Friday, 13 December 2013

PGP #144

Psychobilly Garden Party #144

#Deadnate The Death of Nate 3

New episode here on!
It's a pre-Christmas party over at the Garden of Delights.
New music from Calabrese, The Beat Devils, King Sickabilly &
his Full Moon Boys. There is a whole new visit to The Hot Rod Horror Garage.
It looks like there may be some hauntings going on in the garden after a botched
resurrection spell. What a show. I envy us. Don't be jealous - get in on the action!

Songs on PGP #144

0. Sanford Clark - Ain't Nobody Here but Us Chickens
1. King Kurt -Jungle Feet
2. Calabrese - I Wanna Be a Vigilante
3. Beat Devils - Heaven's Gate
4. Deadbolt - Truck Driving SOB
5. Dave Vanian & The Phantom Chords - Voodoo Doll
6. The Lugosi's - i wanna be your monster
7. King Sickabilly and his Full Moon Boys - After midnight guitar slingin man
8. Death Valley Surfers - Up All Night
9. Deadbolt - Billy's Dead
10. Calabrese - Born with a Scorpion's Touch
11. King Kurt - America (...what a state)
12. The Lugosi's - Bela Lives
13. The Brains - Screaming [for Ben Blythe & Sue]
14. Dave Vanian & The Phantom Chords - Tonight We Ride [for George Thomas Slaughter]
15. Beat Devils - Nothing Left But The Bones
16. The Sharks - Take a Razor to Your Head - [for George Thomas Slaughter]
HRHG_1. The Four Imperials - Santa's Got a Coupe de Ville
HRHG_2. Three Aces & A Joker - Sleigh Bell Rock
HRHG_3. Joey Ramone - Spirit In My House
HRHG_4. The Hellzaboppers - Hot Custom '55
HRHG_5. Reverend Horton Heat - Like A Rocket
HRHG_6. Sloppy Seconds - Lonely Christmas
HRHG_7. Bassamp and Dano - Keg Stand
HRHG_8. The Haddonfields - Does She Ever Shup Up?
HRHG_9. The Vultures - Mean Mean Miss Guillotine
17. Calabrese - At Night I Am the Warmest
18. The Lugosi's - night of the living dead
19. Deadbolt - What Can I Do
20. King Kurt - Alcoholic Rat
21. Beat Devils - Mad At You
22. King Sickabilly and his Full Moon Boys - Cut my teeth
23. Deadcats - Sphincter on Fire
24. Dave Vanian & The Phantom Chords - You and I

Sunday, 17 November 2013

Record label discovery "Deep Eddy Records" from Austin, Texas.

Deep Eddy record label

Good morning chainsaw chicks and psychogardenerbillies. Teabag here.
I discovered this record label over my morning coffee with coconut oil. The coconut oil is very good to stimulate ones first bowel movement of the day by-the-way. Anyway, I am not posting in order to tell you about my bowel movements. This record label specialises in surf, instrumental and garage rock. I discovered them initially because PGP favourite, The Barbarellatones appeared on a compilation there called "Radical Waves."
I am just about to go and order that one from Raucous Records and noticed that there is also a band there called the Twang-O-Matics from here in Norway! I'll have to go and research that right away. Robbie from The Barbarellatones has actually sent PGP lots of new music so I'll be spinning them in next weeks show. Anyway, have a great Sunday morning, and here are some links:

Wednesday, 13 November 2013

Teabag's sack this week - Thee Flatliners "Pandemonium". What an album!

I must say that whilst researching the music for the next PGP show I really enjoyed an old find in the #deadnate archives of the dead masters collection. It was the discography of the fantesticle band Thee Flatliners. They were formed in 1995 by members of Austria's neo-rockabilly bands Cadillac Rust and The Cryptkickers.

The album that I've been listening to the most is Thee Flatliners 2001 long-player "Pandemonium". I appreciate their other releases like Rhapsody In Black, Enter The Twilight and Vampires. In fact there is very little here that isn't to like, apart from the lack of any new releases of course.

