The new band formed by the guitarist and bassist of The Detroit Cobras. Like the single by Les Sexareeneos added last week, this single was recorded by Jack Diamond. The Breakdown's sound is kind of like the 1983 LA cowpunk bands Blood On The Saddle or Tex and the Horseheads. That is to say, female vocal punkish country owing a bit of a debt to The Gun Club. The A side is OK, but the B side rules. 'Trying To Live' has great melody and lyrics about simple things in life like fishing at a fishing hole, mentioning 'well it cost me a dollar five for a record by Johnny Cash' during the chorus. Fave: B

I found myself liking this CD much more than I expected to. Almost exactly one year ago I added a split single with The Bristols on it (see April 27 1999 gullbuy ), but I never followed up on checking them out further. This disc reminds me of Cambridge MA artist Miss Mary and of the vocals of Ivy's Dominique Durand. Seven of the songs on this disc have me totally hooked. I hear bits of Thee Headcoats and Holly GoLightly in the sound, but like Miss Mary 'Hey Blue' CD, it is unique through the strong identity of the performers. From the Damaged Goods website: 'The Bristols are a hot beat combo masterminded by Liam Watson and Ed Deegan-the engineers at Toe Rag studios. The songs are either interpretations of classic British 1960's pop beat records or original compositions penned in that style'. If I had WZBC's Pip with me here he could surely tell you who did the original versions of some of these songs, but all I can tell you is that if french accented female vocaled sixties garage pop with organ sounds appealing, you'd do well to pick up this disc. As for me, I want to hear the first record, 'Introducting The Bristols'. Faves: 1,3,6,7,8,9,10

The third single by Billy Childish's new band The Buff Medways. The B-side is called 'Demolition Girl'. It is not a cover of The Saints (Australian punk band) song of the same name from 1977. It stands in shadow of the incredible A-side. 'Don't Hold Me Back' strongly shows the influence of Hendrix's 'Fire', which Buff Medway even covered as their first single. It is a scortcher of a song - if you have wondered if Billy Childish lost his spark you will be set clear after listening. You know the way that he always uses a guitar riff like The Kink's 'You Really Got Me' as a hook? On this song it sounds like he is doing that, only using the melody of Black Sabbath's 'Paranoid' for the chords. I really like this single a lot, and like the whole idea and presentation of Buff Medway. Fave: A

The best of the 'new acoustic' movement (to me) are I Am Kloot and Alfie. I haven't found a liking for Kings Of Convenience or Turin Brakes. I Am Kloot seem to have a Mod feel to them and sometimes rock it up a bit like on their second single (added in the July 25 2000 gullbuy). The B-side of that single ('86 TV's') is here, along with the A-side of their first single ('To You'). My favorite songs are 'To You' (#1), 'Bigger Wheels' (#3), and '86 TV's' (#11). I also like the instrumental 'Loch' (#5), which almost sounds like something that Echo & The Bunnymen' might play. 'No Fear Of Falling' and 'Storm Warning' sound like Roddy Frame when he played in Aztec Camera. 'Sunlight Hits The Snow' sounds like PreFab Sprout. 'Twist' has vocals that have the nasal sound of John Lennon. Faves: 1,3,5,11

Re-release of a single that came out in 1977 by the London band Some Chicken on Raw Records. Raw Records was a first wave UK punk rock label that put out important singles by The Users and The Killjoys (Kevin Rowland of Dexys Midnight Runners early band). I had never heard of Some Chicken, but this 7" has the typical 'Raw' sound - all chords, quick tempo, and growling vocals a la early Clash. The A-side is OK, but it is the B-side that I really love. 'Blood On The Wall' starts off sounding like The Wierdos 'Destroy All Music' (Los Angeles 1977) and ends up like La Peste's 'Better Off Dead' (Boston 1979). Fave: B

