Two new 7"s just listed in our mail order for your listening pleasure! We have five copies of the Charlie and the Moonhearts 7" and one is on orange vinyl. First person to pick the record up gets it! Click on the pictures below to buy.
UV Race plays Los Globos in Silverlake, Los Angeles, CA on Saturday, May 4th, 2013. They killed it. We were happy to be in attendance.
All photos by Mor Fleisher-Leach
TALBOT ADAMS | "Red Diamonds" b/w "Not Even Europe" 7"
Spacecase Records
$5.50
Recognized as one of the nicest guys in show business, Talbot Adams has played in some of the finest bands out of New Orleans, Memphis and Oxford, Mississippi in his nearly fifteen-years in music. Talbot started his career in New Orleans, playing bass for scene mainstays THE ROYAL PENDLETONS (2000-2002). In 2001 he played bass and sang lead and backup for THE DARKEST HOURS (lineup included Peg O'Neill from The Gories and Jason Craft of The Persuaders). Talbot teamed up with Eric Oblivian in THE DUTCH MASTERS and had the incredible honor of playing bass for the late Paul Wine Jones for two shows.
Talbot fronted the fine JENNY JEANS from 2002 to 2006. The band played GonerFest 2 and appears on the accompanying CD/DVD. Talbot's last band THE BLACK AND WHITES wound down last year. The group was incredibly productive, releasing singles on Jay Reatard's Shattered Records as well as Douchemaster, FDH and P. Trash. Recently Talbot Adams has released material under his own name where he records himself and plays all of the instruments. An amazing singer-songwriter/power-pop EP was released by Douchemaster in 2010 entitled Jack and Jesse. "Red Diamonds" b/w "Not Even Europe" is the second solo release from Talbot. It's the fifth release from Camarillo, California-based Spacecase Records.
Limited to 300 copies on black vinyl.
A small excerpt from an interview I did recently with Ryan Rousseau for a Lost Sounds article I'm working on. This is about Ryan's early days in Yuma and meeting the late Jay Reatard. On an unrelated note, the new Destruction Unit video is amazing.
Interview by Ryan Leach
Ryan Leach: Have you always lived in Phoenix?
Ryan Rousseau: No. I grew up in Yuma, Arizona.
Leach: How did you end up in Memphis?
Rousseau: I lived in Memphis when I was young from about '84 to '88. I didn't know anybody there then. I was just a little kid. My family moved to Yuma because my dad was in the military. He also flies for FedEx. He would fly fighter jets in Yuma. After that he flew for FedEx.
Leach: You're a little older than Jay (Reatard), correct?
Rousseau: Yeah.
Leach: How did you and Jay end up crossing paths?
Rousseau: I had The Wongs in Yuma. We played in Phoenix with The Oblivians in '97. We also played a few months earlier in Phoenix. It was our first show there. It was for the premiere of the film Sore Losers. Have you seen the movie?
Leach: It's the film with D'lana (Tunnell) and Jack Oblivian in it.
Rousseau: Guitar Wolf is in it too. We played that premiere and I talked with (Sore Losers director) Mike McCarthy for a while. He was a cool guy. I told him we were playing with the Oblivians in a couple of months. At the show (with The Oblivians), I talked with Jack Oblivian. I told him my family was moving back to Memphis and that I was thinking of moving back too, just to get a job. I asked him, "Is Memphis cool these days?" Jack said, "Yeah. Things are picking up. And if you do go you should call this kid Jay. He's has this 7" out on Goner." I said, "Fuck, that's cool. I'll call him." I wasn't too into The Oblivians or Crypt records. Eventually I learned to love that stuff. I was a Killed By Death kind of kid.
Leach: The Wongs were more Killed By Death.
