#paul collins

[camyfilms]

PETER PAN 1953

There it is, Wendy; second star to the right and straight on till morning.

[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

[julio-viernes]

Más bajas que lamentar, se nos va el rock and roll histórico poco a poco, esta vez Jack Lee, componente del fabuloso trío The Nerves y artista en solitario. Me fastidia. y hasta deprime, asistir a semejante desfile, aunque muchos de ellos sean eternos. Recupero en mi homenaje- express por un lado "Paper Dolls", canción que quedó fuera del sensacional EP de 1976 del trío (Lee la recuperó en su primer LP en solitario) el único disco que sacaron en su momento. Abajo "Are You Famous?", una rareza publicada por Paul Collins en su canal en homenaje a Jack Lee.

[1977-1981-the-era-of-music]

Now Playing...

Artist: The Beat

Title: I Don't Fit In

Album: The Beat

Played on: Thu Oct 03 2024 09:44:19 GMT-0500 (Central Daylight Time)

#The Beat #1977 to 1981 ERA OF MUSIC

[ozkar-krapo]

Paul COLLINS, Patrick MÜLLER, Thierry MÜLLER & Quentin ROLLET

"Correspondant à une Lettre"

(CD. Bisou rcds. 2024 / rec. 2023) [FR]

[allmusic]

AllMusic Staff Pick: The Beat The Beat

If the Knack had had better songs and a frontman who wasn't a jerk, they might have been as good as the Beat, the band Paul Collins put together after power-pop pioneers the Nerves split up. Their 1979 debut album is thirty-five minutes of power-pop bliss, with irresistible hooks, no-nonsense lyrics, abundant energy, taut guitar work, and a tight, tireless rhythm section, and it's anyone's guess why "Rock N Roll Girl" and "Don't Wait Up For Me Tonight" weren't hit singles.

- Mark Deming

[americanahighways]

Music Reviews: ‘You Can Walk Across It on the Grass: The Boutique Sounds of Swinging London,’ plus Paul Collins and Gordon Grdina

Music Reviews: ‘You Can Walk Across It on the Grass: The Boutique Sounds of Swinging London,’ plus Paul Collins and Gordon Grdina @paulcollinsbeat @americanahighways #americanamusic #musicreviews #jeffburger #americanahighways @ggrdina

Music Reviews: ‘You Can Walk Across It on the Grass: The Boutique Sounds of Swinging London,’ plus Paul Collins and Gordon Grdina After the Beatles conquered the world, the world turned its eyes to the Fab Four’s home country and particularly to London, which became, like San Francisco in the States, a hotbed for music, culture, and fashion. A new three-CD anthology called You Can Walk Across It…

[monriatitans]

ANNOUNCEMENT - 03/31/2023: April’s Cause of the Month

View on Twitter

With March, and Women's History Month, coming to an end, a new cause to raise awareness of is in order. If you missed the quotes for March, you can see them here!

April is World Autism Awareness Month, so, for April 2023 (and every April, to be frank), I will be sharing quotes pertaining to autism awareness. In addition, I will be bringing to everyone's attention a resource to help autistic and other neurodivergent individuals.

"Autists are the ultimate square pegs, and the problem with pounding a square peg into a round hole is not that the hammering is hard work. It's that you're destroying the peg." - Paul Collins

These are all the updates I had for this evening.

Thank you for reading! May every decision you make in the future be in the spirit of fairness and may the rest of your day NOT go to $#!7.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

MonriaTitans started The Weekend Game Show (WGS) with the mission to educate on and discuss different aspects of game development, and to show why video games can take years to make, with the goal of preventing another Cyberpunk 2077 scenario. Watch MonriaTitans on Twitch and YouTube! Please consider supporting by buying MonriaTitans & WGS a Ko-fi!

In addition, what began as a fun activity has become a mission; Artist Shout-Outs are provided with the goal of supporting human artists to combat AI compilations and their parasitic developers. To be clear, she does not have an issue with the AI themselves, only with how they are being constructed. Want to learn more about the Artist Shout-Outs? Click here! The Artists Shout-Out posts can be seen on Instagram, Tumblr, Discord, and more!

[lepetitdragonvert]

The Century Illustrated Monthly Magazine

Artist : Paul Meylan

May to October, 1913

La Belle Dame sans Merci

[cold-boys-fandom-hub]

15 more behind the scenes photos from Christos Lawton!

[kdoxkeic]

Long overdue… Irish women/men have a chokehold on me

[julio-viernes]

Me ha encantado encontrarme con estas imágenes en la red social. Jamás había visto en acción a los Nerves y ayer Paul Collins las colgó en el tubo. Formidable vídeo estrenado ayer del trío de beat y power pop en 1975 tocando en directo en un programa de televisión, "You Won´t Be Happy".

Collins en la batería y voz principal, Jack Lee, guitarra y coros, y Peter Case, bajo y coros. Collins la recuperaría reforzada en el primer LP de The Beat, 1980. Vía Juancho López. Gracias.

[sailorsallyart]

imagine you enter the living room and he’s there waiting for you. 🌶️Wdyd? (asking for my bestie Dean)

(tap for HQ)

want to be on my tag list? Lmk in replies!

[crazyk-imagine]

How they feel when they find out you're their Imprint Headcanon

A/N: I was bored and now everyone has a Twilight Christmas gift!

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Embry

Shocked but excited to have found his imprint (especially after seeing Sam and Emily), was not expecting it to be the town mean girl but when you two are together, your total sweetheart which throws off the guys except Paul (he's the same way)

Quil

Happy that's it someone he knows, even if you two haven't talked in a few years (he always knew you two were meant to be). The pack was happy when he finally quit his moping about how much he missed you and considered himself lucky to ask you out

Jared

Thrown off when it wasn't the one girl who showed an interest in him since freshman year but once he got to know you, he knew the fates never messed up and you two were meant to be together

Paul

Never wanted an imprint but when he heard you defending him and the pack, he knew you two were meant to be, kind of like the next generations Emily and Sam (Quil and Colin like to joke around and tell him when you're not around)

Jacob

Dude was downright flabbergasted when he imprinted a year after shifting and it wasn't on his favorite (person and human), Bella. Once he got to know you, he was happy he didn't end up with her (she comes with too much drama while you two are drama free)

Seth

Never admitted out loud but after watching Emily and Sam plus Jake and Renesme together, it really made him want to find his imprint and then he found you and he was so happy, everyone jokes and says he acted like an excited puppy

Leah

Never wanted an imprint especially after the whole thing with her cousin and ex but after almost dying because she denied the imprint and worked on getting to know you, she found herself wondering how she could ever be without you

Sam

Wasn't expecting to meet you so soon after he shifted and was introduced to the supernatural world (and came to believe in the legends he was told for so long), but thinks meeting you was a secret blessing because you can calm him

Brady

Didn't know what to expect after hearing brief details about imprints, but boy was he floored when he met you and then you asked him out, he nearly passed out on the spot (the pack doesn't let him forget about it)

Collin

Knew he was going to meet his imprint at some point but was not expecting it to happen while he was out getting groceries to replace what he and the pack had devoured from Emily's and then you wind up going to his alpha's place too, boy nearly lost his mind

[haveyouseenthismovie-poll]