Wavetrain, Jumbo day USA

Hello, it's Jumbo day USA (7-4-7), i thought lets throw a bunch of americans together on their independence day, turns out that they have lots to talk about in their reserved wagon. Suicide made a big impression on the music scene with their , intense music, one of their fans produced their second album..and more later Ric Ocasek- Cars one of them was an original Modern Lover btw, anyway Ric produced Romeo Voids smasher never say never, Romeo Void that basicly suffered the same starvation as their label mates The Units from San Fransisco that decided to drop out towards New York where Suicide's ZE label mates James White had contorted himself out of a great band, part of which reappeared as the best punk funk band ever, Defunkt-(convince yourself !). New York Comateens were picked up by a frenchie who released their first album on his label Call Me, as a consequence they did rather well in France, they did tour the US supporting..there he is again Ric Ocasek (The Cars). Jonathan Richman squatted in New York but returned to Boston to start of his recording career with the Modern Lovers, this didnt go to easy and he needed Californian Smog to further inspire him. Meanwhile he'd become a source of inspiration to punks no less, but folk punkers Violent Femmes clearly find inspiration from Jonathan too, rests fellow Bostonians Human Sexual Response's postmodern pop that seems to mirror him in their off beat approach.

***** ***** ***** ***** *****

Suicide - II ( Alan Vega - Martin Rev) (80)
Romeo Void - Warm, In Your Coat
Comateens - Comateens (81)
Violent Femmes - Violent Femmes (82)
Defunkt - Avoid The Funk (82)
The Units - Digital Stimulation (80)
Human Sexual Response - Fig. 14 (80)
James White and the Contortions - Second Chance (80)
Jonathan Richman & The Modern Lovers - Buzz

***** ***** ***** ***** *****

Suicide - II (Alan Vega - Martin Rev)  (80 *455mb)

Rock 'n Roll without guitars never sounded this good

Never widely popular amongst the general public, Suicide are nonetheless hugely influential, part of the New York rock underground since the early 1970s, Alan Vega (a.k.a. Alan Bermowitz) was born in Brooklyn, New York, and Martin Rev (a.k.a. Martin Reverby) grown up in the Bronx, they mixed Alan Vega's blues-styled vocals and Marty Rev's synthesizer (originally a broken-down Farfisa organ they couldn't afford to repair). Suicide emerged alongside the early punk scene in New York City with a reputation for ferocious and controversial live shows; Vega stated "We started getting booed as soon as we came onstage. Just from the way we looked they started giving us hell already." . Vega and Rev both dressed like arty, pre-cyberpunk street thugs, and Vega was notorious for brandishing a length of motorcycle drive chain onstage.

Their first album, Suicide , is often regarded as a classic: One critic writes: these eerie, sturdy, steam-punk anthems rank among the most visionary, melodic experiments the rock realm has yet produced, however, the ten-minute "Frankie Teardrop" might be the album's highlight, telling the harrowing story of a poverty-stricken Vietnam vet pushed to the edge: Suicide always provoked extreme reactions by producing a unique, obsessively American electronic music of enormous and enduring influence.

Confusingly released in 1980 as Alan Vega/Martin Rev and omitting their "Dream Baby Dream" single, this the Ric Ocasek-produced Second Album is less confrontational and more contemporary than the duo's terrifying debut. Vega's rockabilly snarl and Rev's burbling electronics remain, but Ocasek's involvement purges a pop sensibility only hinted at on Suicide. Hell, some of the tracks are downright pretty ("Shadazz," "Diamonds, Fur Coat, Champagne"). Perhaps it's not as renegade as Suicide, but it's an arguably better, more realized work, and just as essential. Most of the tracks lurch by at a mid-tempo pace; Vega's distorted vocalisms are rather restrained but highly sinister, and Rev's sonic wizardry is delightfully horrific. Ric Ocasek btw has remained a supporter and friend, he produced solo work for Vega and Rev. Both released sveral albums before getting together again in 88 when Ocasek produced their 4th album "Way of Life". Their music and gigs proved an intense affair so both needed space and it wasnt till 2002 that they released a new album American Supreme look here



