Wednesday, February 10, 2016

Bad Music Era - unaccountable omissions #5

Near the nadir floor, this bunch





The Mission's prime stretch of rank was after the Bad Music Era, strictly speaking, but '86 is when they started - and they squeezed out quite a lot of rotten recordings before the cut-off period (it's 83-84-85-86-87) so they c(o)unt...



The missing stink between late-period, not-good-anymore Bunnymen and "She Sells"-onwards Cult



Face like extruded cheese

Tuesday, February 9, 2016

Bad Music Era - unaccountable omissions #4

this lot may not quite be in the precise time-zone (84-85-86-87) and can't be bothered to check but they are bad music and from the Eighties so i'm saying they qualify okay







Bators - contribution to rock: D minus

Monday, February 8, 2016

Bad Music Era - unaccountable omissions #3

I might have done this lot already - can't remember. don't think so.




were they bad? not exactly, but only in a grievously under-par era could this have been construed a full-bore return to raw rock







Screamin Blue Messiahs's precursor band Motor Boys Motor was marginally more exciting

Sunday, February 7, 2016

Bad Music Era - unaccountable omissions series #2



Actually quite like this one for the sheer "what tarts!!" effrontery of it (see also Love & Rockets). And I also like the phasing on the chorus

The missus says their early stuff was quite good





Some sort of missing (and unwanted link) between Goth Rock and Sunset Strip hair metal

But with some Big Music thrown in - Echo and the Bunnymen glammed up, a camp U2

The Aston brothers came from Wales which may explain why there is a slight physical resemblance to Green Gartside in the days when he had a Princess Di hair-do.



Well this is sad, in all senses:

"Although Jay Aston had left the band, Michael Aston continued recording and performing with the band, releasing three albums. In October 1997, Jay, Rizzo and Stevenson sued Michael over rights to the name "Gene Loves Jezebel", and after a protracted court battle, Jay eventually dropped the lawsuit.
"Michael leads the US version of the band and has toured both the US and the UK supporting releases such as Love Lies Bleeding (1999), Giving Up the Ghost (2001) and Exploding Girls (2003).[4] Jay Aston leads the UK version of the band, also featuring James Stevenson and Pete Rizzo, and has toured both the US and the UK extensively as well to support releases such as Accept No Substitutes (2002),The Thornfield Sessions (2003) and The Anthology, Vols. 1-2 (2006).
"On February 15, 2008, a lawsuit was filed by Michael Aston in California's Central District Court, against Chris Bell, James Stevenson, Jay Aston, John Aston, Libertalia Entertainment and others" for trademark infringement.[5] In a posting on their Myspace page on 25 September 2009, Jay Aston's Gene Loves Jezebel announced that an agreement had been reached with Michael Aston regarding the use of the name "Gene Loves Jezebel": Jay Aston's band is now known as "Gene Loves Jezebel" in the UK and "Jay Aston's Gene Loves Jezebel" within the US; Michael Aston's band is now known as "Gene Loves Jezebel" in the US and "Michael Aston's Gene Loves Jezebel" in the UK. The settlement agreement has been posted on Michael's Gene Loves Jezebel website."