The Mumps - Fatal Charm (1994)

ARTIST`````The Mumps

ALBUM`````Fatal Charm

GENRE`````Campy Glam New York Underground Punk / New Wave

YEAR````````1994

I ain't dead yet - I just had a little nap:)

Biography:

The Mumps were one of the most obscure, but distinctive, New York bands of the late '70s, performing an absurdly theatrical fusion of pop, punk, and glam rock. Led by vocalist Lance Loud, the group's music was an affectionate satire of '70s kitsch culture, predating the similar obsessions of the B-52's by a number of years. The Mumps rocked as hard as the New York Dolls, while writing clever pop hooks that updated trashy garage and bubblegum singles of the '70s. Although they never even earned a large underground following, the group was a favorite of many punk rockers of the era (including the Ramones, Blondie, the New York Dolls, X, Television, the Cramps, Devo, and the Go-Go's), as well as '80s alternative rockers like R.E.M., Game Theory, and Sparks.

Check their shitty website.

About the album/compilation:

Fatal Charm compiles essentially the complete recorded works of the quirky New York band, including the simply wonderful "Crocodile Tears," as well as some equally spirited outtakes and live rehearsals. Though very little of the Mumps' music was released during their five years together as a band, their live shows were legendary, influencing many of the next generation of new wave and alternative rockers; Fatal Charm helps explain why bands continue to namedrop them 20 years later.

DOWNLOAD

Marshall Crenshaw - Marshall Crenshaw (1982)

ARTIST`````Marshall Crenshaw

ALBUM`````Marshall Crenshaw

GENRE`````Power Pop, Pop-Rock, Rock & Roll, New Wave, 80's

YEAR````````1982

What?

Short, fresh, simple and catchy.

Review from allmusic

In retrospect, 1982 was a brief, exhilarating moment in between the fall of disco and the rise of MTV, when the eternal verities of real rock & roll broke through once again. The punk and new wave music of the late '70s had given way to power-pop, a return to catchy, relatively unadorned guitar rock. In that context, it was easy to see Marshall Crenshaw and his self-titled debut album as the Next Big Thing. Hailing from music-rich Detroit but based in new wave mecca New York City, Crenshaw looked like Buddy Holly by way of Elvis Costello, and sounded like that combination too. His short, simple songs had an obvious lineage, but Crenshaw further updated the sound and added a lightly sardonic tone à laCostello, giving it a smart-alecky New York edge. Not only did critics love the result, but the immediate surface charms of the music seemed to bode for a quick trip to the top. But although "Someday, Someway" reached the Top 40 and the LP got halfway up the Top 100, that did not happen. Maybe because Crenshaw was perhaps a little too faithful to his old records. Any record collector had to love a guy who knew enough to cover Arthur Alexander's "Soldier of Love." Yet Holly and Costello got away with their essentially nerdy appearance by working against it, always seeming about to break out of the image; Crenshaw, from the art deco cover of his album to his perfectly echoed vocals, seemed to fetishize the look and sound, more a formalist than a stylist. Or maybe it was just that by the end of 1982,Michael Jackson had released Thriller and Duran Duran was cavorting on MTV. In any case,Marshall Crenshaw remains a great album.

DOWNLOAD

Twin Shadow - Forget (2010)

ARTIST`````Twin Shadow
ALBUM`````Forget

GENRE`````New Wave, Lo-Fi, Electropop, Electronic

YEAR````````2010

Conclusion/Review from popmatters:

Although Forget might not usher in a new musical era, it’s a near-flawless album and certainly one of the most impressive debuts we’ve ever seen. It might not change your life, but it will bury itself deep into your brain and make you feel good and warm for a couple of days. Given George Lewis Jr’s restless nature, it’s a safe bet that this will be the only Twin Shadow album of its kind. And that alone is something to be very excited about.

Album removed

Check this artist:

http://twinshadow.net/

http://www.myspace.com/thetwinshadow

http://twitter.com/#!/thetwinshadow

http://www.last.fm/music/El+Nou+Mon

THE FLYING LIZARDS - THE FLYING LIZARDS (1979)

FEMINIST ANTHEMS AND BOHEMIAN CLICHES + ROCK RIDICULE
ARTIST`````THE FLYING LIZARDS
ALBUM`````THE FLYING LIZARDS
GENRE`````NEW WAVE, PROGRESSIVE
YEAR````````1979

WHY:
Read the great review below.

SHORT BIOGRAPHY:
Led by pianist David Cunningham, the Flying Lizards started as a novelty group that took classic rock songs and reduced them to parody with neo-Kraftwerk synthesizer minimalism and robotic deadpan vocal readings (as epitomized on the eponymous debut album by "Summertime Blues" and "Money"). The serious work shows Cunningham leaning towards the arty high-tech drone of Tangerine Dream, though, and that suffers from comparison with the inspired lunacy of the comedy turns.

David Cunningham and Deborah Lizard photographed in 1980 by Richard Rayner-Canham.

ALBUM REVIEW:
Thanks to the break-away success of the "Money (That's What I Want)" single, this Dada/Fluxus inspired debut album by The Flying Lizards became an instant sleeper (even being released on 8 track!), and ultimately made it onto a certain generation's list of "favorite albums of all time" because of it's catchy humor and accessibly abstract qualities. Arty and erratic, but somehow symmetrical, this album has everything from irreverent Zappa/Residents humor and catchy Kraftwerk robotics, to Eno sound-scapes and chilly, Joni Mitchell-esque ballads framed in Cage found-sound hi-jinks. The postmodern subjects of the album are often presented in a quirky and robotic sound that was appropriate for (and slightly ahead of) it's time.

Read the rest of the review here.

DOWNLOAD