A compilation of Angry Samoans most important albums
Tracks 1 - 11 originally released 1980 as "Inside My Brain" Tracks 12 - 25 originally released 1982 as "Back From Samoa" Tracks 26 - 31 originally released 1986 as "Yesterday Started Tomorrow" Tracks 32 - 43 originally released 1988 as "STP Not LSD"
Tracklisting:
1
Right Side Of My Mind (2:09)
2
Gimme Sopor (1:44)
3
Hot Cars (0:33)
4
Inside My Brain (1:36)
5
You Stupid Asshole (2:09)
6
Get Off The Air (1:29)
7
My Old Man's A Fatso (2:55)
8
Carson Girls (2:48)
9
I'm A Pig (2:17)
10
Too Animalistic (Live) (1:59)
11
Right Side Of My Mind (2:16)
12
Gas Chamber (1:01)
13
The Todd Killings (0:38)
14
Lights Out (0:52)
15
My Old Man's A Fatso (1:32)
16
Time Has Come Today (2:07)
17
They Saved Hitler's Cock (1:40)
18
Homo-Sexual (0:52)
19
Steak Knife (1:00)
20
Haizman's Brain Is Calling (1:56)
21
Tuna Taco (0:38)
22
Coffin Case (0:39)
23
You Stupid Jerk (0:23)
24
Ballad Of Jerry Curlan (3:08)
25
Not Of This Earth (1:12)
26
Different World (1:47)
27
Electrocution (2:09)
28
It's Raining Today (2:43)
29
Unhinged (1:55)
30
Psych-Out 129 (1:54)
31
Somebody To Love (1:55)
32
I Lost (My Mynd) (1:56)
33
Wild Hog Ride (2:07)
34
Laughing At Me (1:47)
35
STP Not LSD (2:05)
36
Staring At The Sun (1:36)
37
Death Of Beewak (2:07)
38
Egyptomania (1:37)
39
Attack Of The Mushroom People (2:44)
40
Feet Off The Ground (1:18)
41
Garbage Pit (1:40)
42
(I'll Drink To This) Love Song (2:04)
43
Lost Highway (2:24)
Band Info: Strongest album: The Unboxed Set. One disc contains everything the band ever recorded in the studio. Weakest album: See above.
They took their smirks from the Dictators and Blue Oyster Cult while presaging the likes of the Dead Milkmen and the Beastie Boys, and were musically tighter, catchier, and more genuinely deranged than any of the above. The Angry Samoans are the most offensive and disgusting band you'll probably ever like. Founded in 1978 by a couple of screwed up Arkansas brothers who moved out to L.A. to become part of the burgeoning punk scene, they found a couple of like-minded locals and became the most obnoxious and hated band on that scene, which says a lot. They released a song insulting KROQ DJ Rodney Biggenheimer, who unfortunately had a lot of clout and power and got the Samoans banned from every important club in L.A. Which meant that the Samoans weren't featured on the otherwise inclusive Decline Of Western Civilization documentary, and is likely the reason you haven't heard of'em. Whatever, being more offensive than Fear and tighter than the Circle Jerks (and writing better words than the Germs), the Samoans stood head and shoulders above their contemporaries (except for X and Black Flag, of course), as one of the rare worthwhile punk bands to emerge from L.A. Musically the Samoans took standard metallized riffs and triple-timed them for something called "hardcore", only clear, distinct, and catchy as opposed to the simplistic thudda-thudda-thudda of most hardcore morons. What the Samoans originally set out to do, given their relative age (Metal Mike Saunders was 26!), was to recreate '60s garage punk for the modern age. This worked out brilliantly on the first two records, but became a mistake on the last two, which abandoned '80s punk altogether for a literal take on '60s punk. And then there's the lyrics. It helps to, um, "appreciate" the Samoans' "irony" if you're a straight white male like myself - everyone else should avoid if you're sensitive, 'cause you will definitely be offended in many sundry and various manners. Especially if you're a girl (the cover of their first EP is of a girl with an axe splitting her head open), and even more if you're a.....homosexual. These guys' repeated obsession with "pathetic male queers" and "faggots" leaves a really bad aftertaste in these more tolerant times. It begs the question - are these guys in denial? Naw, probably not; more than likely, they're just assholes who can't get laid 'cause they treat girls like shit, and so they get pissed off and take it out on gays, which is one of the traditional ways most young males with heads up their asses deal with their sexual frustrations. The Samoans disturb me more than G.G. Allin or the Meatmen because I actually enjoy the Samoans' records. There's no way getting around it - you're going to have to justify to yourself pogoing to "tunes" this hatefilled and offensive. But good rock and roll ought to disturb you, and if you insist on music with a "positive message", go listen to Natalie Merchant. The Samoans were the garbage rock of Lester Bangs' depraved dreams, full of self-hatred and loathing that turned its insecurity and rage upon everyone and everything in the world 'cause it was just there to be hated. The Samoans were a joke band, but one of those dark, sick jokes that you makes you feel uncomfortable about yourself for falling on the floor laughing at it. There's a little Angry Samoan inside each and every one of us.....
The only two websites out there for the Samoans are by former members of the band. Go directly to this interview at Perfect Sound Forever; it will provide you with a history of the band, both Kevin Saunders' and Gregg Turner's versions, and link you to their personal websites.
