Vinyl From The Vault

Drakulas “Midnight City”

sfilzen — Wed, 03 Jun 2026 18:16:57 +0000

Drakulas “Midnight City” 2026. Dirtnap Records. Green Noise Records red vinyl exclusive. DRAKULAS! I love these guys: their performance was amazing, hysterical and ass-shaking when we caught their set at last year’s Dirtnap Records fest. Midnight City is the side project of the super group’s third full length release…so not really a side project at this point. Composed of Riverboat Gamblers Savage Lord Mic (aka Mike Wiebe) and Sam Fransisco (aka Sam Keir) plus Rise Against and GWAR’s Pink Rick (aka Zach Blair), Midnight City is a rocking, tightly wound good time that mixes hard garage rock, dance rock, indie rock and new wave synthpop. The first tracks on both Side A (“Going Going Gone Gone“) and Side B (“Sex“) have shimmering synths for an updated new wave sound, the latter with a stomping early aughts indie rock beat. Other tracks rock harder, and those are my top picks: the infectious “Singin’ With My Tongue Cut Out,” the garagey “Head in the Clouds,” “Is it Enough” and the hand-clappy dancey “White Off Your Nose.” Wacky describes their live performances (well, I’ve only seen them once but guessing eccentric is generally the vibe for all shows) and that offbeat impulse appears on songs like “Morning/Night” and the insane, wild and high energy “FAFO” (another fave that also has some bleep-bloop action). The whole record is fantastic and I hope a tour is on the horizon.

There aren’t any videos for any of the tracks on Midnight City nor could I find any recent live footage so here’s a link to their set in Dallas, 2025. DRAKULAS!

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Jerry Garcia “Garcia”

sfilzen — Mon, 01 Jun 2026 17:41:22 +0000

Jerry Garcia “Garcia” 1972. Grateful Dead’s Jerry Garcia’s first solo album, some record store or distributer put a hype sticker over the not-at-all offensive breast. I spent a full day in Madison this past weekend; my time at the university there in the late 80’s/early 90’s was heavily soundtracked by the Dead so today I’m taking an aural trip to those hazy college days. While Garcia sings and plays all the instruments – except drums played by the Dead’s Bill Kreutzmann – the LP is full of classic tracks that the full Grateful Dead band would go on to perform in their non-stop touring for the subsequent 20+ years including the single “Sugaree” which went to #94 on the US charts in April 1972; it was Garcia’s only chart single. He also released “The Wheel” as a single but I’m not sure that charted – it’s a really catchy folk/country track. Other Dead show classics include the Americana styled opener “Deal” (one of my old-time faves) and “Loser.” The country twinged lament “To Lay Me Down” shows off both Garcia’s steel guitar and piano talents; I think this one was played somewhat frequently on the road as well. Other tracks have a trippier, psychedelic bent to them like “Bird Song” which was a tribute to the recently-ish deceased Janis Joplin (and was another Dead show staple) and the cosmic freakout weird “Late for Supper,” “Spidergawd” and “Eep Hour” (like during “Space/Drums” I would be taking a bathroom break if they were played at a concert).

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Thompson Twins “A Product of…Participation”

sfilzen — Wed, 27 May 2026 17:45:02 +0000

Thompson Twins “A Product of…Participation” 1981. T Records (the band’s own label). Thompson Twins’ debut LP is way more experimental pop/post punk in sound than their later, more popular new wave synthpop releases. Some ska and African/world beat influences (see especially the opener “When I See You” for ska and both “Slave Trade” and “Oumma Aularesso (Animal Laugh)” for the African sounds, the latter a rearrangement of a traditional Sierra Leone song). Some tracks could have been on contemporary Talking Heads or B-52 records like the weird and rhythmically driving “Make Believe” (it’s a great track). There’s even some dark jangle-pop on “The Price” that feels Cure and Smiths-esque. Thompson Twins released a couple of singles from A Product of… in the UK (there were other singles that were originally stand-alone releases but appear on later reissues of the LP): “Perfect Game,” the aforementioned “Oumma Aularesso (Animal Laugh)” and “Make Believe.” The track “Politics” (very Talking Heads sounding) was released as a single in Germany. With most of my knowledge of Thompson Twins originating with their later, new wave/synthpop work, it’s pretty wild to hear the band’s origins with a way more challenging and experimental sound.

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The Radiators From Space “TV Tube Heart”

sfilzen — Fri, 15 May 2026 16:51:53 +0000

The Radiators From Space “TV Tube Heart” 1977. Chiswick Records. Punky power pop from Ireland. Think a mashup of the Ramones, the Buzzcocks and some mod-ish Jam-like sounds, too: 50’s/60’s-inspired pop sensibility with a snotty garage sound. The band formed in Dublin in ’76 (and have been dubbed Ireland’s first punk band); they shortened their name to The Radiators in 1979 with their second LP release Ghostown. They broke up in 1981 and Radiator frontman Philip Chevron went on to join The Pogues as their lead guitarist. (The band reunited in 2003 and were active until Chevron’s death in 2013). TV Tube Heart was the band’s first LP; three tracks that all skew power pop were released as singles: the opener “Television Screen” — the first and only punk record to make the Irish top 20 – “Sunday World” and “Enemies.” My top picks are the harder punk-leaning rippers: “Press Gang” and “Contact” and the tightly-wound “Electric Shares.” It’s a fantastic record and a shame The Radiators aren’t as well known as their first wave contemporaries.

