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SPITTLE 120LP
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Spittle Records present a reissue of Wayne County & the Electric Chairs' Storm The Gates Of Heaven, originally released in 1978. Prior to his release this record was simply "labeled" as punk-rock but this one comes from the New York Dolls side of glam punk. Storm The Gates Of Heaven reveals unusual aspects of County's work: serious, reflective and profound. The monologue introducing the title track is the only part that may be considered offensive. The sound is a blend of bass, lead and rhythm guitar, drums and percussion by the versatile Electric Chairs. Embellished by Hammond organ, the title track rages against and laments the suffering caused by religious wars. "Cry Of Angels" is an eloquent, even anthemic defense of Enlightenment values on which the guitar textures and the hook around the chorus superbly complement one another. An artful blend of County's characteristic outrage and the pure pop genius that lay behind the garish accoutrements, Storm The Gates Of Heaven jams its eight tracks between two undisguised classics, the anthemic title track and a so-optimistic reading of "Tomorrow Is Another Day", not to mention a stunning cover-version of the Electric Prune's "I Had Too Much To Dream Last Night".
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LP
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SPITTLE 121LP
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Spittle Records present a reissue of Wayne County & the Electric Chairs' Things Your Mother Never Told You, originally released in 1979. "Jayne/Wayne County's most audacious album is also possibly among the most important albums of its age. Released in 1979 just as the new wave was teetering on the brink of some kind of bold step forward, Things Your Mother Never Told You was one of the sudden shoves which sent it sprawling into its destiny. Electro-punk starts here. Producer David Cunningham takes only a portion of the credit; in years to come he would lead the Flying Lizards into the realm of heavily stylized electronica. But County's songs match his ambitions all the way, from the harsh, grating soundscapes behind 'C3''s muttered imprecations to the soft-spoken paranoia of 'Waiting for the Marines,' and onto 'Berlin,' the song that put into words everything David Bowie (among others) tried to convey about that city via image and insinuation. It's not all electro-art smarts, of course. 'Boy With the Stolen Face' and the pouting, punishing 'Wonder Woman' are archetypal Electric Chairs -- a reminder of how, at the band's very best, they could run the Rolling Stones close in the swaggering rock & roller stakes -- and the murder mystery 'Wall City Girl' could have fallen off a forgotten volume of Nuggets or Pebbles. The title track, meanwhile, doesn't simply seethe with all the promise -- sexual, social, and societal -- which made County the superstar (s)he so very nearly was, it also lets listeners know why no one has ever truly snatched that crown away." --All Music
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