “Who? What? When? Where? Why?” is on Bomp Records and finds them as a more polished band than any of their prior 45s. Songs include “Happy People,” “Big Shot (In The Head),” “Hit Man,” “Idle…

[whitetrashsoul]