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Pop Tarts “Age of the Thing”

sfilzen — Tue, 12 May 2026 16:56:51 +0000

Pop Tarts “Age of the Thing” 1988. World of Wonder/Funtone USA Records. Very 80’s, very dancey synthpop. Think a mixture of New Oder, Pet Shop Boys, Fine Young Cannibals with dashes of *early* Ministry, Nitzer Ebb and Paula Abdul. I know nothing about Pop Tarts (plenty about the breakfast/snack of course): turns out it was a short-lived project put together by World of Wonder producers Randy Barbato and Fenton Bailey; WoW is most notable for managing RuPaul and producing RuPaul’s Drag Race, plus a slew of other shows and films and the production company has won several awards over the years.

Age of the Thing was the first of just two LP’s (the second is Gagging on the Lovely Extravaganza, 1992, upon which RuPaul produced a couple of the tracks). It’s a fun, very danceable album though it does feel a bit generic in the disco-synth-dance genre. The opener “Money Success Fame Glamour!” has an EBM/industrial edge as does “Elected!” but that track also has some metal-shred moments and some light “rap” (it’s not really rap). The vocals on “Cherry Red!” (and some others) is very reminiscent of Pet Shop Boys’ singer Neil Tennant’s deadpan tone and other tracks could be pulled directly from a New Order record (“Ultra Brite” among others). I’m not sure I have a top pick as the LP does start sounding the same after awhile, though it’s a perfect example of the disco-synth sound of the latter half of the 80’s that evolved the simpler synthpop style of the early 80’s with more musical influences, sampling (for instance I think they lifted the riff at the intro to “Off Your Mind (Can’t Get ‘Em)” directly from INXS’ “Need You Tonight”) and better technology. There isn’t much available to link from Pop Tarts Age of the Thing – but one of the links below is from a very FYC-meets Pet Shop Boys track “Another Grey Day in London!” which is a pretty bland dance pop song, and according to the YouTube caption it “was their first music video to be broadcast on MTV. Fenton Bailey filmed and produced the music video.”

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Smoke Free Home “Returns”

sfilzen — Tue, 05 May 2026 19:26:52 +0000

Smoke Free Home “Reburns” 2025. Tsurumi Records, limited edition (?) colored vinyl 7″ single. Smoke Free Home, from Oshkosh, are one of my favorite current young punk bands from Wisconsin. We caught their set at a Battle of the Bands this past weekend at Falcon Bowl in Riverwest (Milwaukee). I don’t know if they won (they absolutely should have) but we definitely voted for them. Fast, clever, all low end (the lineup is Jesse on vocals, Kevin on bass, Alex on drums), young and FUN, their performance was raucously captivating. A huge love-filled pit of kids dancing their asses off. Aside from two or three other couples (probably parents or >shudder< grandparents of some of the other local bands), we were hands-down some of the oldest people there. No matter, everyone was cool aka they all ignored us. I’m fairly certain they played both “Fast Hands” and possibly the flipside “Broken Toe.” Their Bandcamp page says about the single “Two fan-favorite tracks from our first release re-recorded…” the tracks appear on their 2021 self-titled EP, though “Fast Hands” is titled “Blue Hands” on the earlier release. Both versions are great!

I wasn’t able to find any live videos of either song so here’s another performance of one my favorite of theirs:

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The Hollywood Brats “Hollywood Brats”

sfilzen — Wed, 29 Apr 2026 17:59:05 +0000

The Hollywood Brats “Hollywood Brats” 1973/1980. Cherry Red Records. Glam rock/protopunk from the UK (and sometimes credited as the UK’s first punk band), originally recorded in 1974 for NEMS Records but the label refused to release it. The band formed in ’71 as The Queen, changed their name, added a guitarist in ’72 (recruited through an advertisement in Melody Maker for a guitarist “drunk on scotch and Keith Richards”) and then disbanded in ’74 after being boo’d offstage and kicked off their label. The Brats performances have been described as raunchy, flamboyant and meant to “to annoy and disturb.” Contemporaries of and very similar to New York Dolls musically and with nihilistic tendencies like The Stooges and other US hooligans, the band leaned into shaking things up and being obnoxious. Singer Andrew Matheson “hobnobbed with (and stole from) Cliff Richard, punched a young Freddie Mercury in the mouth for having the temerity to call his band Queen (before renaming themselves, The Hollywood Brats were The Queen), and managed to alienate every record company that came sniffing. Even when his band was thrown a lifeline, Matheson managed to torpedo it. In 1974, Mick Jones, not yet of The Clash, introduced him to an eager Malcolm McLaren, convinced the Brats might just be on to something. Matheson considered McLaren a man of no substance, and sent him packing. McLaren had to settle for signing The Sex Pistols instead.” Reportedly The Who’s Keith Moon said they were the best band he had ever seen.

