'Lost' Bands (Updated: The Scientists)

I have Love Under Will. I don't like it at all. I only gave it one or two spins, but I'm not a fan. Anyone interested in it?

Actually I'll take it, next time you ship me stuff....I only have that one on cassette....

Hard rock band from the 70's called Dust. Had their other album!

Dust featured none other than Marc Bell (Marky Ramone) on drums, as well as Kenny Aaronson (Derringer, Stories, HSAS, etc.). That being said, I think they are a little over-rated, at least in terms of heaviness for 1972. It's a good record, but it's a little dated and it doesn't live up to the album cover. Best song... "Learning To Die Again".

CHAINSAW KITTENS

One of my favorites....T'Would be easy to say theywere glam but it's not that easy...they have swirling psychedelical leanings...punkish discharges and anoccasional veering into altern-pop. Tyson Meade's nasal higher vocals, while an aquired taste ar a symptom of the greatness to their sound. It's everything from BOWIE and THE SMITHS to JANE'S ADDICTION and early PUMPKINS...I's loud and poeticand sloppy and scathing all at once. It's a bunch of controlled confusion...it's a musical Surrealism essay....

http://www.myspace.com/chainsawkittensrock

Amazing band, i thought about writing about them after seeing your Daisy Chainsaw profile (man i gotta pull out the old gonzo writer in me and write some more gushing praises for my 'bands'), but i wouldn't have done them justice. This band is maybe top 10 for me easily top 20.

If you got the time read about them here as well
http://www.sleazegrinder.com/flashmetalChainsawKittens.htm

XENTRIX was among the best thrash bands of all time, not to mention some of the best england has to offer, but unfortunately have been lost in the shuffle of time it would seem. They were one of the handful of international thrash bands who at the time were a force to be reckoned with and could easily hold up and thrash alongside any bay area or east coast band. They easily make it into my top 10.

Xentrix was started in 1985, but at the time was still named "Sweet Vengeance". The name soon changed to Xentrix after Paul Mackenzie was added to the lineup on bass however. Their "Hunger For Demo" received an excellent review in Metal Forces magazine, which led to a call from Roadrunner UK asking the band why they hadn't recived a copy, and wanted to give them a chance to audition. After doing an audition for Mark Palmer, they were given a recording contract immediately, and recorded Shattered Existence in 1989. They next released the Ghostbusters EP (which was a topic of controversy for a bit, and Columbia pictures threatened to sue until the cover art was changed), then their excellent For Whose Advantage? (Dilute To Taste was also released alongside this) album. In 1993, the band released Kin, which was received poorly due to metal's declining popularity, and the style change on the album (although it did spawn The Order Of Chaos single). The band themselves have always stated they have a love/hate relationship with the album, and feel that "it has some great songs, but it lacks passion". Founding member Chris Astley left, and the band broke up briefly, but returned in 1996 with a studio vocalist and guitar player for 1996's Scourage. After a handful of gigs supporting it, they disbanded completely.

All six original members got back together in 1999 to play Stan's 30th birthday party. They reformed like that once again for a handful of dates in europe in 2006, but announced offically in September that after this, they wouldn't reform again. What an untimely end to an awesome band.

Read more about Xentrix, and see the original Ghostbusters cover art here:


www.xentrix.co.uk

Great band, but they did get too modern towards the end.

The Smithwick Machine-High Fashion Horsepower(1994)
The Smithwick machine was one of the most unlikely bands the deep south ever produced. Frontman Sam Smithwick was from Birmingham Alabama; and the band's favorite giggging spot was Atlanta Georgia.
However on this album they are anything but southern rock. More like a dangerous leathery update on the Stooges, and they certainly project a sexuality that comes across as questionable at the very least.

11 Songs:

1. Sugarmouth- Clearly a Stooges homage, but done in their own Adam & The Ants-like style. A hard slice of glam/punk 9/10.
2. Electric- Another very effective punk rock power cruiser. 9/10
3. High Fashion Horsepower- The title cut is built around an odd, angular riff that sticks with you. Very infectious goth here. 9/10
4. 1000 German Armies- A campy Rock & Roll workout. Lightens up the mood a bit. 5/10
5. Tanqueray & Blues- Brings the mood way back down. Dark and subdued, with artistic pretensions, but a very effective song. Lounge lizard written all over it. 8/10
6. 2000 Mercy- A nice pop song with brass section. 7/10
7. I Pity The Fool- Silly punk rock with Mr. T lyrics. 5/10
8. Seven Days From The Sun- another Stoogish song, but with a Janes Addiction twist to it. Very hard & heavy. Kind of defines their style. 9/10
9. The Pain That You'll Take- Another campy rock & roll song with maybe a slight rockabilly feel, sort of. 6/10
10. She Gets Drunk in Afternoons- A sad, mellow song, with acoustic guitar & synths. 8/10
11. Seventeen- A campy teenage ballad, almost mindful of Rick Derringer. 5/10