Mikaul Stravöstand is an electronic minimal dub artist from Stockholm Sweden. His music sounds kind of like Vladislav Delay, Kit Clayton, Jan Jelinek, or Pole. From the Force Inc. website: 'Stockholm, Sweden's Mikael Stravöstand represents the first of many new Scandinavian talents that will emerge in the Force Inc. family over the course of 2001. Stravöstand is a key figure in the Swedish electronic scene as a long-time event organizer, sound installation artist and label manager of the underground Mitek label. Over the past year, he has performed continuously that included a successful 32 date North American tour. He has releases and contributions on labels Tigerbeat6, 12k and Mitek Reduce continues Force Inc.'s development of click-techno, where the unessentialist sounds of glitches, crackles and skips infiltrate the structure of minimal techno's 4/4 drive formula. Stravöstand emanates a unique approach to compositions, taking interest in the use of randomness and the unexpected towards his methods of working. Reduce is a very visual and natural project; deep, dubby techno mingles with the glitchy pulses and beats. The result is a perfect order of balance and harmony for the listener. Stravöstand presents a new platform for dance music.' Faves: 2,3,9

Yet another new Billy Childish band? This time it is more than a band, it is a movement called Stuckism which has been around for 25 years and is based in Kent. I really love both sides of the 7", written about the Turner Prize. The A-side is a new (superior) version of 'Art or Arse', now called 'The Turner Prize Song Art or Arse? - You be the judge'. The B-side has 'Anachronism in the UK' and The Turner Prize Manifesto (read by Charles Thomson). Lyrics from 'Art or Arse' include the lines: 'Damien Hirst got his fish in a tank some say it's art others think it's wank, Sarah Kent says he's doing quite well you gotta make your art and you gotta sell, Duchamp signed his old piss pot it was anti art you silly twat, now I think you've all lost the plot you'd call it art if it was Sarah Lucas's snot'. From the Stuckism website: 'Billy Childish is a legendary figure in underground painting, writing and music. In a twenty year period he has recorded over 80 independent, full length LPs, published two novels, thirty collections of poetry and painted over 1000 paintings. Childish continues to write and paint in Chatham.' Faves: both sides

1926 - 1940 Hot & Sexy. Volume 3 has songs about lovin'. 'Bring it on home to your Grandma' (#5) is like a soulful gospel barbershop quartet of cool. 'Daddy, you got ev'rything' (#8) reminds me of a song that Kathleen Hanna would sing. To me it sounds like it's sung by a girl that is a victim of incest. The conflict between the tragic circumstance and the sexy deliverance is disturbingly well done. 'Elevator Papa, switchboard Mama' (#10) is a fun dialog between a man and a woman using the frame of reference of the song's title to discuss their relationship. 'Street Walkin' blues' (#15) reminds me of Robert Johnson with the slide work, though I like this song very much on it's own with the vocal and clarinet. 'Shake It Baby' (#20) by Blind Boy Fuller has neat hand held percussion like someone playing the spoons , with an upbeat guitar part and vocal. The Light Crust Doughboys play 'Pussy, pussy,pussy' (#22) which works the double entendre in a ragtime hillbilly meets male chorus setting. Faves: 5,8,10,15,20,22

1927 - 1946: Blue & Lonely. Kansas city Kitty & Georgia Tom's 'How can you have the blues?' (#8) is a dialog between a man and a woman. He is wondering why she can have the blues with all the things he imagines her to have. It has good lyrics that are fun to listen to. Blind Willie Johnson's 'If I had my way' (#15) has this alleycat talking plainly without his amazing voice as well as singing with. He sounds like a bullfrog! Mildred Bailey's 'Smoke Dreams' (#20) is a dreamy song about her hopes that a boy she wants becomes interested in her. Memphis Jug Band's 'Oh Ambulance Man' (#22) has male and female voals and music brought from one of the band members making sounds like a human tuba. This disc also has 5 instrumentals that really swing by Mezz Mezzrow (#10), Edmond Hall Celeste Quartet feat. Charlie Christian (#12), Tampa Red (#14), Duke Ellington & His Orchestra (#17), and Benny Goodman's Boys (#21). Faves: 8,15,20,22 Instrumentals: 10,12,14,17,21

