Born in May 2001, Midnight Thunder Express were formed after the demise of Seattle punk rock n' rollers, the Valentine Killers. Stu Miller, Brian Coloff, and Scott Myrene decided to forge on with their mission. However, this time it was layering the sexual swagger of T Rex and the Stones on top of pure rock n' roll learned on record from the masters such as AC/DC, MC5, and the New York Dolls. Recruiting Willie from the sinking vessel known as the Backstabbers and Jimmy Flame (Jimmy Flame and the Sexy Boys) on drums, Midnight Thunder Express was complete. Their only release was the self-titled album on 2002.
Exploding White Mice were formed in Adelaide, South Australia in early 1984, for the sole purpose of playing a set of covers at a friend’s party. The first line-up consisted of Gerry Barrett (guitar), Giles Barrow (guitar), Paul Gilchrist (vocals), Andy MacQueen (bass) and Craig Rodda (drums). The band wore its influences proudly on its sleeve, those being: 60’s garage punk (Sonics, 13th Floor Elevators etc.), 70’s American punk rock (Stooges, MC5, New York Dolls, Ramones etc.), and 70’s Australian rock and roll (the Saints & Radio Birdman). After playing a couple of parties, the band (to its surprise) was offerred a show at an inner-city pub, which began a rapid growth in popularity. Shows were characterised by high energy, masses of dyed black hair, brutal volume and relentless posing, all of which went down a storm in the already healthy Adelaide scene. Other bands playing around town at the time included the Spikes, Mad Turks, Screaming Believers, Primevils and the Plague, all of whom would, along with the Mice, soon release records on the Greasy Pop label. In late 1984 Gerry Barrett left the band, to be replaced by guitarist Jeff Stephens, who remained a member until the band’s last gig in May 2000.
Blacktop was the first post-Gories project for Mick Collins. While similar to the legendary garage punk three-piece, Blacktop is a clear progression, in terms of musicianship and songwriting skill, for Collins and is also the beginning of his movement towards noisier material. The band's sound was fuller and more sophisticated, due in no small part to the addition of a bass line and the songwriting input of Darin Lin Wood (Fireworks, '68 Comeback) and Alex Cuervo. While still drawing from a wealth of blues, soul, and mod influences, Blacktop crossed into seemingly new territory, even going so far as to cover Captain Beefheart's "Here I Am, I Always Am."I Got a Baaad Feeling About This, their first album, was recorded on an eight track at a friend's house in Dallas and was released in 1995. Half of the album's tracks, and several other unreleased ones, were assembled and released in Australia as Up All Night. As with all of Collins' other projects, Blacktop released several 7" singles throughout it's brief career. The band never made it back into the studio, although Collins and Cuervo went on to form King Sound Quartet with Tim Kerr.
1. No Fun - The Sex Pistols 2. Shake Appeal - Lucy Knight 3. Gimme Some Skin - 69 Eyes 4. Search and Destroy - The Remains 5. Dirt - Loco Lizard 6. New Values - Twisted Roots 7. I Wanna Be Your Dog - Ladd Foundation 8. I'm Sick of You - Johnny Black 9. No Fun - Joe Alcohol 10. Raw Power - The Phantom Fliers 11. Hard to Beat No Fun - Rocket Reducer 62 12. No Fun - Doctor Mix and the Remix 13. Living the Night - Jeff Crane 14. Lust For Life - Blind Pineapple Philips 15. Search N' Destroy - Surreal MC Coys 16. Not Right - Deniz Tek 17. I Wanna Be Your Dog - Richard Hell 18. 1970 - The Damned 19. Gimme Danger - Jeff Dahl 20. Kill City - Johnny Kannis
"Victor and Pedro (late of the Parkinsons) have hooked up with Mr Stix (drummer of the mighty Black Time) and the fabulous Charlie Fink (of the late lamented Penthouse) to make a sound like the Gun Club on a speedball, loaded with silver dum dum bullets hunting for MEAT…"
"We play needle-down, rocket powered rock & soul from outer space to your dancing feet via your inner ear.We play with a fierce right side of the brain and are all about keeping it below the belt.We're from 500 years in your future and we've been here since 2000.We've played live with Blues Explosion, the Dirtbombs, Heavy Trash, the Soledad Brothers, Weird War, Bob Log III, Kid Congo Powers, Dan Sartain and many, many more of our favourite bands.We've recorded 4 albums you can listen to, the first one was recorded in New York by legendary producer Matt Verta-Ray and featured James Chance of the Contortions.We have a 3d comic book biography.We've played in art galleries.We've played in strip joints.We've played in front of 5 people and we've played in front of 1500.Sometimes we have a robot with us, sometimes we don't.But we always, always, have soul."