After this I'm told Smithwick went in a heavier, more traditional direction. Kind of like Balaam & The Angel (Live Free or Die), or Gene Loves Jezebel (Heavenly Bodies era). I'm not sure if they are still around, but I'm guessing that they aren't. The claim to have put out two more EPs, but I've never seen them. The later clips I've heard definitely reveal a more bluesy, traditional approach, which I think was a mistake. With High Fashion Horsepower, I think they had it right.
Fans of The Stooges, Adam & The Ants, All The Pretty Horses, and Gene Loves Jezebel might enjoy this album. I sure do. Last time I looked CDs were still available on amazon for under $10.

This one sounds interesting, with all those references to Adam and the Ants, Stooges, Balaam, Gene Love Jezebel etc. Will hunt it down.

This description reminds me of the Ronald Koal Band.

WILL & THE KILL

This is one I bought on cassette not long after it's 1988 release and have only just today grabbed it on cd (for like $2) Anyway, this is a tasty platter of bluesy rock with a sprinkle of country...not that far removed from the lies of JASON & THE SCORCHERS, GEORGIA SATELLITES or FLIES ON FIRE...

WILL of the band name is WILL SEXTON, younger brother to one time Bowie side man and guitar hero CHARLIE SEXTON.

This is an album of straight forward Texas hard blues rock..That came and went with nary a notice in '88 since it was not hair metal, and it's a shame as this cd rocks. Produced by legend JOE ELY (If you've never heard him either, get off ya ass and track down some of his material)

Killer band...one cd...gone...Will still records and has released a few solo efforts and collaborations with his brother...

Now that I see that album cover, I think I used to have this on vinyl.

I had to post he album cover as I could find no pics of he band...and quite frankly very little info on them at all anywhere...

And the roots rock fetish continues.........

I seriously need to track down this album.

I'm a big fan of Charlie Sexton (Pictures For Pleasure what an album).

And yeah Ely is a genius. Love those early solo albums.

I like Charlie Sexton's work in Arc Angels.

RP....you can nab WILL & THE KILL for under $5 on secondspin.....

Toho, ARC ANGELS is awesome!!!

Bet you dig FABULOUS THUNDERBIRDS as well!!!!

Actually, I only think the T Birds are okay. Something about them just never fully clicked with me.

I generally dig Southern and roots rock period.

Love the T-Birds.

If anyone can accuse me of being a blind lover and genre hag of anything than its roots rock, i confess.

THE BRANDOS.
One of my all time favourite bands:

