Thunderboots - Other Recordings

Even though not properly post-punk, but simply for their connection to Ellery Bop, here’s some more of Thunderboot recordings (taken in late Seventies, possibly early Eighties, for possible but never-to-be vinyl releases). For completists only.

- On Her Way Home
- She’s the Kinda Girl
- Better of Me
- The Carnival

thunderboots - the rest

Thunderboots - I Remeber Lucy (1978)

Four-piece rock band including brothers Mark Parry (on drums) (later Ellery Bop, Western Promise, Ministry of Love, Steppin’ Razor) and Paul Parry (on bass) (later Steppin’ Razor). Other members, at various times were J. Johnson, Anderw Wilson, McCusker, Andy de Foxx (later Touch). To Parry, Johnson, Wilson and McCusker is credited to group only (?) single:



I Remember Lucy (1978)
a. I Remember Lucy
b. You Should Know Better


Our friend Woody writes: 'I was there! I knew their soundman Jimmy M. Used to live down the street from me in Knowsley Village. His van broke down and he borrowed ours to ferry the gear around we helped - roadies without pay. Our reward was the music. Great times had by all. Whispers wine bar in Bold street, The Star & Garter. Fantastic'
(Thanks Woody)

thunderboots

Pressure Drop

Punk act originally formed as a five-piece in 1983 by Mark Hodgekiss (aka Hoddy, vocals), David Ball (bass), David Austin (drums), Tony Turner (guitar) and Warren Peacock (guitar, who left in 1983, after the band’s first single). Named after one of the early Clash songs, this influence is easily perceivably.
The Pressure Drop recorded and released two singles:

From Here to Eternity (1983)
1. From Here to Eternity
2. Navy Blue



Daddy Buy Me a Rifle (1984)
1. Daddy Buy Me a Rifle
2. Guinea Pigs


The a-side to the latter single will also appear on the compilation Jobs for the Boys (1985)

Pressure drop

The System - The System Is Murder (1983)

After the fist EP, warfare (see post below), the System started planning their first full length. But the band split before the LP was released. An EP containing four of the songs recorded was released in 1983

The System Is Murder (1983)
a1 - Undercover Agent For The S.A.S.

a2 - Let's Be Free

b1 - Born To Lose

b2 - Identity

System 1983

The System - Warfare (1982)

Utterly obscure Wigan based punk rock act. The line-up included Jan Commode (vocals), Andy Atom (guitar), Jimi Jerkoff (bass) and Spider (drums).
In January 1982 they record their first EP at Southern Studios, London, then released in June of the same year.

Warfare (1982)
a. Dogs of War (written in Mar. 1979)
b1. Their Corrupting Ways (written in Nov. 1981)
b2. Nervous Breakdown (written in Nov. 1981)


system

Teardrop Explodes (Julian Cope) - Screaming Secrets (demo, live, alt. versions)

Bootleg credited to Julian Cope but including demo and live versions of songs written and performed during the Teardrop days. Vinyl rip. Good Collection. Poor quality.

Screaming Secrets
01. Larceny (Acapulco version)
02. Blaze Star (instrumental demo)
03. Flipped Out on LSD (excerpt)
04. Ha Ha I'm Drowning (Peel Session, 2 Oct. 1979)
05. Hanging Around for Years (Skinner Session, 20 Nov. 1981)
06. Log Cabin (demo)
07. My Indifference (Jensen Session, 8 July 1982)
08. Screaming Secrets (live, May 1981)
09. Straight Rain (I Could Strangle Pete Wylie) (live, 17 Sept. 1979)
10. Suffocate (live, May 1981)
11. Suffocate (alt. version)
12. The Butcher's Tale (instrumental demo)
13. The Great Dominions (Skinner Session, 20 Nov. 1981)
14. The Loving Kind (Skinner Session, 6 May 81)
15. Tiny Children (demo)
16. You Better Scream (Skinner Session, 17 Aug. 1981)

17. You Disappear From View (Jensen Session, 8 July 1982)

screaming secrets

Bill Drummond - The Man (1986)

When Pete De Freitas ‘lost it’ in New Orleans, spending his time not-eating, not-sleeping, speeding with cars and motorcycles high on LSD and alcohol, Bill Drummond – in charge of the Bunnymen as the band’s manager – concerned about De Freitas’ madness, flew over to The Big Easy to check on the drummer. Instead of annoyance or concern, Drummond felt inspiration.
“He was literally king of the world out there, calling himself ‘Mad Louis’, living this extraordinary dissolute lifestyle straight out of a Jack Kerouac novel in which anything was possible. […] The experience changed my life. I thought to myself ‘Is this what rock’n’roll is really all about?’ I started seeing things in a different light and when I came back I chucked my job in the mainstream music business and decided to record my own album, which was something I’d been vaguely thinking about for some time. There was even a track on it called Ballad for a Sex God, which was my ‘thank you’ to Pete. I wanted him to produce it, but he felt that he couldn’t” (1989).

In July 1986, on his 33 and a third birthday, Drummond repented his corporate involvement and resigned his job, stating: "I will be 33.5 (sic) years old in September, a time for a revolution in my life. There is a mountain to climb the hard way, and I want to see the world from the top..."
Later in the year, Drummond issued a solo album, The Man, a country/folk music recording, backed by members of The Triffids and of Voice of the Beehive.

The Man (1986)
a1. True To The Trail
a2. Ballad For A Sex God
a3. Julian Cope Is Dead
a4. I Want That Girl
a5. Going Back
b1. Queen Of The South
b2. I Believe In Rock And Roll
b3. Married Man
b4. I'm The King Of Joy
b5. Son Of A Preacher Man
b6. Such A Parcel Of Rogues In A Nation

(All songs written by Bill Drummond except Going Back (Goffin / King ) and Such A Parcel Of Rogues In A Nation (words by Robert Burns, music traditional)).

The album was perhaps most notable for the sardonic Julian Cope Is Dead, where he fantasizes about shooting the Teardrop Explodes frontman in the head to ensure the band's early demise and subsequent legendary status. The song has commonly been seen as a reply to Cope’s song Bill Drummond Said.
The album represents the symbolic closure of an era: the man who invented the Liverpool post-punk music scene – forming Big in Japan, managing the Bunnymen, the Teardrops and many other acts through Zoo Records – now fixes its natural end by refusing the ‘big drums, major guitar chords’ aesthetics of the time (adopted by The Room, Wild Swans mk II, Cook Da Books, etc.) and going back to traditional standards (country and folk).

The man

(Info from, Chris Adams, Turquoise Days, and at http://en.wikipedia.org/wiki/The_Man_(album) )