01 - Diamonds, Fur Coat, Champagne (3:17)
02 - Mr. Ray (To Howard T.) (5:08)
03 - Sweetheart (3:30)
04 - Fast Money Music (3:02)
05 - Touch Me (4:18)
06 - Harlem (6:29)
07 - Be Bop Kid (2:07)
08 - Las Vegas Man (4:02)
09 - Shadazz (4:18)
10 - Dance (3:16)

Suicide @ FanBase

***** ***** ***** ***** *****

Romeo Void - Warm, In Your Coat ( 82 * 430mb)

The combination of Iyall's powerful vocals and searing imagery with the band's muscular blend of dark atmospherics and a rattling momentum, with Benjamin Bossi's splattering free jazz saxophone coloring everything, made Romeo Void one of the strongest of the American post-punk bands. Debora Iyall, a Native American (from the Cowlitz tribe) born in rural Washington and raised in Fresno, CA, moved to San Francisco in the mid-'70s to attend the San Francisco Art Institute. Intrigued by the burgeoning local punk and post-punk scenes, Iyall, Zincavage, Woods, and Derrah formed Romeo Void in 1979. Iyall has said that the name, meaning "a lack of romance," was inspired by a headline on the cover of a local magazine that read "Why single women can't get laid in San Francisco."

Shortly after the group's formation, saxophonist , Benjamin Bossi, teamed up with Romeo Void. The revised lineup recorded their debut single, "White Sweater," and a cover of Jorgen Ingmann's atmospheric 1961 twang-guitar instrumental hit "Apache," for the new local indie 415 Records in 1980. Before sessions commenced for their first album, 1981's It's a Condition, Derrah left the group, replaced by ex-Explosions drummer John "Stench" Haines. One of the masterpieces of American post-punk, It's a Condition received rave reviews upon its release. Perhaps even more importantly, Cars leader Ric Ocasek heard the album and invited the group to his Synchro Sound studio in Boston. The resulting Ocasek-produced EP, Never Say Never, on the back of the enormous dance club and college radio airplay of the single, led directly to 415 Records' ongoing association with Columbia Records.
1982's "Benefactors" kicks off with a less-impressive shortened mix of "Never Say Never," almost completely eliminating Bossi's squalling, Albert Ayler-like solo, fading out before the hypnotic ending and bleeping out a rude word in the second verse. A denser album than the sparse It's a Condition, Benefactors is nearly the equal of the earlier record, with the hyperactive dance-pop of "Undercover Kept" signaling a new interest in musical directness that would reap commercial benefits on their next album.

Like It's a Condition, that third album, 1984's Instincts, was produced by 415's former house producer David Kahne, but it's far slicker than the debut, this newly commercialized approach scored the band their only Top 40 hit, "A Girl in Trouble (Is a Temporary Thing)," which Iyall claimed is an answer song to Michael Jackson's "Billie Jean," the album is a disappointment in comparison to the stellar work that had preceded it. By the time of these sessions, relations had become strained in the groupsubsequently Romeo Void broke up in early 1985. Romeo Void reunited for a few benefit shows in 1992 and later that year released a career-summary compilation, Warm in Your Coat.



01 - White Sweater (4:48)
02 - I Mean It (5:40)
03 - Charred Remains (3:04)
04 - Talk Dirty To Me (4:47)
05 - Myself To Myself (3:44)
06 - In The Dark (4:27)
07 - A Girl In Trouble (Is A Temporary Thing) (4:18)
08 - Out On My Own (Dance Mix) (3:51)
09 - Just Too Easy (3:12)
10 - Wrap It Up (3:25)
11 - Flashflood (4:57)
12 - Undercover Kept (6:08)
13 - Chinatown (3:16)
14 - Never Say Never (5:54)

***** ***** ***** ***** *****

Comateens - Comateens (81 ^ 236mb)

The Comateens were formed in New York in 1980 by Ramona Jan (guitar), Nik North (bass, vocals), and a drum machine. After Lyn Byrd (synthesizer, vocals) and Oliver North (guitar, vocals) joined the group, they recorded their self-titled debut LP in 1981. The album became a cult favorite among college hipsters. However, the Comateens actually gained a larger following in Europe, wherein the group's quirks – such as the necrophilia tale “Cool Chick" – were more easily digested. The band released two more LPs – 1983's Pictures on a String and 1984's Deal With It – and then split up in 1985. Byrd and Oliver North eventually reunited in North and Byrd, but North passed away soon thereafter.