THE BRANDOS BIOGRAPHY written by Dave Kincaid East meets West, Seattle Meets New Jersey - The Brandos sound developed from a merging of these two distinct attitudes and sounds. In the Fall of 1984, Larry Mason and I were playing the Seattle club circuit as members of The Allies, one of the hardest working bands on the scene at the time. With a local radio hit - 'Emma Peel' - critically acclaimed recordings, and a video under their belts, The Allies worked a minimum of six days a week, playing all over the northwestern US and up into British Columbia, Canada. At the same time, New Jersey based Soul Attack - with Ernie Mendillo and Ed Rupprecht - were playing gigs in and around their home state, with occasional jaunts into New York City. They had also made and released a local record in 1984. Having played in The Allies since its beginnings in the summer of 1979, and feeling that the band gone as far as it could, it was time to move on. The Seattle scene was small and unknown at that time, and I had to be where one might find a better chance of receiving national and international attention. There was only one choice: New York City. I had never been there, but it was and is the premier cultural city in the states, and had a great music scene. I packed up my guitars, demo recording gear, a few clothes and landed at La Guardia airport on a bitter-cold night in early February, 1985. Immediately upon arrival I began scouring the local music papers, namely the Village Voice, looking for a new band. Soul Attack had just lost their principle singer / songwriter, and had just placed an ad looking for a replacement. Their ad mentioned "REM, Creedence and Motown" as influences. The first two were perfect, the last one not so much, but I thought I'd give them a try. By mid-March and two auditions later, with both sides mulling it over, it was decided that I would join Soul Attack. From the start it was clear that Ernie, Ed and Dave were on the same wave-length. Their drummer, on the other hand was on another page altogether. I soon came to the conclusion that it was time to start over - new name, new drummer, new songs... everything. I had a little trouble convincing the other two guys, who, sick of meaningless gigs on the Jersey shore, were clearly frustrated with the situation. By June, the three of us and a drum machine were hard at work in my Brooklyn apartment recording new songs on a 4-track cassette deck. Some, like 'Nothing To Fear' and 'Walk On The Water', were songs that I had done in the last days of The Allies. Most, such as 'Hard Luck Runner' were brand-new. All of them got a strong dose of New York attitude and intensity... we knew from hearing the first playbacks that we had something. After a few more months of recording and developing our sound, we were ready to play live. We first had to have a name. Ernie and Ed told me the story of how they used to disguise themselves in sunglasses and different clothes, and play 50's and 60's cover-songs as their own support act for Soul Attack. TWhey called this mock-band The Brandos, after Ed had seen 'The Wild Ones' with Marlon Brando. It struck me that the name fit perfectly what we were doing. The other guys agreed and what has begun as a joke, became in all seriousness our new moniker: The Brandos. Of course we were going nowhere without a drummer, and placed an ad of our own in the Voice, beginning the torturous process of auditioning drummers. After a week or so of being exposed to the subculture that answers every ad in that paer, I suggested we avoid this whole process, and see what my old band-mate Larry Mason was up to. Larry was thrilled at the prospect, and in November booked a flight out for the 'audition'. As predicted, eh fit in perfectly and made plans to move out to New York, arriving at the end of January 1986.To someone on the outside, our first live gig that February may not have looked very impressive - a college fraternity party in New Jersey - but to us it was the beginning of a great career of live work. Fueled by the great energy from this first show, we then concentrated playing in New York City, anywhere and everywhere we could. As long as we were playing, we'd get better, and would have a shot at success. Our belief in ourselves was indomitable and almost irrational, but with it we bulldozed our way through every situation. In May of that year we went to Seattle for our first tour, playing to packed houses in The Allies' old club circuit. Returning to New York the band continued playing most of the city's most renowened clubs such as CBGB, Tramps, The Bitter End and Kenny's Castaways. By October we had enough material, and had gained enough live experience to make an album. With money loaned by family and friends, we entered Mix-O-Lydian studios in New Jersey that same month and began recording our first album. This was the beginning of a long association with that studio, and frienship with its honcho / enigneer Don Sternecker, with whom we would work on every subsequent album. The gigs and recording sessions went on through February 1987, and during this time I continued writing new songs with songwriting partner Carl Funk. 'Gettysburg' was the last one written for the album, and from the start it was clear to everyone that this one was special. Armed with rough mixes from the album, I began shopping for a recording contract. Within two weeks we had two offers, the best one being from Relativity Records in New York, which we accepted. Riding high from having just signed our first record deal, The Brandos played their first European tour in Germany in May of that year. The tour was a roaring success, and set the stage for many more to come. At the end of August the release date for the album finally arrived, and the band began touring the states, opening for well-known bands such as The Gerogia Satellites, INXS and The Cars. The first video was released and received regular air play on MTV. The favorable reviews began to pour in: the Gavin Report dubbed us "Best New American Band", Rollign Stone ran a full-page story describing us as "Real Contenders", and Time Magazine clinched it with their quote "The Brandos roots run deep and offer great nourishment". In early 1988, that band won Best Album (Independent Label), and I was honored with the Best Male Vocalist (Independent Label) at the New York Music Awards. During this period we were encouraged to take on a manager, which we did - a mistake from which we have never quite fully recovered. Under his advice and against my better judgement, we left Relativity Records, with whom we had a solid relationship, and went to Geffen Records. The move took 8 months of legal wrangling and ended up a disaster, and we again changed companies to RCA Records. In February 1989 The Brandos finally began recording our second album, slated to be called 'Trial By Fire'. The effect of the long legal battle had a devastating effect on the band, and consequently we entered the studio extremely demoralized, with a huge debt hanging over our heads, as RCA had paid a fortune for our contract. The result was an album that took a year and a half to make, and in the end was lifeless and sterile at best. In June 1990, just as we finished the album, a new president took over the reigns at RCA. His first act in command was to drop almost every band on the label, to which The Brandos also fell prey. This was a tough time, as the whole music business in the states had collapesed, our country was heading into a deep economic recession and the Gulf War. Effort to take the new Brandos 'Trial By Fire' album to another label failed, and by the beginning of 1991, we realized that the album would never be released. We were going to have to start over. Living in a tough city like New York teaches you to be the same, and what would have destroyed most bands, only made us work harder. The better part of 1991 was spent writing and recording new material for a new album that would become 'Gunfire At Midnight', which would land a contract with SPV Records in Germany in the spring of 1992 - good news in the short run, detrimental in the long term, as the band had unwittingly signed away all controll over its career in the US for the next six years. Extensive touring in Europe would follow, solidifying the band's fan base even further, although not without taking a heavy toll - in 1993 guitarist Ed Rupprecht and drummer Larry Mason decided they had had enough of the Rock n' Roll lifestyle, both dropping out of the music business, though Larry would reemerge in music working with Carl Funk. Always the diehards, Ernie and I went on, and in 1993/1994 with the help of a few friends, especially ex-Del Lords members Scott Kempner and Frank Funaro, recorded our fourth album 'The Light Of Day'. For this one, I wanted to explore my musical heritage a ittle further, incorporating it into The Brandos sound, producing a hard rocking mix of The Brandos signature Rock n' Roll, and the older American and Irish music traditions. I'm of Irish background, having grown up with traditional folk music, Irish and American. We found this music to be great fun to play live, and the audience has responded to it so well. Scott and Frank filled out the live band, and an extensive tour and live album, recorded in Amsterdam in December 1994, followed. Aptly named 'In Exile - Live' - in view of the stranglehold on the band's American career - the album captured both the power and energy of The Brandos' live show, being released in the late summer of 1995. Two years after the release of our latest studio album, The Brandos returned in 1996 with 'Pass The Hat', debuting the strong vocal and guitar talents of new member Frank Giordano. Finally legally able, the band rerecorded and included four songs from the unreleased 'Trial By Fire' album. The album marked a return to a more stripped-down guitar sound, and ranks as one of the band's favorites. Taking off the first half of 1997 (allowing me to record my solo album, 'The Irish Volunteer'), The Brandso went back on the road with Frank G. and drummer Tom Goss for a European tour in July, and back in the studio in the fall to record our latest: 'Nowhere Zone'. This album is in a very real sense, a fan's album, encompassing at their request, songs played live for years by the band and never recorded, as well as new recordings of the remaining six songs from the unreleased 'Trial By Fire'. This album closes the book on that very painful chapter in The Brandos history, and opens up the path to new territory. Two great European tours follwed its release, this time joined by drummer Tom Engels, in December 1998 and June 1999, putting us on the stage with the likes of Bryan Adams, Van Morrison and Deep Purple. With this 'Best Of' collection we celebrate a career of almost fifteen years with The Brandos. We have tried, with the songs on the this album, to represent the band from its very beginnings all the way to the present. I can both laugh and cry at the memories, and have no regrets. The rewards have been and continue to be many. Dave Kincaid New York City, October 1999. From the booklet of 'Contribution - The Best Of The Brandos 1985-1999'