Pandemonium is simply a rolling behemoth of an album. The whole affair opens up with a bizarre vocal on the title track but the following songs have that fannytastic "springy" double-bass sound that I like. There are definitely some horror-punk influences on the guitar which is more on the metallic or hard-rock side of the street rather than rockabilly. Remember though that this was released in the early turn of the century when psychobilly was moving further and further away from a trad-rockabilly sound and into the punkabilly style. Talking of guitar, the release from the strictly 50s style gives some flexibility for the boys to get creative with the sound-engineering. I have to say that one of my favourite songs is The Bastards In Your Head which is an epic track simultaneously flexing it's psychobilly muscles and then suddenly falling into a tremolo of psychedelia before returning to a two-step rock n roller.

Vocals on tracks like Cursed to Live Forever recall Kim Nekroman at his finest, which is a very, very good thing of course. The band has a tendency to use backing vocals which probably harks back to their origins in neo-rockabilly bands. The use of harmonies is something which is sorely missed in many of the harder-edge psychobilly bands and adds an interesting counterpoint to the tough-as-nails instrumentation.

All in all this wonderful album is definitely something that you should have in your collection.

You can get it over here at Crazy Love Records:

Friday, 1 November 2013

PGP #139 - coming a few days later...

Good morning everyone. Yes, there will be a new PGP for the Halloween weekend but it's coming out a little later this week, during the weekend. Stay tuned!

Wednesday, 16 October 2013

Lost track from The Stompin' Mad Bats

PGP is here for you to take advantage of!

It's all about hard work

This post is focused at all of you new, middle-aged and decrepit (just a little joke) bands out there. It is especially for those of you who spend your time negatively berating the Psychobilly scene, proclaiming its death, criticising the music business for its lack of support and fans for their lack of spending for new albums. Shame on you! ;) Get your ass in gear and utilize shows like this one! The opportunities are there, the fans are there and there are a significant amount of us who are willing to pay for music which is well recorded, produced and, in the case of physical product, well presented with a good amount of cover notes, information and creative packaging. 

One of the primary reasons for creating this show was to support you lot! Get your ass in gear and send me an e-mail with your music, record a shout-out to the PGP audience, send some news about what you're doing. The one thing that is sure about the new music scene is that without hard work, you're not going to get anywhere.

E-mail PGP now
Skype: mysteryn11

Tuesday, 15 October 2013

How I remembered to love the CD.

This article was originally posted in the RadiobillyFM magazine which you can get a hold of over here: The second issue is on the way and I've just submitted another article.

How I remembered to love the CD.

I grew up in the late 1970s and 1980s. At the time, I do not think that I ever realised what a ruthless and materialistic period that those decades were becoming. I suppose that it is inevitable. As individuals it is nigh impossible to look at the time that we are in and compare it to anything. We have no reference point. What I did realise is that I loved "stuff" and "stuff" was purchased with my well-appreciated, if not as a child at least, hard-earned pounds. Well, actually, back then fifty English pence was still quite a significant amount for a ten year old. One of my earliest memories is cycling to the nearest town to where I lived and going to buy a single or two. I think the first was by the doo-wop band from the 1970s, The Darts and the song was Duke of Earl. My dad had the most amazing stereo at that time. It had a cassette recorder, a record player and an FM tuner. The vinyl media players were still called record players at that time; this was before the record deck came into the vernacular. This was an exciting time because I knew that I could start collecting singles and actually dub them onto cassette tapes in the order that I wanted to hear them and to make my first mix-tapes. As I soon discovered there were other fun aspects to this whole process. The uncontainable excitement started building during the week at primary school. I think, looking back on it, we were quite a music-savvy bunch of kids. There would be in-depth conversations about Adam & The Ants and Bow Wow Wow's appearance on the "Top of the Pops" television show and there was the inevitable deconstruction of BBC Radio 1's "The Official Top 40". We would all tune in to it on Sundays, sit with our trigger fingers on the "Rec" and "Play" buttons or using pause if one was a very technical kid, and quickly try to grab the songs we liked. There was a sweet spot between cutting out the banal chatter of the DJ and not missing too much of the introduction of your favourite song. However, if I decided that I really liked the song then I would start planning to buy the single, count my allowance and get ready for the 5-mile bike ride to town at the weekend. I am sure that I am looking back on this with the naivety of youth and the rose-tinted filter of childhood pleasure but it was a magical time.