Rousseau: Yeah. I was going to move to Phoenix but I partied too much and couldn't find a job so I moved to Memphis to work for FedEx. They'll hire anybody. Memphis was the hub of FedEx. There are a lot of jobs there because they have a lot of turnover. It's hard work. I started going to Shangri-Las records. I did call Jay with the number Jack gave me but the phone was disconnected. I recorded a bunch of demos on a 4-track recorder before I left Yuma. A lot of them ended up being Wongs songs. Some of them became Reatard songs. I put up a flyer at Shangri-Las Records. It read, "I want to start a band. If you're into Dead Boys, Teengenerate, New York Dolls and the Pagans, give me a call." I had never done that before in my life but I didn't know anybody in Memphis. I got a call on my answering machine from some college kid. He said, "Oh, I see you like The New York Dolls. I also like Phish." I thought, "Oh, now way." I didn't call that dude back. He sounded like a dork. A couple of days later a kid called me. He said, "Let's start a band." I asked him, "Hey, what's your name?" He said, "Jay." "Reatard?" "Yeah, dude." He was in Mississippi at the time. He was recording with a band he was in called The Eunuchs. They were recording their LP. Jay said, "When I get back to Memphis we'll practice; see what we can do." I knew nothing about Jay. When he got back into town, he told me he didn't have a car. I had a '78 Datsun pickup truck with a camper on it (laughs). It was sick. I went to this shitty neighborhood and picked up this scruffy longhaired kid up. I thought, "Oh, fuck, what did I get myself into?" But he had a leather jacket on so he looked pretty cool. The first thing he tells me is he has to go to this girl's house to get his 4-track. Next thing I know we're driving twenty miles to Millington (Tennessee). Some far ass drive to nowhere. I didn't have the gas for this. We got his 4-track. I played some of his songs; he played some of my songs. He played drums on my shit; I played drums on his shit. We recorded a demo called TV Eye.
Leach: You guys recorded Teenage Hate not long afterwards, huh?
Rousseau: Yeah. We recorded the stuff on Bedroom Disasters first. Then Jay said, "I've got to record this album for Goner. Let's record it. You play drums." I was good at drums and Jay wasn't. He was a lot better at guitar than I was. Although I could play drums well I had trouble with the caveman style of drumming he wanted. I eventually got the hang of it. I thought Teenage Hate (1998) sounded sick. We did Reatards for a while. I'd fly to Phoenix for a weekend and do a Wongs show. Then I'd fly back to Memphis and do a Reatards show.
Leach: Were you living in Memphis still?
Rousseau: I was living in Memphis. I moved back to Phoenix shortly afterwards. I didn't like living in Memphis. There weren't enough girls there and I like Mexican food. I grew up in Yuma. I hung out in Mexico half the time. I like the desert. Memphis is cool but I belong in Arizona. Whenever I could I'd fly back to Memphis for Reatards shows.
Terminal Boredom just put up their March record reviews and gave C.C. Riders a nice one:
CC Riders s/t LP
Memphis super-jam group led by Monsieur Jeffrey Evans, with a backing band made up of Jay Reatard (guitar) and Alicja Trout (drums) right around the genesis of Lost Sounds and James Arthur (who was also playing in the Legs at the time, post-Necessary Evils) on guitar as well. Now, before you get thinking about the wild and crazy guitar antics this band could get up to with those players, just cool your jets (although this thing will get hairy, don't worry...). You need to think of this as a Jeff Evans record first and foremost and then you won't let yourself down. If you read the liners or any interviews regarding the band, this was basically a vehicle for Jeff with Jay, James and Alicja happy to be along for the ride and play in a band with a legendary guy they all admired very much. It's a mix of Mr. Evan's usual menu: some standards, some garagey versions of punk tunes and a few of his story-tellin' originals. "The Long Long Ballad of the Red-headed Girl" is literally long, but a great Evans honky-tonk spiel-type thing. My favorite moment on this is a real Memphis-style rave-up version of "I Gotta Right" that quite honestly slays. They also do a pretty fucking killer "Train Kepta Rollin'" with plenty of guitar shred. "King Riders Boogie" is righteous Memphis garage and "This Pussy's Gotta Give" is a good reminder that Jeff is punk as fuck and not afraid to work blue. The record closes with three "blues" variations, with Merle Haggard's "Workin Man Blues" particulary motivated and rockin'. A record that's a lot of fun to listen to, particularly if you're a Jeff Evans fanatic, but Reatards fans will dig on it too. I'm happy to add this to my Memphis collection. Scum stats: 500 copies. (RK)
See more of TermBo's tasteful reviews here: http://terminal-boredom.com/reviews/201303/
"Whisper Mountain" b/w "Everything's Gone Grey" is the latest release from self-proclaimed trash poet, novelist and songwriter John Wesley Coleman.