Lions & Ghosts



There was a lot of ozone depleting crap clogging the gutters of 'Desolation Boulevard' in late 80's-early 90's El Lay. But amongst the trendy bandwagonesque drivel of 'Glam Metal' their was a brilliant vibrant music scene full of the real flash hero's of rock n' roll. The Nymphs, Blackboard Jungle, Celebrity Skin, Motorcycle Boy, The Coma-Tones and Lions & Ghosts.

Formed sometime in the mid 80's, the Rick Parker led Lions & Ghosts wrote those great smooth guitar pop songs that just hook you. A band that you could place next to 'College Rock' heros the Replacements, Dramarama and Soul Asylum without blinking an eye. And it's hard to believe the followers of College Rock didn't assign this band the moderate success their peers achieved. Major label in EMI, great songs and great image, Lions & Ghosts had it all going for them. But somehow they didn't break. Actually even now you would be hard pressed to find anything on them, they don't even have a slowly growing 'Cult' fanbase. Truly lost.

Anyway they released 2 albums on EMI. The first Velvet Kiss, Lick Of The Lime (1987), i've only been listening to it for a month or so and already the songs have gotten under my skin destined to live there for a long time. I haven't heard the the follow up Wild Garden (1989) but apparently it has a more rootsy ethic to it which sounds good.

Rick Parker made a solo record for Geffen and formed a new band called Sparkler, none of which i have heard.

For fans of: Dramarama, The Replacements, Soul Asylum, Gene Loves Jezebel



http://www.myspace.com/lionsandghosts

I love this bands early material...always struck me as a little like GENE LOVES JEZEBEL filtered through KEITH RICHARDS underpants....

"Wild garden" however is a turdish attempt at cashing in on the 1989 pop metal/hard rock trend, giving us a very weak watered down product....

great band otherwise though....

That's dissapointing if Wild Garden is what you say it is.

Allmusic guide says its rootsy compared to the debut!

Plus that's what alot of people say about Royal Court Of China, but we got Geared & Primed which is primo. But then Balaam And The Angel did the same thing and sucked. So it could go either why.

The song "Mary Goes Round" from the debut is classic, i can't believe it wasn't a minor hit back in the day in the way Dramarama's "Anything, Anything" was.

You can get "Wild Garden" for literal pennies on Ebay and half.com....

Actually my favorite LIONS & GHOSTS song is "Meteor boy" which I have on the HOLLYWOOD ROCKS box set...

The Hollywood Rocks boxset hey.

I saw the tracklisting for that, i'd buy it if they narrowed it down to 10 songs!

But you know what i'm like.

I think it had Stars From Mars, Thee Joneses, Motorcycle Boy and huge fav raves of mine Candy (Lost bands profile for sure). Their keepers for sure.