My love affair with record collecting continued through my teens and college years. I remember that my student mates considered me a freak when I moved into my college dorm because I took with me a few hundred records. It was a mammoth task to move because I lived in the east of England and the three-hour drive to the Leicester in the East Midlands was pain in the ass. Those records weigh a lot, as any collector can testify. The reason why I took them? Well, it is because I seriously felt that I could not live without them. Those records had become a kind of diary of my development. They were the ones that I felt were relevant to that period of my life. It was also a fantastic chat-up tactic. Inviting a girl back to my place to see part of my record collection was on a par with the old Victorian "come up to see my etchings". The result was usually the same record put on repeat for a few hours whilst we got on with … other things. If I was lucky. This was around the start of the 1990s and this was the blossoming of the compact disc era. I still had not purchased a CD player and I did not have any CDs as of yet.

I did not actually get into compact disc buying until the mid to late 1990s. When I did, it was really because of practical reasons rather than anything else. Around this time record shops seemed to begin the inevitable shift from equal stocks of vinyl and compact discs to a 2-to-1 emphasis on those little silicon disc. It became harder to get the music I wanted to listen to on vinyl without travelling to specialist shops. I still did though, but an increasing amount of music started to find its way into my collection as CDs. Later, whilst living in London at the time that it involved a significant amount of stress to find what you want to buy and actually get to the shop whilst dodging the eight million others who were trying to do the same thing. If you were living there on a daily basis and not simply visiting for the week, you tended to stick to your own manor as much as possible to reduce the unique hassle of travelling anywhere.  There were no specialist shops near to where I lived so I would grab the compact discs at the local shop if they had them and that became a habit. Purchasing vinyl tended to be reserved for records that I really wanted or from artists that of which I already had a significant amount. This was for purely aesthetic reasons because I wanted my collection to be neat, tidy and, not least, impressive. A key point here is that I meant impressive to myself, not just to others.
I am definitely no Luddite. I have always been very involved in technology and especially computers. Around this time, I had started experimenting with my own home studio and spent a significant amount of time learning about recording music. Added to that I was a DJ. When MP3s first entered my world, it was a revolution. I could carry around MP3s, usually burnt to a compact disc, everywhere and that meant hundreds of them. From the very start, I realised that there was something wrong with the sound. It was those high frequencies. High hats were noticeably flanging or oscillating. I will not get into the technical aspects of this here because it is both boring for the non-musician and I want to come back to this in a more technical article later. The practical aspect made MP3s attractive and, later, when the market for portable MP3 players came, the evolution of the digital revolution took another leap forward. When it became possible for us to buy MP3s, immediately online music stopped being a product and became a media service. My relationship with music changed.

MP3s are throwaway. We can easily move, copy and delete MP3 files on a whim with a single click or key-press. I feel that we cannot be surprised that the generation who are growing up with music as a service rather than a physical product or piece of art feel that it has no worth. I know because my relationship with music also changed and music became something that I consumed. It was not something that I had a relationship to, just sound. Compressed digital media has positive aspects like ease of distribution outside of the record label structure, immediacy, interoperability with web content, and portability. The problem is that when this is the only method of delivery that exists for the new generation there is no artistic worth. It is just something that they can get anywhere, often free. I cannot change the current situation for others, other than set an example with my radio show. This is something that I do regularly and is, with articles like this one, my attempt to give another viewpoint.

Around six-months ago, I decided to stop buying music online. I just purchase physical music, have them delivered and then I rip them to audio files for ease-of-use. I still take the CDs with me in the car and play them on my sound system because of the higher quality. I have noticed several different things since I started doing this. The first is that I give records a chance. With MP3s, I would tend to listen once and if the record did not grab me the first time, I would archive it and move on. Now I will listen to records repeatedly, just as I used to, and in many cases, grow to love them as I hear different aspects over time. This appeals to me as I feel that I have started digging deeper into music again. I also go back into artists' back catalogue. With MP3s, I would often only have the last album by a band. Now I am more likely to collect earlier work and get a better understanding from where their work is coming from. I get to know more about the band as I spend time reading the sleeve notes, cross-referencing musicians using the web and do so whilst I am actually listening to the music. In that way, listening to music has become an event in itself, not simply just a form of background noise. I have a sense of ownership of the music too. I have invested in something that I love and I have something to show for it. Look, over there. I like that band. Do you see? I have everything that they have recorded. Buying music and having it delivered has also caused me to have some excitement about receiving the package. I look forward to checking the post and when I get a package I immediately set off an hour of my time to listen through the CD I have received. Again, it has become an event.