Hollywood Brats is snotty, glammy, hard rock and hilarious. The track “Sick on You” is about a man so tired of his girlfriend’s actions that he wants to vomit on her. Their cover of the Phil Spector penned and The Crystals performed classic “Then He Kissed Me” is dripping with punk sarcasm. The Brats continue to foreshadow the Ramones’ sound which evolved 50’s/60’s pop into a punk sound (“Zurich 17“) while “Tumble With Me” flips the narrative to the chaste “Wake Up Little Susie” (Everly Brothers ’57) and asks her, point blank, to enjoy herself and take a tumble. It probably had those early 70’s record execs clutching their pearls. Other tracks lament the irritations of youth like “Another Schoolday” (it’s sooo good!).

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Starjets “God Bless Starjets”

sfilzen — Tue, 28 Apr 2026 18:20:38 +0000

Starjets “God Bless Starjets” 1979. Power pop from Northern Ireland. The image is blurry because I had to keep the original Jem Records import sticker/shinkwrap on the album. God Bless Starjets was their first and only LP release, though they did have a whole bunch of singles from 1978-1980. I know nothing about the band, and there’s not much on the internet either, so here’s some info from Discogs:

They were formed in Belfast, Northern Ireland in 1976 by guitarist – lead vocalist Terry Sharpe, guitarist Paul Bowen, bassist Sean Martin and drummer Liam L’Estrange. They were signed at Epic by Muff Winwood where they released one album in 1979 and a bunch of singles with “War Stories” being their biggest hit (No.51 in the U.K. charts in 1979). They supported Bay City Rollers and Stiff Little Fingers and because of their amiable style they were labelled “the Bay City Rollers of punk”. After their album failed to chart, Paul Bowen left the group and they changed their name to Tango Brigade adding guitarist Pat Gribben in their line up. After one single at Epic in 1981, Tango Brigade disbanded due to musical differences and Terry Sharpewith Pat Gribben formed The Adventures in 1983 and Sean Martin joined Jake Burns And The Big Wheel.

God Bless Starjets is power-pop lite; the quote above about the Bay City Rollers totally checks. Beach Boy-esque harmonies and sweet poppy melodies. The single “War Stories” is one of the “power” ie harder tracks and also one of my top picks, as are “Schooldays” and “Sitting on Top of the World.” Both have some anthemic moments, t00. There are sounds similar to some of their UK contemporaries, too: “I’m So Glad” is super similar to Elvis Costello and “War Is Over” rings of The Jam and Stiff Little Fingers. There is a bit of (unintentional?) silliness on this record as well: “Smart Boys,” which about the band themselves, is pretty ridiculous.

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Duran Duran “Perfect Day”

sfilzen — Sun, 26 Apr 2026 17:08:39 +0000

Duran Duran “Perfect Day” 1995. Limited edition “Scratch ‘n’ Sniff” 7″ single. Today, April 26th, is Duran Duran drummer Roger Taylor’s birthday (b. 1960). “Perfect Day” is a cover of the Lou Reed classic (1972); Roger Taylor was on an extended break from Duran Duran in the late 80’s/early to mid 90’s but briefly reconnected with Simon, Nick and John in 1994 while in Paris to record a couple of tracks for Thank You plus he appears in the video for “Perfect Day” (shot in 1995). “Perfect Day” went to #28 in the UK and Lou Reed has stated that Duran Duran’s version is “potentially the best rerecording of any of his songs.” The b-side is another Reed cover: Velvet Underground’s “Femme Fatale (alternative mix)” (VU’s from 1967). The difference in Nico vs Simon’s voice could not be more radical but both versions are fabulous.

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Anika “Abyss”

sfilzen — Wed, 22 Apr 2026 17:13:23 +0000

Anika “Abyss” 2025. Sacred Bones Records, limited edition black/burgandy/white smash variant. Grungy + noisy psychedelic post-punk, Anika hails from Berlin (we didn’t purchase this album there!) and recorded Abyss at Hansa Studios (which we did make a pilgrimage to, famed spot of Bowie’s Berlin trilogy, Iggy, etc.). It looks like Abyss is her sixth LP, though it’s the first in our collection I believe. It’s noise-laden, bass-heavy and hypnotic: not a 60’s hippie trip (however “Buttercups” does lean that way a bit), rather dank late night Euro-club strobes – think My Bloody Valentine vibes but with more options to dance. My top tracks include the title track “Abyss,” the chaotically ass-shaking “Out of the Shadows,” While the album is mostly dense and dark material, there are some lighter, sweeter moments like on “Walk Away” (the lyrics: not so much tho) and sparser/lo-fi tracks like “Into the Fire” and “Oxygen” upon which Anika seems to be channeling her inner Nico.

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