John Wesley Coleman is a member of Austin's The Golden Boys. Coleman gained underground recognition for his incredible solo debut LP, Steal My Mind (2009). The record was a lo-fi gem—reminiscent of Lou Reed's solo albums, The Television Personalities' catalog and Alex Chilton's late '70s releases. When not playing with The Golden Boys, Coleman continued to release solo material, for both Permanent Records (Bad Lady Goes to Jail) and seminal Memphis label Goner (The Last Donkey Show). Coleman's toured multiple times under his own name—with or without the support of a band. "Whisper Mountain" b/w "Everything's Gone Grey" finds Coleman continuing in his lo-fi ways (the B side was recorded in a kitchen), this time backed up by his new group: bassist Geena Spigareli and drummer Yamal Said.
The "Whisper Mountain" b/w "Everything's Gone Grey" 7-inch is the fourth release from Camarillo, California-based Spacecase Records.
While we get ready to bring you some exciting new releases, enjoy these fine photos of The Spits. Taken on Wednesday, March 6, 2013 at Billy O's in Ventura, CA.
via theaxemen.org
US label Spacecase Records is proud to announce they will be releasing the next Axemen 7″ single – just as soon as it is recorded! Axemen spokesperson Stevie McCabe, speaking from his beach retreat at Te Puru, Coromandel Peninsula, stated: “Me and the lads are over the moon about the Spacecase deal – we can’t wait to record the new material in Wellington later this month!”
The single will feature new material and the 7″ track-list will be finalised after the recording sessions later on this month (February).
“We’ll be recording in the studio and at a special free live recording party at the Mighty Mighty on Wednesday 27th Feb – we’ll use the best of the best of the recordings and we hope to do some writing as well – all in all its going to be super-intense” enthused McCabe.
The recordings and gig will feature the same Axemen line-up which toured Australia in December 2011 – Steve McCabe, Dragan Stojanovic, Stu Kawowski and William Daymond.
C.C. Riders | Monsieur Jeffrey Evans and his C.C. Riders LP
C.C. Riders were: Monsieur Jeffrey Evans (vocals, guitar), James Arthur (guitar), Jay Reatard (guitar) and Alicja Trout (drums). The band was something of a Memphis super group. Jeffrey Evans had formerly fronted the Gibson Bros. and was winding down '68 Comeback when C.C. Riders formed in 2000. James Arthur, who had recently moved to Memphis from Los Angeles, was an ex-member of Fireworks and The Necessary Evils. Jay Reatard (Reatards) and Alicja Trout (ex-Clears, Mouserocket) were just getting Lost Sounds off the ground when Jeffrey asked them to round out the C.C. Riders lineup. "With C.C. Riders I was basically doing what I always did, covering songs and writing a couple," recalls Jeffrey Evans. "We had a Friday night practice. It was fun. Some people play cards. We played music. We practiced from like eight to ten, so we still had time for dinner before practice and then maybe catch a show afterwards."
In 2001, Alicja and Jay recorded C.C. Riders' self-titled CD. The CD-R was released on Trout's Contaminated label; it was hand numbered and limited to only 100 copies. Among the album's highlights is a flushed out version of Evans' stellar original, "Long, Long Ballad of the Red-Headed Girl" "(The song) has a walk-down chord progression," states Evans. "The song also appears on (the amazing half spiel/half song acoustic record) I've Lived a Rich Life. It was much more orchestral with C.C. Riders. I don't know if I could write a song like that today. We just banged that C.C. Riders record out. We got what we got."
"Live shows were so much fun!" recalls Alicja Trout. "We played about ten to fifteen shows. Jeffrey was always changing stuff up live or forcing an uncomfortably new song on us. That touch of chaos was just what I needed. I know both Jay and I liked to be very prepared, Jay more than me. Jay was a great musician and so it was interesting to see him struggle when something got thrown in his face unplanned in the live arena. Same for me. It was always cool for James Arthur. He's an easy going personality."
C.C. Riders played their last shows and wound down around 2002.
Spacecase Records has pressed up 500 vinyl copies of this C.C. Riders reissue LP. Outside of the Contaminated CD-R release in 2001, this is the only other pressing of the album available.
Razorcake issue #72 is up for sale now! Featuring Ryan Leach's interview of Eric Oblivian.