Well, I think that I am on the right track, at least for myself. I do think that MP3s themselves are an excellent medium and have many positive aspects to them. I just feel that with each advance in technology, we do not necessarily have to give up on what has come before. Just because something is shiny and new, it does not mean that old way of doing things was wrong. Now, I am just going to hit the Raucous Records website before I log off my PC.


Monday, 16 September 2013

Nice to see you, to see you ... nice.

Show art for the Psychobilly Garden Party #134.
It was really great getting back from Sexmoan in the Philippines and, as you heard in this week's Psychobilly Garden Party #134, Teabag had done a surprisingly good job at recording the show. As I mentioned in the show, I've still got quite a lot on at the moment and the recording of the show is going to be a little erratic for a month or two. My biggest problem is that I love doing it, so I have a tendency to move other important stuff in life around to give me the chance to make the show until it piles up so high that it reaches a critical mass. There are dead bodies to be made into super-soldier, manipulating World events and, not least, trying to control the chaos of the Psychobilly Garden of Delights. I will be doing my best to produce as many PGPs as possible but keep an eye out here on the blog, on the Facebook site, G+ and Twitter for announcements of upcoming shows.

It's good to be back.

Love on ya' all.

Monday, 9 September 2013

The Bloodstrings

The Bloodstrings

Nick from The Bloodstrings just sent me a couple of tracks from their EP for inclusion on the show. Apparently they were founded back in 2009 and from Aachen in Germany, their goal is just to play the music that they love. That sounds like a plan if you ask me. Their influences are horror punk and rockabilly, as well as psychobilly.

Apparently they've supported The Creepshow on their tour. A really great sounding groove on the enclosed video to "Black Cat."

They've got a Facebook page over at I'll be spinning a couple on this week's show (PGP #134).


Yeah you diseased chainsaw chicks and gardenerbilly freaks.
We're coming back.
Missed us?

Monday, 26 August 2013

Dig my new studio.

Dig my new studio.

via Tumblr

Wednesday, 24 July 2013

Nate's Pirate Desert Island Disc is back this week.

Way back in PGP #20 I introduced by illegitimate brother Nate the pirate captain of the Spotted Dick. The swashbuckling section of the show was then back again in show #71 (Link to show 71) Our mother was not too imaginative when it came to naming us, hence the confusing unimaginative reuse of our first names.

In 1758 he went to sea to begin the sweet trade as a buccaneer. Every so often he moors near the coast by the Garden of Delights and conscripts a few new crew. Unfortunately, not all of them make the grade and inevitably a few of them have to be thrown off the ship, cast adrift to the next desert island the ship comes across. As the result of receiving a job-lot (see what I did there?) of early Apple Gar-IPods he tends to allow them to take three songs with them, as long as they can justify why they want them. Incidentally his parrot Colin Beuaregard, unable to fly because of a gammey wing actually has a very important role in vetoing the music, though this is not always apparent.

I'll be reintroducing Captain Nate in this week's show (#131). If after listening you would be interested in being conscripted, drop me a line on and we see if we can get you keelhauled.


MICKEY & THE MUTANTS : Touch The Madness

I really can't get enough of this album at the moment. One of the most fantastic things about Mickey & The Mutants album "Touch the Madness" is that it has a genuine old-school psychobilly sound but has a modern twist with it's punchy production. It has a haunting darkness about it rather than a blatant "here come the zombies to eat your brains" lyrical focus. This is definitely an album you want in your collection and in your car for the latter half of the summer.

Mickey and the Mutants are: Mick - Double bass/Vocals Norm - Guitar/Vocals Hodge - Drums/Vocals 


Friday, 19 July 2013

PGP #130 out today!

Psychobilly Garden Party #130

Feet under the table!