The Droogs was a United States rock group from Los Angeles, active between 1972 and 1992, with the majority of releases from the mid-1980s onwards. The band was formed by Ric Albin (vocals), Roger Clay (guitar), Paul Motter (bass), and Kyle Raven (drums). Inspired by 1960s garage rock, during the 1970s, they released six singles (later collected on the Anthology album), with several changes of personnel in the rhythm section. The line-up stabilized in the early 1980s with David Provost (formerly of Dream Syndicate) on bass/keyboards and Jon Gerlach on drums. In the mid-1980s, the band was considered part of the Paisley Underground scene, but found greatest success in Europe, and in 1987 signed to the German label Music Maniac. The band split up in 1992, after a final album, 1991's Guerilla Love-In.
------------------------------ Original post: This is a "Twin-Entropy" release.
In 1997, the Termites' recorded and released a cover of the entire Ramones' LP "Pleasant Dreams", reinventing it with their signature sugar-coated sound. The release was the last in a highly collectable series of Ramones cover LPs' originally issued as vinyl only on Clearview Records, covered by such bands as Screeching Weasel, The Queers, and Mr. T-Experience, among others. The Beatnik Termites' "Pleasant Dreams" was recorded with special guest on bass Ray Ahn from the Hard-ons, Australia's premier underground export. The "Pleasant Dreams" session was also the first complete Termites session recorded by highly acclaimed producer Mass Giorgini at Sonic Iguana Studios. As master of the control knobs, Giorgini would actualize for the band the recorded sound which the Termites had envisioned and been striving for. Giorgini later commented that the Termites' "Pleasant Dreams" session was one of the highlights of his professional recording career. The album won more praise from now longtime Termites supporter Marky Ramone, who when questioned on the multitude of Ramones' covers being released commented succinctly in Hit List Magazine #4 of the Termites "That cover LP I like. It was real good". The praise landed the Termites with an official nod from the Ramones in the liner notes of the Ramones own re-mastered version of "Pleasant Dreams" on Rhino Records. It seemed that everyone was hip to the Beatnik Termites!..
Tracklist: 01. We Want The Airwaves 02. All's Quiet On The Eastern Front 03. The KKK Took My Baby Away 04. Don't Go 05. You Sound Like You're Sick 06. She's A Sensation 07. 7-11 08. You Didn't Mean Anything To Me 09. Come On Now 10. This Business Is Killing Me 11. Sitting In My Room
Produced & Engineered by Mass Giorgini Recorded at Sonic Iguana, Lafayette, IN. Prepared for CD reissue: unknown %
• Pat Kim - vocals & guitar • Ray Ann - bass & backing vocals • Reggie Silvestri - drums & backing vocals
Originally Released: 1997 CD Release Date: August 2, 2003 Label: Insubordination Records Catalog No.: ISR-030
sorry no videoclip...
------------------------------ Original post: This is a "Twin-Entropy" release.
Mastered By - Denis Blackham Mixed By - Colin Newman Other [Directed By, Edited By] - Tom Gidley (tracks: DVD.1 to DVD.14)
Notes:
Tracks DVD.1 to DVD.14 are the entire performance by Wire at The Triptych Festival, The Tramway Theatre, Glasgow, 30 Apr 2004.
Tracks CD.1 to CD.14 are the corresponding audio only tracks from the above performance.
Tracks DVD.15 to DVD.18 are from Wire's Flag: Burning performance at The Barbican, Main Hall, London 26 Apr 2003.
Total playing times: DVD: 66:24 CD: 53:09
Tracklisting:
CD.1
99.9
CD.2
Germ Ship
CD.3
Mr. Marx's Table
CD.4
1st Fast
CD.5
Read & Burn
CD.6
The Agfers Of Kodack
CD.7
Comet
CD.8
In The Art Of Stopping
CD.9
Spent
CD.10
I Don't Understand
CD.11
Strange
CD.12
106 Beats That
CD.13
Surgeon's Girl
CD.14
Pink Flag
Tracklisting ("Flag Burning", Bonus Tracks): 01. 1st Fast 02. Comet 03. Spent 04. I Don't Understand
Album presentation:
A Live DVD+CD document of contemporary wire, recorded in april 2004, at the three-city triptych festival in scotland. Honed to a fine performance edge from their live forays to europe earlier in the year, wire present their fierce, high-velocity set based around the 2003 album 'send', with encores including 'strange', '106 beats that', 'surgeon's girl', and 'pink flag'. their first album in over a decade, 'send' marked a return to their trademark gimlet, shivved, short sharp shocked writing style. Filmed by visual artist Tom Gidley in forensic detail, this document shows the complete visceral set and deliberately excludes the usual rock music celebration of place and time, instead concentrating on giving the viewer the closest of contact with a band often misrepresented as enigmatic, cold and distant. Also included is a bonus selection of pieces captured by observation camera #1 of the second half of wire's april 2003 "flag:burning" performance installation at the only connect festival at the Barbican, London. The set by avant stage designer Es Devlin was specifically commissioned by wire for this one-off performance. Whilst based on the same body of work as the performance at triptych, this is wire seen from the other end of the telescope, willingly surrendering their personal performance to the service of the machinery of a unique, complex theatrical spectacle in a manner rarely allowed in the rock world rife with ego and self-aggrandisement. The accompanying CD features unedited 60 minute audio from the tryptich section of the DVD, and both discs are presented in a CD-Size gatefold digipak case.