01 Ghosts 03:56
02 Late Night City 03:00
03 One by One 04:16
04 TVC 15 02:39
05 All Ways 02:35
06 Summer in the City 02:44
07 Nightmare 02:59
08 Strangler 03:03
09 Overseas 02:16
10 The Munsters Theme 01:52
11 Raceway 03:01
12 Keep the Pace 02:07

ComaTeens @ Base
ComaTeens @ MySpace

***** ***** ***** ***** *****

Violent Femmes - Violent Femmes (82 ^ 470 mb)

Violent Femmes were founded in 1980 by bassist/multi-instrumentalist Brian Ritchie and drummer Victor De Lorenzo. The name is a contradiction in terms, “Violent” being self-explanatory and “Femmes” being Milwaukee slang for wimp.
The rhythm section added high school singer/songwriter Gordon Gano in 1981. Gano and Ritchie had previously performed together at Gano’s National Honor Society induction ceremony, where they caused a near riot. Gano was expelled from the Society and suspended from high school for this outrage.

One of the only stable aspects of the band is their aversion to rehearsal. Due to this they would take the music to the streets in an attempt to hone it and earn some spare change. It was on one of these occasions that they were spotted by the Pretenders. Chrissie Hynde and the gang were so amused by the Violent Femmes antics that they invited the band to open the show for them. The Femmes borrowed $10,000 from Victor De Lorenzo’s dad to record their legendary first album in 1982. Slash Records in Los Angeles was the only label to offer them a deal with the amazing advance of $0.The music was an innovative combination of American folk music and Punk rock, and commonly referred to as "folk-punk". The lyrics were the common adolescent themes of yearning for love, sex and affection. The group quickly gained a small cult following that never burgeoned into widespread popularity. The debut album went platinum 10 years after its release, the only album ever to do so without ever charting in the Billboard Top 200.

The band accepted the deal and started on the predictable round of world tours, recording, more world tours, nervous breakdowns, band members quitting, solo albums, regrouping, more touring, divorces, more crackups, dropped from record deals, new deals, more touring, record company going bankrupt, lawsuits, etc. etc. etc. ad infinitum. Fast forward to the present. Many things have changed. One thing that hasn’t is the sound of the band. Their loose, improvisational, acoustic sound is timeless.



01 - Blister In The Sun (2:24)
02 - Kiss Off (2:56)
03 - Please Do Not Go (4:15)
04 - Add It Up (4:43)
05 - Confessions (5:32)
06 - Prove My Love (2:38)
07 - Promise (2:49)
08 - To The Kill (4:00)
09 - Gone Daddy Gone (3:06)
10 - Good Feeling (3:52)
Demos & More
11 Girl Trouble 3:06
12 Breakin' Up 5:17
13 Waiting For The Bus 2:07
14 Blister In The Sun 2:35
15 Kiss Off 2:48
16 Please Do Not Go 4:17
17 Add It Up 4:34
18 Confessions 5:20
19 Prove My Love 2:49
20 Ugly 2:22
21 Gimme The Car 5:06

Violent Femmes @ Base

***** ***** ***** ***** *****

Defunkt - Avoid The Funk (82 ^ 319mb)

This punk-funk-jazz unit born in 1978 in New York City merged avant-garde with rocking, funky grooves. Over this period the band made 15 recordings on various independent labels and traveled throughout the world sharing the stage with countless numbers of popular artists. Defunkt is the first band to make a real fusion of popular and extreme music styles, also pioneers in early stages of rap music in the early 80’s. The band uncharacteristically has from the beginning performed at Jazz Festivals as well as Rock & Soul venues throughout the world, gaining cult like respect from musicians and underground music aficionados worldwide. Defunkt has never gained huge commercial success due to unwillingness to compromise creativity and musical uniqueness and integrity for popular acclaim.

This collection of early Defunkt mostly features their arguably classic line up. Kim Clarke's wonderful, unique, wide-freqeuncy sound on bass slipping seamlessly from finger to slap can only be described as 'riotous' - it sounds like improvisation to me with endless ideas woven around a rock solid funk riff. Kelvyn Bell's guitar likewise has this impro feel about it and yet is funk solid - his hard sound and jazz-modal solos add to the overall 'angular' sound of Defunkt and is no surprise he went on to play in Steve Coleman's Five Elements. Kenny Martin on drums - well, it takes something very special to simultaneously add to this riot of a thousand-riff's-a-minute rock funk and still keep a bed rock groove All this is the perfect underpinning for Joe Bowies' proclamation vocals and strident, explosive, modal brass.The message of Defunkt has always been intended to be a “light” for the people in darkness, not a sedative for world sickness. Their first 2 albums have been remastered and packaged together, for those that enjoy this taster, a must have .