New episode here on! Or get it on ITunes I'm back. You can't keep me away for long you know!
It's a straight through show with plenty of rattling on about the
Psychobilly Weekender in Barcelona and tonnes of kick-ass music for your
listening pleasures. I make the mistake of taking the gang for a trip to the
seaside and that goes about as well as would be expected ;)
We've got The Sharks, Mad Sin, Guana Batz, The Zorchmen, Rock-It Dogs
and even a bit of The Damned amongst others.
Get your boogie pants on. It's good to be back.

PGP - because without it life would be dead.

Songs on PGP #130

0. Tim Curry - Anything Can Happen on Halloween
1. The Sharks - Hooker
2. The Zorchmen - Kipper Trench
3. Rock-It Dogs - Take a Fall
4. Recently Deceased - Rock and Roller
5. Guana Batz - Just Love me
6. Torment - Worse and worse
7. Mad Sin - Dead Men Tell No Tales
8. The Damned - Love Song
9. The Zorchmen - Reloaded
10. Mad Sin - Mad to the Bone
11. Recently Deceased - Wolfbite
12. 44 Double D - Three poison kisses
13. Guana Batz - loan shark
14. The Sharks - Colour My Flesh
15. The Damned - Smash It Up (Part 2)
16. Rock-It Dogs - All Gone Bad
17. The Zorchmen - No More No Less
18. Rock-It Dogs - Take No Prisoners
19. The Sharks - Side show freak
20. Mad Sin - Costa del Hell
21. The Immaculate Deceptions - Teenage monster
22. Recently Deceased - Road Warrior
23. The Damned - I Just Can't Be Happy Today
24. Guana Batz - Rockin' In My Coffin
25. Scratchin' My Way Out - The Sharks

Friday, 12 July 2013

Back from the Psychobilly Meeting.

Good morning world! That’s what I said when I jumped out of bed at 6.30 am this morning
after arriving home from Barcelona at 1.30 am. No, I bloody-well did not! I grumbled. I
moaned. However, as I was scraping the dead skin, sand from
my rosy English gob and looked down at my newest ink on my arm
I started remembering all of the fantesticle bands I’d seen, people I’d talked to and
put a name-to-a-face(book), oscillating from laying on the beach recovering after a 5 am
meander back to the hotel each night and the Weekender
I had a cheeky grin and a Psycho Gardener spring-in-my-step
again. What a fanny-tastic time was had by all. I’m coming back to lots of
psychobilly-business now with the plans on for a new online
magazine, Youtube video to edit together and share and, of course, new Psychobilly
Garden Party shows to make. I always come back from a psychobilly weekender buzzed
and ready to hey-ho!-let’s-go, but this time I really do feel like it’s a fresh new start for the show.

There are some other exciting news for the site coming but those
will become apparent over the next few weeks.

I’ll post a bit more actual information on the Weekender over the next few days. Love on y’az.

Friday, 28 June 2013

New PGP out! #127, Summer Special 1.

PGP #127 Nate is off on his vacation.

The new PGP #127 is out: It has been a tradition that, when I am on vacation, either a guest DJ covers for me or I produce a "special" series. As I'm only away for three weeks, this year it's a series of summer special shows. I've plumbed the deep, dark depths of previous episodes of PGP from over the last three years and selected some good bits to keep you going until I get back. There are some new bits to keep everything fresh, so these specials are not straight re-runs. Keep on rockin'. Music this week is from Gorilla, CWBillys, Gutter Demons, Mad Heads, Frantic Flintstones and many more.

Show notes below:

Psychobilly Garden Party #127

Summer Special annual 1

New episode here on! Or get it on ITunes Nate is off on his vacation but has pre-recorded three summer
special annuals, just like Whizzer & Chips and The Beano do.
Bits and pieces from previous episodes from among the last
three years worth. This week there is music from Gorilla, Koffin Kats,
The Guitar Slingers, Motorzombis and more.
(The songs and skit is from #68 for you collectors out there ;) )

PGP - because without it life would be dead.