1926 - 1946 Gospel & Prayers. I thought I would not like the gospel disc in this series, but I was mistaken. 'Golden Gate Gospel Train' (#2) by Golden Gate Jubilee Quartet is a vocal only track that really cooks. The guys provide an accapella background to the song and one even does a mock trombone solo. Kings of Tomorrow 'Little David' (#6) is another vocal only track which features the high pitched vocalist soloing about how he won't drink, among other subjects. The 4 part harmonies are the best. Blind Willy Johnson 'Church, I'm fully saved today' (#7) has a male/female duet. The man's voice is like an alleycat. It is an amazing thing to hear, the rasp is so great and the sound so fine. Sister Nary Nelson with J. Davis & C. Nelson 'The Royal Telephone' (#19) is a female trio accapella trio fronted by a woman with a voice to rival Blind Willy Johnson. One of the other voices sounds like it is a little girl. Southern Sons 'Lift every voice and sing' (#21) is another accapella quartet with the amazing harmonies and soul to spare. In addition to these songs the original version of 'Then we'll need that true relegion' (#16) by The Guitar Evangelist Edward W. Clayton is here. This song was covered famously by Hot Tuna. Faves: 2,6,7,19,21

1933 - 1947 Hitler & Hell. The final volume in this series has mostly songs about the European arena of WWII fighting, through American eyes and voices. Spread among the 31 songs are a few you may already know, like the song 'Praise The Lord And Pass The Ammunition'. The original version of 'Der Fuhrer's Face' by Johnny Bond is here. Spike Jones made that song famous with his wacky version, which is on Vol.2 of this series. Rev. J.M. Gates 'Hitler and Hell' (#6) is awesome with the deep voiced guy and the woman answering the gospel like proclamations of the lead caller. There is no music at all on the track, just the three vocalists. It is amazing. Teddy Powell & His Orchestra's 'Good Bye Mama, I'm Off To Yokohama' (#8) is a much lighter patriotic song that is very playful. I guess it was just what men needed when they were leaving to enter into a real life hell of war. Mildred Bailey & The Treasury Ensemble's 'Since He Traded His Zoot Suit' (#10) tells the story from the point of view of a women who becomes attracted to a guy who now wears a uniform instead of his 'killer diller fashion plate' outfit. The song also contains a plug for war bonds. It's a great track. 'Yankee Doodle' (#14) is done by Luis Oliveira with guest vocals by Donald Duck. The Hoosier Hot Shots 'If It Helps Win The War' (#18) is another fun song with vocals that sound like they are done by Don Knotts. The song talks about the sacrifices they had to make during wartime to help the country. Bing Crosby and the Andrew Sisters weave gold around 'Hot Time In The Town Of Berlin' (#20). Finally, Nat King Cole croons 'D-Day' (#22) which is smooth and cool. Faves: 6,8,10,14,18,20,22

A reissue of the first 2 Seeds records 'The Seeds' and 'A Web Of Sound'. Sky 'Sunlight' Saxon is still active in the garage rock scene and maintains his webpage, which has Seeds songs on it that I've never heard. 'Can't Seem to Make You Mine' (#1) and 'Pushin' Too Hard' (#5) are bona fide classics that have 100 octane strength today, 34 years after they were recorded. I also like the fuzzfest 'Evil Hoodoo' (#3), 'Mr. Farmer' (#12), and 'I Tell Myself'. Sky Saxon's brattish voice perfectly compliments the fuzz guitars and loose rhythms that make up the best Seeds songs. I don't really need to say much more here, because The Seeds continual presence as one of garage rock's pillars have guaranteed that most of you know their music already. Faves: 1,3,12,15