Formed in Ohio by Peter Aaron (vocals, guitar) and William Weber in 1988, the band more or less plodded indistinguishably until relocating to New York City in the early '90s. In 1992, the Cranks were joined by former Honeymoon Killers' bassist Jerry Teel. Drummer Dan Willis signed on at the same time. At that juncture, the band was given a sense of purpose and a definite aesthetic. Where early recordings certainly reflect an interest in garage rock and noisy indie bands like the Jesus and Mary Chain, it wasn't until Teel joined that the Chrome Cranks' sound solidified itself. From that point, the band picked up where the Honeymoon Killers left off, churning out a stripped down, deconstructive bastardization of garage rock tradition, retooling everything from the Stooges to Kim Salmon. The new lineup inaugurated their recording career with the debut EP Eight-Track Mind on PCP in 1992, thus establishing their Cramps-meets-Pussy Galore aesthetic -- sleaze-rock, essentially. A heap of other singles followed in the successive years.In 1994, PCP released the quartet's self-titled debut album, quite possibly their best. Dead Cool followed in 1995, with Bob Bert, previously of Sonic Youth, Pussy Galore, and many other bands of note, on drums. The album lacked the visceral rawness of its predecessor. The Chrome Cranks' final studio album, Love in Exile, appeared in 1996. Although the band folded that year, sporadic singles followed, as well as the album of outtakes and demos, Oily Cranks, and the potent live document, Live in Exile, both in 1997.
The sonic conglomerate known as Gallery of Mites came into being in the year 2001, when Monster Magnet drummer Jon Kleiman, together with original Magnet vocalist and longtime visual propaganda specialist Tim Cronin, decided they needed a few extra hands in the studio. Also deeming a new set of songs far too aggressive for use by their garage rock outfit the Ribeye Brothers and realizing neither of them could play lead guitar all that well, they began inviting fellow veterans of New Jersey's prolific stoner rock community to collaborate on the ten-man project that would become Gallery of Mites. Participating in the sporadic, year-long sessions for what eventually became the ensemble's Bugs on the Bluefish debut were such scene luminaries as guitarists Ed Mundell (Atomic Bitchwax, Monster Magnet), Phil Caivano (Monster Magnet, Blitzpeer), Tommy Southard (Solace, Godspeed), Stu Gollin (Halfway to Gone), and Mike Schweigert (Lord Sterling); bassists Joe Calandra (Monster Magnet) and Jim Bagliano (Lord Sterling); and harp player Duane Hutter (Black Nasa). A final but very special cameo was provided by Unida and ex-Kyuss vocalist John Garcia, lending his inimitable pipes to one of the band's high-energy, Stooges- and Stones-inspired stone rockers.
A roots rock juggernaut from Nashville, TN, the Legendary Shack Shakers are a hot-rodded foursome combining blues, rockabilly, country, and rock & roll into one manic assemblage boasting all the gloriously explosive instability of an M-80. Originally comprised of Colonel J.D. Wilkes on lead vocals and harmonica, Joe Buck on guitar, Mark "The Duke" Robertson on upright bass, and Pauly Simmonz behind the drums, the Legendary Shack Shakers were all members of various renegade country acts playing in Nashville's notorious "Lower Broadway" district, and Buck and Wilkes spent time playing on the road as part of Hank Williams III's band.Assuming the Shack Shakers moniker in 2001, the band quickly developed a potent reputation for its raucous live show, in which the manic tempo of the music was matched by Wilkes' over the top stage performance, which earned him a citation as Nashville's Best Frontman in the Music City entertainment magazine Scene. After extensive touring with Hank Williams III and Southern Culture on the Skids, the Legendary Shack Shakers self-released their first CD, Cockadoodledon't, in early 2003; shortly afterward, the band signed with Chicago-based "insurgent country" label Bloodshot Records, which reissued Cockadoodledon't in the spring of that same year.In 2003, Buck left the Shack Shakers to play with Hank III full-time, and the heavily tattooed David Lee took over on guitar; the new lineup of the band moved from Bloodshot to Yep Roc Records for the release of the (somewhat) more polished sophomore album, 2004's Believe. In 2005, Simmonz left the band as was replaced by Brett Whitacre. Their third record, Pandelirium, arrived in January 2006. The live Lower Broad Lo-Fi was released in 2007, followed later that same year by Swampblood. Agri-dustrial appeared in 2010. When not busy with his musical career, Wilkes is also known as a visual artist, publishing comic books and creating elaborate "carnival art" murals on discarded roll-up projection screens.