Songs on PGP #127

0. Camel Toe - Midget in a thong 1. Gorilla - Planet of the Apes 2. Vladmir - Blind Love 3. Lou & The Natics -Greed for Speed 4. Graveyard Manner - Brains 5. Guitar Slingers - Psycho Mad n Proud 6. Mad Heads - Invasion aliens in town 7. Gutter demons - run away loco 8. Motorzombis - Horror Express 9. Frantic Flintstones - Diablo 10. Gorilla - Forest of The Outcasts 11. Koffin Kats - Chainsaw Massacre 12. CwBillys - Boogie Do Carango 13. Guitar Slingers - Little sister 14. Vladmirs - zombie eyed youth 15. Motorzombis - La Llorona 16. Gutter Demons - Hell bent on rocking 17. Guitar Slingers - Boppin Shakin 18. Gorilla - Psychotic Paradise 19. Graveside Manner - Kings hill 20. Lou & The Natics - Rock n roll Demon 21. Mad Heads - Ukranian Horror Show 22. Frantic Flintstones - Retarded 23. CW Billys - Quero Te Beber 24. Vladmirs - City of the living dead.
* If you like any of the music heard here, support the bands! Plus tell them you heard them here.

Get in touch!

Send your band CDs to: Nate Bunting, Apeltunhaugene 32, 5238 Raadal, Norway.
And MP3s to the e-mail below.

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"mysteryn11" Sit on the back of the pig called Roger and he will let you ride him on over to my house for a cup of tea.

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Show notes

Thursday, 27 June 2013

THE ROCKET DOGZ - Back in Traumaville ( OFFICIAL VIDEO )

Really digging this. Unfortunately the link on their Facebook page didn't work. I've dropped them a line on Twitter to try to find out where to get a CD.

Wednesday, 26 June 2013

New Rockabilly band from Budapest - "The Cathouse"

I just received a very cool e-mail from The Cathouse. This is a band from Budapest who are poised to  promote their 1980s, old-school sound psychobilly to the rest of Europe and the world.

I always find it exciting when a band gets in touch and is obviously a hard-working, ambitious band who recognize that PGP is a great way to get the word out. I mean, apart from feeding my infernal desire for sharing music, having fun, getting to know the audience and draining adrenaline, that is what the show is here for. As I mentioned to Judit, the summer specials will be reviews of previous episodes. That includes upcoming show numbers 127, 128 and 129. After that it will be business as usual, with new music and more psychotic fun.

Here are some links to The Cathouse for you:

Tuesday, 25 June 2013

I'm off on my f***ng holidays.

On Wednesday 3rd of July I shall be flying to Barcelona for the annual Psychobilly Meeting in Pineda Del Mar. This is my first visit to this festival and I can't really explain why I have never been before. It seems like I and my friends have always prioritized the other festivals going on in Europe. Maybe it is because we've literally run out of holiday vacation days by July, everything being allocated by July.

Pineda Del Mar
I'm really, really looking forward to this. The line-up is a great mix of old-school and bands with newer twists on the psychobilly sound. A bonus was the addition of Banane Metallik quite late in the planning of the festival. They are a real favourite ever since I saw them in Speyer at the Satanic Stomp in 2010.
I'm hoping to have the time to write a diary of the event here with pictures. We'll see how it goes. I'm going to be leaving Teabag in charge of the Garden of Delights. I'm sure it's going to be fine. At least that's what I keep telling myself.

Friday, 7 June 2013

The Meteors, a brief history.

This is not my article. It was written by Matteo Pogan, but it's relatively well written, researched and does what it sets out to do: a brief history of The Meteors.

(Published October 11, 2009)

The band The Meteors are one of the founder of psychobilly and still thrive today. The Meteors motto is that they are the only true pure psychobilly bands. So how did this band that's still around after almost four decades first come to be? It was around 1975 when P Paul Fenech and Nigel Lewis started playing rockabilly music together. Their original band was named Raw Deal. Then in August 1980, as a reaction against the soft rockabilly, The Meteors formed. Joining the two founding members was Mark Robertson. Roberston began playing drums at the age of 14 after he saw Santana's drummer Mike Shrieve playing "Soul Sacrifice". Early on his favorite drummer was John Bonham of Zeppelin which he saw play live in 1974. He then says that he had a "punk coversion", and ended up throwing out his entire hippy record collection. His new heros after this conversion were, Marky Ramone and Rat Scabies. Some of his favorite bands included punk pioneers, New York Dolls and The Stooges. He was a drummer for a punk band called "The Models", which he quit to join Meteors.