01 - Make Them Dance (6:47)
02 - Strangling Me With Your Love (Revisited) (10:46)
03 - Defunkt (Live) (4:34)
04 - Big Bird (Au Private) (2:08)
05 - For The Love Of Money (5:57)
06 - The Razor's Edge (9:20)
07 - Avoid The Funk (4:27)
08 - In The Good Times (5:32)

Defunkt @ Base

***** ***** ***** ***** *****

The Units - Digital Stimulation   (80 ^ 154mb)

The Units were an early Electronic music/punk rock/New Wave/Synthpunk band founded in San Francisco in 1978 and existing until 1984, primary members were Scott Ryser and Rachel Webber. One of America's first electronic new wave bands, they are widely cited as the pioneers of a genre now known as "synthpunk." The Units were one of the most popular bands of the San Francisco punk and performance art scene during the late 1970s and early 1980s. After self releasing two 7" singles, the Units critically acclaimed first album, Digital Stimulation, was released in 1980, it was the first album released by Howie Klein’s, make me money, 415 Records.

In 1982 the Units released a single on UpRoar Records entitled The Right Man it stayed on the dance charts for 13 weeks. The Uproar label was the creation of Rachel Webber’s brother, Joel Webber. Joel Webber, radio promo man extrodinaire and the Units manager at the time, was also one of the founders of the New Music Seminar. After the success of The Right Man, the Units signed with Epic/CBS Records that decide to screw their career for refusing to bend over.Yes either way you're going to get screwed. After the released of an EP titiled New Way to Move, the Units' allready recorded second album "Animals They Dream About" and the third album — both produced by Bill Nelson, were never released. On top of that they were blacklisted by the apparent moblike monopoly structure of the US club-gigs system, well that was the end of the Units.. Land of the free to screw eachother over..



01 - High Pressure Days (3:19)
02 - Digital Stimulation (3:10)
03 - Warm Moving Bodies (3:31)
04 - Go (2:11)
05 - Mission (1:45)
06 - Cannibals (2:42)
07 - Bugboy (2:14)
08 - Tight Fit (4:03)
09 - Passion Or Patterns (2:34)
10 - Town By The River (1:55)
11 - Cowboy (5:17)
bonus (years later)
12 - I-Night 29:23
12.1 I-Night (0:00-4:17)
12.2 unknown (4:46-9:32)
12.3 I-Night (live) (9:32-15:15)
12.4 Go (live) (15:15-17:16)
12.5 High Pressure Days (live) (17:16-20:36)
12.6 Cannibals (live) ( 20:36-25:52)
12.7 Warm Moving Bodies (live) (25:52-29:23).            

***** ***** ***** ***** *****

Human Sexual Response - Fig. 14 (80 ^ 84mb)

Human Sexual Response were a Boston band that emerged in the late 1970s and continued through the early 1980s. They named the band after the groundbreaking, and now classic, Masters and Johnson best-seller. In their short existence, they created a substantial buzz in their hometown and on the East Coast for their arty and energetic live shows and their sophisticated postmodern pop. Fronted by four singers and backed by a power trio that featured the excellent guitar work of Rich Gilbert, HSR combined a punk rock ethos with a camp sensibility reminiscent of early Blondie. Prominent vocalist Larry Bangor offered songs like "What Does Sex Mean to Me" and the irreverent "Jackie Onassis" in a jittery tenor voice that conjured up sex, outrage, and comedy in one neat package.