When deciding on the name for the band, Fenech stated that he wanted, "something short, a simple name that people could remember." The band name, The Meteors, was already used by an old rockabilly group in the 50s. Frenech has been quoted saying, "They all died in an airplane crash so we thought we would use their name."

Early on they covered songs by Roy Orbison and Johnny Burnette, but
Fenech has described their music as a cross between rockabilly and early punk. It has been written that The Meteors played their first show during Rockabilly Night at The Sparrow Hawk in Edgware North London. But in an old interview drummer Roberston says their first gig was at a rock n roll gig called the Cavern, in Willesden located in North West London. The Cavern is where Brian Epstien first saw The Beatles play in 1961. Roberston went on to say, "The first time we played we got through 16 songs in 29 minutes, Ramones style." Right from the beginning the band decided they wouldn't just cater to one specific group of people. If you liked the Meteors then come enjoy the Meteors play live music, no matter what else you may be into. "We don't play for rockablies, we don't play for punks we play for anyone who wants to hear us."

In June 1981 the band recorded the "Peel Sessions" with John Peel Day, one of Brtain's most loved broadcasters. During that session were the first recordings of; Voodoo Rhythm, Love You To Death, Rockabilly Psychosis, My Daddy Is A Vampire, and Rockhouse. They were developing a loyal following that by this time were known as "the Crazies, or Zorchmen." As with any style music, dancing is an important part of the development of the culture of that style. The Meteors fans invented their own dance style called "going mental." This dance would later be renamed "wrecking," which is a staple in the psychobilly music culture today.

March of 1981 they released the movie Meteor Madness. The story line is meant to be "light relief", and involves the devil trying to create the perfect athlete, but instead creates The Meteors. It only took them two days to film the movie, and it contained the tracks, "Voodoo Rhythm", "Maniac Rockers From Hell", "My Daddy Is A Vampire" and "You Can't Keep A Good Man Down". None of the tracks made their first full-length album, In Heaven, which was released on August 1981 on Island Records. It would be the only album in which Fenech and Lewis worked together on. It has been said that after Lux and Ivy, of the Cramps, heard the song "The Room" the Meteors were picked for the slot for the Cramps '81 UK tour.

In December on 1981 the band would began it's first of many line up changes when Mark left to join a band called, "Theater of Hate." In 1982 Niguel Lewis would leave the Meteors, and Mark would re-joined Nigel but this time as a member in the Escalators. The Meteors kept moving and continued it's constant touring but would not release their next full-length album until 1983. With Mick White playing bass, added guitarists Russell Jones, and Steve "Ginger' Meadham on drums The Meteors released their break through album "Wreckin Crew".

Ironically, Fenech has been quoted as saying that he felt "Wreckin Crew" recordings were, "a mess and made too soft." 1983 there would be another member change and Mick White would leave to form his own psychobilly act, the Guana Batz. Rick Ross would take his spot but only for a national tour. Ian "Spider" Cubitt then joined the band to record their next album "Stampede", which was released in 1984. In 1985 the band got a new bass player Neville Hunt.
In 1986 the band released, "Teenagers From Outer Space' which contained many of the songs recording in their original Peel Sessions from 1981. The last half of the 80's The Meteors would go on to release an album every year;1986 Sewertime Blues,1987 Don't Touch The Bang Bang Fruit,1988 Only The Meteors Are Pure Psychobilly,1988 The Mutant Monkey And The Surfers From Zorch, and 1989 Undead, Unfriendly And Unstoppable.

In 1991 it was time for Fenech to put to use what he learned while studying sound engineering and studio production first at Leicester University. The University is located in Leicestershire, a town located in east midland England. It is sourrounded by a many notable music venues where bands such as The Yardbirds and The Animals once played. He also attended, The Kingston Technical Institute which has a long history and opened in 1899. Their 1991 album "Madman Roll" was recorded by Fenech completely by himself. Today they have their own recording studio which they call "In Heaven". In Heaven is a fully working pro studio used by other bands. Fenech feels he,"can truly put down my own ideas rather than working to a budget" I'm not watching the clock, seeing what it's costing me." As a result he feels this gives him more chances to express himself. In 2000 Wolfgang Hordemann joined on drums. In 2009, he still remains in the current line-up which includes Mark Burnett on bass. In 2009 they also released their 26 full lenght album Hell Train Rollin'. With the popularity of psychobilly still growing today the Meteors show no sign of slowing down anytime soon.

Matteo Pogan, October 11 2009.

Wednesday, 5 June 2013

From the crypt: Koefte DeVille interview (december 2011)

From the crypt- December 2011, PGP #53. Koefte interview.

You're into Mad Sin Official you say?

Well, back in December 2011 I did an interview with Koefte DeVille and the whole show became a Mad Sin special. Like all the Psychobilly Garden Party shows it's in the archives over at RadiobillyFM. 

If you're waiting for this weeks show it's a great one to give another listen to.

Saturday, 1 June 2013

Sunday, 26 May 2013

The Gravedigger V (US) & The Better Men Than You. The Garage, Bergen. Norway. 25/5/2013

The Gravedigger V (US) & The Better Men Than You. The Garage, Bergen. Norway.


Last night was one of those evenings that could have gone either way for me. Don't misunderstand me. The Better Men Than You, local Bergen band with frontman Espen Egeland from the Tranceplants always put on a killer, perfect show and a quick perusal of the inter-cob-webs reveals some interesting live shows for the GraveDigger V on the YouTubes. I remember some tracks from their incarnation back in the day but haven't heard anything much since. Of course the sound is typical YouTube quality – sounding like somebody had recorded it with the microphone inserted into a screeching cat. However, it bodes well. It is just that I am not feeling it. You know – it is just one of those Saturday nights. No amount of pre-gig warm up – living room pogoing and primal screaming seems to help. Yes, I primal scream to get energy. I thoroughly recommend it. Though not in a parked car with the window open, which is another story, for another time. Luckily I was going to meet up with some friends and the combination of my pal's ADHD energy (real ADHD, not just Facebook giggle /smirk ADHD) feeding my own, and a pre-flight playlist of garage disease and psychobilly, and I was hit with a wave of "ready-to-rock". Come on. Let us do this thing.

The show began with a storming set by The Better Men Than You. Espen's simmering aggression juxtaposed with a precise performance is an amazing thing to watch. It is like watching 1000 angry wasps in a cola bottle. If I were to pick another member who defines the sound, it would be Ørjan on bass who ties the whole thing together. The glue melds the two disparate guitar tones together. It is also the overlaying pulse, which pushes the drums forward. They did what needed to be done and got off the stage much too quickly, not answering the screams for encore – which is damned cool if you ask me.

The Better Men Than You on Facebook

So, after the bar-hitting and a quick tour around the freaks and geeks that make up the Mojo Workout public – a distillation of everything that is cool, a little unwashed, in rare but very occasions a little smelly (but pretty), of the Bergen muso scene, it is on to the GraveDigger V.

They start. It is, I have to say, a little reserved to begin with. Leighton Koizumi takes to the stage with a certain paisley swagger and a vibey intensity – like a 1960s Dave Grohl. After the first three numbers though, something begins to happen. The near imperceptible liquidity that happens when a band begins to work with the audience and sees the public's arse needs a good kicking. The GraveDigger V accept and begin to kick. Everything starts to move – including the pogoing and grooving front line near the stage. I admit, yes, that was I, valiantly trying to combine a bit of both a swing, a twitch and hop all at the same time. All right, I admit, it probably looked more like a gorilla trying to find an area to relieve itself. That is just the way I roll. All right? Then, as we near the finale things really start to cook on gas. Everybody is moving and the temperature of The Garage has reached rock and roll level. Yes. The Gravedigger V kicked the arse of the public and did the job.

Another fantastic night from Mojo Workout.

The GraveDigger V on Facebook

Nate the Psychobilly Gardener. PsychobillyGarden Party show. on

Friday, 10 May 2013

PGP episode #120 out today


It's the spring, so it's time to "spring-clean music from Six Feet Down, The Deadbillys, The Phantom Rockers, Asmodeus, Baby Horror, The Detonators, The .357 String Band & more. It's a special Hot Rod Horror Garage for mom's day in the USA. And Sherlock Foxx and Teabag are getting into a pickle in time & space. PGP - because without it life would be... less.

PGP #120 on