After a promising debut record, HSR's second record was a comparatively dour affair, loaded down with art rock pretensions and lifeless arrangements. After an almost unanimous critical drubbing, HSR played the New England circuit for another year and split in 1982



01 - Guardian Angel (3:49)
02 - Dick And Jane (4:14)
03 - Jackie Onassis (3:46)
04 - Cool Jerk (2:34)
05 - Dolls (4:54)
06 - What Does Sex Mean To Me ? (4:50)
07 - Marone Moan (3:41)
08 - Unba Unba (2:53)
09 - Anne Frank Story (6:23)

***** ***** ***** ***** *****

James White and the Contortions - Second Chance (80 ^ 87mb)

The Contortions were one of the most important -- and accessible -- bands in New York's short-lived No Wave movement, playing a noisy, clattering avant-funk that drew from punk and free jazz. The group was formed in 1977 by the flamboyantly dressed vocalist/saxophonist James Chance (born James Siegfried), also featuring guitarists Pat Place and Jody Harris, organist Adele Bertei, bassist George Scott, and drummer Don Christensen. The Contortions' live shows embodied the nihilistic ethos of No Wave, as Chance actively picked fights with the audience. The group contributed four tracks to the seminal Brian Eno-produced No Wave compilation No New York in 1978; the following year, Buy the Contortions marked their official album debut, by which time Chance was being billed ahead of the group name. Aside from a few live recordings, the original Contortions lineup didn't release much more material. Chance used most of the group for his funk/disco project James White & The Blacks (with the album Off White also appearing in 1979), and although he continued to lead versions of the Contortions through the early '80s.Frictions between Chance and band members led to a breakup of the Contortions in the fall of 1979. Aiming for a truer funk sound, Chance continued with a mix of black and white musicians and his bands went through numerous incarnations, touring and recording under the name James White and the Blacks until the mid 1980s. Subsequently Chance withdrew from public visibility for over a decade, before reappearing in the mid-1990s. (01-04 are side A from Off White and 05-09 are from Buy by the Contortions)



01 - Contort Yourself (Original British Mix) (3:05)
02 - Stained Sheets (5:46)
03 - Tropical Heatwave (3:50)
04 - Almost Black (7:30)
05 - Design To Kill (2:44)
06 - I Don't Want To Be Happy (3:19)
07 - Contort Yourself (4:19)
08 - Throw Me Away (2:41)
09 - Bedroom Athlete (4:09)

White @ Base

***** ***** ***** ***** *****

Jonathan Richman and The Modern Lovers - Buzz (76/79 * 291mb)

Richman became infatuated with the Velvet Underground, and in 1969 he moved from Boston to New York City, living on the couch of their manager, Steve Sesnick, while working odd jobs and trying to break in as a professional musician. Failing at this, he returned to Boston.Having moved back, he formed The Modern Lovers, a proto-punk garage rock band. Other notable members of the group were keyboard player Jerry Harrison and drummer David Robinson, who later joined Talking Heads and The Cars, respectively. In 1972 they recorded a series of demos with producer John Cale Among these songs was the seminal "Roadrunner" and "Pablo Picasso" which were eventually released on the group's postbreak-up album Modern Lovers in 1976. The album was unique for its time, featuring Velvets-influenced basic three-chord rock at a time when glam and progressive rock were the norm. Despite their continued success as a live act, the Modern Lovers had a difficult time securing a record deal, ultimately it led to the breakup of the original Modern Lovers . As the UK punk scene and LA hardcore scenes were taking off, Jonathan was nowhere to be found, as he transformed himself into a 50s-ish folk rocker, a cult antihero of sorts. He sang against drugs, violence, and loveless sex, preferring an almost innocent wide-eyed boy personality in his lyrics. His song emotions range from hurt and despair, to happy and romantic, to fuzzy and cute (typical of his late 70s work). He uses simplicity and direct emotion to connect to his audience. Well this compilation offers you an hour of stress relief by this off the wall artist.



01 - Egyptian Reggae (2:38)
02 - Pablo Picasso (4:20)
03 - Roadrunner (4:04)
04 - My Little Kookenhaken (3:30)
05 - Dodge Veg-O-Matic (3:49)
06 - The Sweeping Wind (2:02)
07 - South American Folksong (2:39)
08 - Roller Coaster By The Sea (2:07)
09 - Ice Cream Man (3:04)
10 - Buzz Buzz Buzz (1:58)
11 - Abdul & Cleopatra (3:17)
12 - Coomyah (2:10)
13 - Back Into Your Life (2:15)
14 - Hey There Little Insect (3:11)
15 - Party In The Woods Tonight (3:01)
16 - Roadrunner (twice) (4:43)

***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !