In 1976 I was living in Mülheim/R. and it was the year that I became member of "1. Deutscher Ringtausch", a club of record collectors. I was like member #87. Alfred Hebing had been a member for some time and as he lived close by (in Essen), we struck up a friendship (which lasts to the very day). As our (then) girlfriends (now wives) would also get along fine, things ran smoothly, and soon my friend Alfred and I were offered the opportunity to make a music magazine for the club. Clumsily we did Plattenfakten I and II (II being the first issued and illustrated Star-Club Records discography – pioneer work then!). When we realised that our magazine was sold to customers at the price of 3 Deutsch-Marks we decided that we would work for ourselves, and that's how Gorilla Beat started: in English, as our approach was anglophile anyway - and we wanted to conquer the world.

The Gorilla Beat period was a period in my life I wouldn't miss for all the money that Lehman Brothers wasted. We were young, we were loaded with enthusiasm up to our collar-bones, we had energy galore, we got something rolling, and we had a purpose in life, which meant running about in gorilla costumes, carrying a live size gorilla doll around (even having it at the steering wheel of my Lada car), getting legless at record fairs, being prosecuted for being too loud-mouthed, going to London record fairs making good money on German T.Rex picture sleeve singles and meeting interesting people from all around the world. Some of them have remained friends.

In order to get Gorilla Beat started, we got up at three in the night to be the first at the car boot sales at four in the morning buying those records for little money which we would later sell at record fairs at collectors' prices. We put the profits into the piggy bank until the first issue was safe. At the time I was at university and regularly worked at an advertising company called Graphia in Hagen through which we were connected with a printer's shop which we could afford. Herr Hiby was a strange guy, member of some kind of very conservative religious sect and he had a son who was continuously drinking Coca-Cola. Printing a thousand copies of an A5-sized-60-page magazine was almost beyond his scope and when one of the features included a photo of Destroy All Monsters' Niagara showing considerable flesh, he fired us for indecency. Alfred then came up with Druckerei Hitzegrad in Dortmund who would support our (well, my) ventures until 1998 and Hitzegrad would always print our stuff at very decent costs. If Mr Hitzegrad Snr. had not taken a liking to us, we would not have been able to do what we did.

A sticker for Gorilla Beat promotion designed & manufactured by Gerard - given to us for free!                    Another crucial partnership came about after we had issued #5. Gerard Davelaar, who was and still is a graphic designer at Dutch publishers Elsevier, offered his services out of the blue because he supported what we  were enthusiastically doing and from then on, the magazine looked different: professional. He even managed to get us Jan de Boer originals for the joint issues #16 and #17: for me the peak of Gorilla Beat, although #15, the psychedelic issue, was perhaps the best-designed and most profound issue. The first cover Gerard designed for us was that of #8, but he had already supplied us with valuable information before that. These were pre-computer days and information could be gathered by personal correspondence and complicated research only. From today's point of view the stories in Gorilla Beat are lacking in depth and accuracy, but bear in mind, that we are talking seventies and early eighties here, and we, among others, were doing pioneer work, and nevertheless some of the features were pretty close to the mark. It was the beginning of proper research to write up the history of sixties' Rock and Pop, and at its time, Gorilla Beat had a high standing… and was famous for its Gorilla English as well.

By #8 we also had people on board like Mike Korbik, Greg Prevost (of the Chesterfield Kings) or Rainer Moddemann writing the odd feature, and thus taking some burden off our shoulders. Later Pontus von Tell, Roeland Bajema, John Wagstaff, Heiner Schlattmann, Klaus Wolf, Rolf Hannet would help us – never asking for any payment, which we would not have been able to give them anyway. Ari Plikat, whom I knew from Graphia, had been there from the very first issue, and he did fantastic cartoons to give us boost. And there was Peter Nicolaus, doing reproductions and films, at his job, secretly. The days of solidarity. We could never give them back what they unselfishly did for us. But I have not forgotten, mates, be sure about that.


I still see myself, in the middle of the night, with a pair of scissors, a cutter knife, a tube of Fixogum, getting the magazine laid out and the artwork done. Hours were spent on Letrasetting. Alfred would take the Essener-Sparkasse-electric-typewriter home after his office hours, so that we could type our articles out in the evening and night hours. I remember working the night through to deliver the typewriter back at seven in the morning to Alfred, so that he could put it back on the secretary's desk at eight. It was f***ing great!


Gorilla Beat was a strict 60s magazine, with me dabbling in Punk and New Wave. And by 1984 I was dissatisfied with the limited approach of Gorilla Beat – secretly I wanted something new. The crucial moment came when somebody offered us a Herman's Hermits story, which was so over the top with the best-band-in-the-world-for-20-years bullshit, that I didn't want to do it… but Alfred did. So we amicably parted company, divided the money in the bank by two, which gave me the opportunity of starting h'artbeat! (soon to become hartbeat!) and Alfred carrying on Gorilla-Beat-style.

It must have been around 1980 that I had had the idea of doing a booklet compiling all those New Wave - as it was called then - and Punk releases on independent labels. Triggered off by the Zig Zag independent record list I compiled all those records that were issued in the above-mentioned genres and were not released by major labels. Thus "GREAT BANDS - SMALL LABELS" saw the light of day: my first attempt at something like book-publishing. The cover was dark red cardboard with silver print, but when I held the final result in my hand, the silver paint looked like dark grey. Once again Mr. Hiby had made a mess of it. Nevertheless the booklet sold out its 1.000 copies in next to no time, and I remember leaving 200 copies at Rough Trade's off Portobello Road on one of my visits there. Rough Trade had been an invaluable help as they had given me permit to browse their storage room  whenever I was in London at that time (which seemed to be continually) and I picked up every record on an indie label I could find (and did not own). They let me have them at wholesale price: as a result I ended up with thousands of 7" records of the late 70s and beginning of the 80s of which 50% were plain shit.  I spent fortunes on 7" records, in the region of 1.000 Deutschmarks a month. "Great Bands - Small Labels" was okay by me, but then Volume came along which was even better and instead of doing a second edition I let those New York guys have my additions and they gave me an advert for GORILLA BEAT in Volume II in return - to which no one replied!!!

Ari working for hartbeat!


When I started h'artbeat, the approach – for one issue - was somehow different. I wanted to publish a magazine that combined music with arts and literature, and after I had put out issue #1, I got the flak by all those record collecting music enthusiasts, asking me what those poems and works of art were supposed to do in h'artbeat!. I – chicken that I was – gave in too easily and stuck to music instead of my initial plan. In order to give the new h'artbeat! (as it was first called) a proper debut, Gerard had acquired a big box full of one wonderful 7" record by the Dutch neo-garage band THE THOUGHT. Thus we were able to grace h'artbeat!'s debut with a 7" freebie. The A-side was a very psychedelic cover of the Electric Prunes' "I Had Too Much To Dream Last Night" (even including harpsichord), the B-side a band composition: "These Days". It's a really classy record, and I was quite pleased to enclose it with issue #1. 

 Four pages of hartbeat! (clockwise from #15, #1, #17, #14)


H'ARTBEAT!s #2 and #3 were printed with the help of Gerard, but the print run was not high enough to meet the demand, and so I was back at Hitzegrad's for no.4. #2 and #3 also were of a different format (#3 additionally came in five differently coloured covers), but by #4 I was back to A4.


From then on I never looked back. Each issue of hartbeat! had more pages and the artwork got more and more fanciful. A lot of people entering the board – and again, no one ever got paid except for the odd parcel of free copies. I still did all the artwork and most of the writing, but people like Uli Hesse (soon Uli Hesse-Lichtenberger) offered his New-York-Dolls attitude, Tom Sobilo his Indie Rock, Beverly Patterson her Power Pop knowledge, and suddenly Nigel Cross was member of the team, and he knew (knows) just everyone in the history of British Underground. What more can you ask for? And also by #18 we had Ulf Nawrot on board to supply wonderful cartoons and competing Ari, who was still sending stuff – more than I could use. There's been so many people being of support: Siegfried Kalus, Lindsay Hutton, Gecko Hunger, Steve Wright, Axel Keunecke, Mike Korbik, Philippe Korpar-Migrenne, Clarke Donovan…

Examples of my hartbeat! artwork


I don't really remember how I managed all the work on the magazine - I was responsible for the whole logistics, the entire artwork, about 70 per cent of the writing, the bookkeeping, the mailing, delivering, shipping - with a day job to do that did not suffer at any time. But I did manage, and I remember when my wife was pregnant with our second child I took 10 days off with our first-born in some coastal resort in the Netherlands in our Easter holidays, and when I had taken her to bed after spending the day at the beach, I did hartbeat! magazine artwork until six in the morning and after two hours' sleep I ventured to the beach again with Annika. I never compromised on being a caring father - my girls and my wife will attest that. And I never compromised on being a committed teacher - my students and their parents will attest that.  Also I never paid myself any money out of the hartbeat! account, I did not even get my petrol money back or the expenses on stationary or whatever I needed. It's what you call self-exploitation, but hartbeat! as a magazine just carried itself. It was purely the fun of doing such a fanzine that was my motivation.

Example of my hartbeat! artwork


Let's wind the clock a few hours back: Gorilla Beat #13 had been very special; it was our first try to enclose audio recordings to illustrate the music we wrote about. The Slickee Boys of Bethesda, Washington D.C., had sent a tape of a live version of "A Long Way To Go" which we mailed to Sonopresse in Rotterdam to have a six inch flexi pressed (6" because Gorilla Beat was A-5-sized). The 1.000 copies of the flexi were delivered – no joking – by river barge to be picked up at Duisburg-Ruhrort. They came without sleeves in a flimsy cardboard box with the silver paint obviously not dry when packed and thus smeared everywhere – and apparantly the barge had transported bulk goods and the sonopresse box had been stored underneath them all. To make matters worse, the package with the tape had obviously been x-rayed at the customs in the Netherlands on its way to Rotterdam and thus the sound quality was a far cry from what we had expected. But even this experience couldn't keep me from having a go at flexi freebies again, and so from hartbeat! #7 onwards there was a flexi with each issue, and from #15 onwards a vinyl 7" EP. #15 also marked the end of the Brother Word Processor era and the change to personal computer, which, of course, resulted in a different artwork. And for me, #15 comes out as the most creative issue. I still page through the magazine with the outmost feeling of delight. Damn wonderful, I keep saying to myself.

Four pages of hartbeat! (clockwise from #21, #19, #17, #15)



In #12 the infamous hartbeat! "Blind Date" debuted. In a blind date a musician is played (ten) songs but not told who the performers are. He is then asked to comment on them - occasionally making a big fool of himself. In the original Melody Maker Blind Dates the datee was put out of his misery at the end after he'd made his comments, but in hartbeat! he could only read it after the magazine had been published. The first datees were Bevis Frond (aka Nick Saloman) and Andy Ellison, and they really set the standard for the following blind dates. Well, occasionally the Blind Date was not printable as it would have killed a musician's reputation on the very spot. I remember a very stoned Marie and Cliff Ulsberger (two thirds of Wanda Chrome & The Leather Pharaohs) making complete idiots of themselves by not recognising the Rolling Stones and putting them down or giving the thumbs down (unknowingly) to Bob Dylan,  Otis Redding, Pharaoh Sanders and the like... yet they kept on giggling all the time.

Examples of my hartbeat! artwork


hartbeat! #17 was another highlight, as it included two 7" EPs, one sponsored by Emilio Winschetti and Willem Kucharzik of Hidden Records, one paid for by me. In those days records and CDs came in by the dozen every day and it became a burden to give them all a spin, and occasionally I would write a review by just looking at the cover. Siegfried Kalus had the brilliant idea of writing about rare Punk compilations that didn't exist, but people claimed to own, too - they would absolutely agree with our opinion that that special record was a killer. #17 also was the first issue with a four-colour cover.

In "High Fidelity" Nick Hornby said that women have got opinions, but men have got charts. hartbeat! was obsessed with charts. Here are 3 of many, the first illustrated by Ari, the second and third by Ulf.

With #19 we started to publish TOP 100s of our regular writers, starting with the Top 100 albums, then TOP 100 singles, then TOP 100 singles B-sides. These caused a lot of discussion among readers - naturally, as everybody has inevitably got his own idea of the 100 best albums or singles. It was great fun and they even made it as far as an own website run by a reader.

The TOP 100 EPs were never published, because by 1998 I was exhaustively working on "Shakin' All Over" and I decided to close the hartbeat! shop, something I had said I'd do perhaps four or five times before. Music had become a bore, too many promo records and CDs on my doorstep, demanding to be listened to and written about, even if I didn't feel like it. Close friends, whom I had worked together with for many, many years, failed to honour their bills, even telling me bold lies. I will never forget how a distributor in Berlin, when asked to pay his bill, said to me that he'd already signed the cheque and it would be mailed the following day. After I phoned the same person 4 weeks later, he'd tell me that the cheque was lying just in front of him, ready to be signed, and thus to be mailed tomorrow morning. It failed to arrive, though. And with more and more -  especially British - distributors not honouring their bills I got really frustrated. With 144 pages, issue #21 had really gone over the limit also. It was a relieve to lay the burden down and finally be able to breathe again and not go on holiday and have a box full of artwork to be patched up in the car boot. 14 years of hartbeat! just were enough. be completed ... soon!

Now you can see what the mag was all about (60s' artists in green, 70s' artists in blue); some back issues are still available: hartbeat!


#1: The Dave Clark Five, The Escalatorz, Rain Parade, The Pork Dukes, The Droogs, The Nomads, The Beatitudes, Problem, The Fleshtones, Psychedelic cover versions

#2: The Real Kids, Multicoloured Shades, Exit Out, The Last Cry, Los Nirvana Devils, Psych Out, The Sinners, The Escalatorz, The Mystics, Acid Tapes, The Pandoras, The New York Dolls, The Left, Yard Trauma, Beatitudes, Billy Synth & The Turn Ups, The Dave Clark Five part II, Les Daltons, The Chesterfield Kings, The Halibuts


#3: Mood Six, Paul Roland, Germany in the Sixties, The Slickee Boys, new German Garage Bands, Sweden A Go Go: Bottle Ups. Hidden Charms, Wayward Souls, Nomads, Playmates

#4: The Dentists, George Brigman & Split, Mod Fun, The Wanktones, TV Personalities, The Fuzztones, German Garage Bands special, The Surfin' Lungs. Rock Section, Paul Roland, Hollowmen, The Shakers, The Not Quite, German 6Ts rarities, The Escalatorz


#5: Brainiac Five, The Dentists, The Slickee Boys, The Service, The Shy Strangers, Makin' Time, Ronnie Urini, The Last Drive, The Hollowmen, The Chesterfield Kings, The Rolling Stones 25th anniversary, The Shiny Gnomes, Going Home, Paul Roland, The Miracle Workers, Dizzy Satellites, The Vietnam Veterans, The Secret Syde, Absolute Grey, The Chud, The Creeps, The Back Door Men, plenty of 60s, 70s, and 80s CD, LP and 7" reviews, books, fanzines, etc.

#6: The Hollies pic sleeve singles special, Radio Birdman, The Pink Fairies, Twink Interview, The Redcaps, Junk, Babysitters, 7" special, The Fuzztones, The Spacelings, Frank White, plenty of 60s, 70s, and 80s CD, LP and 7" reviews, books, fanzines, etc.


#7: The Mock Turtles, The Thanes, Shamen, Miners of Muzo, The Rainbirds, The Extremes, The Chesterfield Kings, A history of Twink bands vol.1, David John & The Mood history, Casey Jones & The Governors history, plenty of 60s, 70s, and 80s CD, LP and 7" reviews, books, fanzines, etc. + 45rpm flexi disc: THE BEATITUDES "Where Are You".

#8: The Slickee Boys, Shamen, Loveslug, The Losers, A history of Twink bands vol.2, Little Free Rock, Astaron, Paul Roland, Black Sun Ensemble, Rumble On The Beach, Pink Fairies, Marshmellow Overcoat, Sound & Fury, family trees, loads of 60s, 70s, and 80s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm flexi disc: TWINK "Yeah! Heavy & A Bottle Of Bread" / THE INFIDELS "Run Away From You"


#9: MC5, Parish Garden, Trevor Burton, The Great Big Kisses, Psychedelic Love Affair, Jasmine Love Bomb, Trashing Groove, Sid Bishop, The Deviants, The Fluid, The Iguanas, Legendary Lovers, The Miners of Muzo, Contemporary Australian Rock special, Dead Moon, loads of 60s, 70s, and 80s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm flexi disc: JASMINE LOVE BOMB "From Last Summer" / THE INFIDELS "Final Solution"

#10: Bad Religion, Deke Leonard, Greasy Pop Records, Living In Texas, Mudhoney, The Nomads, The Vietnam Veterans, New Zealand rocks special, Plan B, What…For! Clints, MC5 part 2, A history of Twink bands vol.3, Strongheart, Rifle Sport, Shoutless, Swamp Oaf, The Bags, Shake Appeal, The Shifters, The Trilobites, The Fluid, Timelapse, Napalm Beach, High Jinks, Great Big Kisses, The Wanna Bees, Galaxie 500, Girl Trouble, loads of 60s, 70s, and 80s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm flexi disc:  GREAT BIG KISSES "Bad" / HIGH JINKS "Time For Turning"


#11: Johnny Thunders, Dead Moon, La Secta, The Other Side, The Who, John's Children, John Frankovic, The Cynics, The Walkabouts, Yrad Trauma, the New Wave of Psychedelia, The Clean, Bevis Frond, Exploding White Mice, The Thanes, The Kliek, The Rose Club, Greasy Bear, Midnight Men, A history of Twink bands vol.4, loads of 60s, 70s, 80s and 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm flexi disc:  DEAD MOON "Walking On My Grave" / LA SECTA "Sweat Browny"

#12: Bad Religion, John's Children, The Didjits, Devil Dogs, Radio Stars, Maryland Cookis, The Heretics, Doctor Brown, Big Chief, Blind Date with Bevis Frond and Andy Ellison, Dead Moon, Alberto Y Lost Trios Paranoias, Eddie & The Hot Rods, Charta 77, The Petals, Shagrat, Jeff Dahl, loads of 60s, 70s, 80s and 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm flexi disc: MARYLAND COOKIES "Fakes" / EDDIE & THE HOT RODS "Ties That Bind"


#13: Big Chief, Vanilla Rocket Flesh, Napalm Beach, Wilko Johnson, Cul De Sac, Head Hive & The Honey, Noise Annoys, Pop Defect, Jeff Dahl, The Didjits, Mighty Mighty Bosstones, Carnival Of Shame, Wreckless Eric, The Brotherland, The Redbirds, Steve Hooker, The Downliners Sect, Gene Clark, Trevor White story (The A-Jaes, Jook, Jet, Sparks), Ed Banger/Eddie Baskerville, Voodoo Dolls, two dozen pages of 60s, 70s, 80s and 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm flexi disc: VANILLA ROCKET FLESH "Exlax baby" / STEVE HOOKER BAND "Southern Accent".

Carnival Of Shame

#14: Codona, The Rockingbirds, The Inmates, Chris Bell, Big Star, Ali Farka Toure, American Music Club, Elliott Sharp, Carbon, Blind Date with Drew Miller, Marc Jeffrey, Ron Kavana, Townes Van Zandt, Iain Matthews, Boiled In Lead, Young Gods, Mabuses, Chris Adams, Tar, The Primitives, Albert Ayler, two dozen pages of 60s, 70s, 80s, 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm flexi disc: CHRIS ADAMS "Indian Summer Days"


#15: Dead Moon, Pavement, Spodee O'Dee, Richard Barone, Lost Patrol, Odolum, Ali Farka Toure, Blind Date with Carla Torgerson, The Walkabouts, Shoo-Shain Brothers, Long John Baldry, Two Lane Blacktop, Sekouba Bambino Diabaté, The Petals, Legendary Golden Vampires, John's Children, The Gories, Martin Newell, The Marbles, The Beat Chics, Crypt records, The Darkside, two dozen pages of 60s, 70s, 80s, 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm vinyl EP: THE PETALS "Imagination's Daughter" / CREEF "So tell me" // LEGENDARY GOLDEN VAMPIRES "Lones'm Town" / LOST PATROL "Madness Is Mine"

#16: Southern Culture On The Skids, John Trudell, Otis Redding, Men & Volts, New Duncan Imperials, The Romulans, The Silverbeats, Point Of Departure, Plan 9, Javelin Boot, The New Bomb Turks, Finnish bands, Man or ASTROman, The Liverbirds history, Malachite, Blind Bats, Lunachicks, The Trashwomen, 7 Year Bitch, Steve Hooker, The Betterdays, The Smugglers, Phil Gammage, Music Maniac Records, Cliff Barnes & The Fear Of Winning, Nick Saloman, Martin Newell, two dozen pages of 60s, 70s, 80s and 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm vinyl EP: PLAN 9 "Animals Doing Things To Each Other" / THE BETTERDAYS "Pretty Thing" // MEN & VOLTS "Records Go Round" / THE SILVERBEATS "Over And Over"


#17: Jesse Hector, The Gorillas, Jacobites, Forbidden Dimension, Dynamo Hum, Ornette Coleman, Treatment, Steve Wynn, The Nomads, Finnish Punk & Garage bands, Gamma Men, Green Machine, The C*nts, Wolfgang Michels, Percewood's Onagram, Girl Trouble, Nick Riff, Rai music, Captain Sensible, The Damned, Willie Loco Alexander, Alan Vega, F*ckface, Phantom Payn, PLO, Napalm Sunday, Senzabenza, Heavens To Murgatroid, The Boorays, The Blow Pops, Sex Clark Five, The Sneetches, The Jigsaws, The Pyramidiacs, The Grip Weeds, Walter Wray, Fifth Column, about two dozen pages of 60s, 70s, 80s and 90s CD, LP and 7" reviews, books, fanzines, etc., record label reviews + two 33rpm vinyl EPs: JESSE HECTOR & THE SOUND "Running Wild" / NAPALM SUNDAY "Girl On The Wall" // DYNAMO HUM "Liar Liar" / THE C*NTS "Song Of The Blind Man" + JOE BLOECK "Rain, Rain, Rain" / MANDRA-GORA LIGHTSHOW SOCIETY "Trip & Fly (Part 1-8)" // THE PHANTOM PAYNS "Hard Time Baby, Especially For You" / P.L.O. "Stunning Whiff"

#18::Wayne Kramer, Goo Goo Dolls, WAnda Chrome & The Leather Pharaohs, Splatterheads, Mooseheart Faith, Boris & The Bolshie Balalaika, Alisha Sufit, Teengenerate, Mick Wayne, Junior's Eyes, Kendra Smith, Mandra Gora Lightshow Society, Demolition 23, Nico, Captain Sensible, Jeff Dahl, The McRackins, Donovan, Mystic Tide, Michael Hernandez de Luna, The Dadistics, The Linkers, Rich Arithmetic, Another Fine Mess, The Bobbies, The Shoes, Kwyet Kings, Sex Clark Five, Screeching Weasel, Jesse Hector & The Gatecrashers, 70s Punk compilations, Strassenjungs, Plasticland, Voot Warning, about two dozen pages of 60s, 70s, 80s and 90s CD, LP and 7" reviews, books, fanzines, etc., record label reviews + 33rpm vinyl EP: SEX CLARK FIVE "Ballad of the Sex Clark Five" / RICH ARITHMETIC "A Part Of Life" / SEX CLARK FIVE "Long Island Railroad Massacre" // ANOTHER FINE MESS "Dreamin'" / HARRY HEINEN "Jede Menge Lösungen"


#19: Link Wray, The Rooks, 20c Crush, The Carpet frogs, The Hippycrickets, Jeremy, Material Issue, The Sun Sawed In 1/2, The Paul Collins Band, Stretford, The Mockers, Sex Clark Five, Lee Brilleaux, Sonny Vincent, Shotgun Rationale, The Aardvarks, Voot Warnings, The Green Ray, The Clique, Reducers, UP, Kim Salmon, 70s Punk compilations, Lazy Cowgirls, Blood On The Saddle, James Intveld, The Cosmic Gardeners, Ed Kuepper, The Saints. Fleshtones, about two dozen pages of 60s, 70s, 80s and 90s CD, LP and 7" reviews, books, fanzines, etc., record label reviews + 33rpm vinyl EP: ED KUEPPER "La Di Doh"//SEX CLARK FIVE "Louisa" / VOOT WRANINGS "Fat" / THE ROOKS "Friend Of Mine"

#20: The Top 100 singles, Doctor Explosion, Motorpsycho, Pete Ham, Galaxie 500, Russell Scott & His Red Hots, Dr Feelgood, The Creams, Ghost, Wanda Chrome & The Leather Pharaohs, The Inmates, Velcro, Blind Date with Peter Gunn, Deke Leonard, The Cab, Reefus Moons, John Otway, Cheik Lô, Oumou Sagare, West Coast Band rereleases, Eddie & The Hot Rods, German Garage bands, Thee Ultra Bimboos, Not Lame Records, Numb Tongues, The Jigsaw Seen, The Shambles, DM3, Martin Luther Lennon, Sex Clark Five, Heavens To Murgatroid, Hector Peñalosa, The Sun Sawed In ½, The Smithereens, Electric Frankenstein, New Speedway Kings, three dozen pages of 60s, 70s, 80s, 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm vinyl EP: SEX CLARK FIVE "And Your Bird Can Sing" / REEFUS MOONS "Trojan Horses" // THE INMATES "(I Wish I Had A) Heart Of Stone" / WANDA CHROME & THE LEATHER PHARAOHS "Brains In A Jar"


#21: The Sweeney, Motorpsycho, Circle, The Swingin' Neckbreakers, Robert Mitchum, Blind Date with John Jorgensen and Thomas Jorgensen, The Monks Of Doom, Camper Van Beethoven, The Jennys, Early Hours, Jack & The Beanstalk, The Knack, The Records, The Cheeks, Yo La Tengo, The Hybirds, Headcase, The Kentuckys history, The Shamrocks history, The King-Beats history, Heartbeat Records, Scott Morgan, Guitar Wolf, Big Bad Johns, Loretta & The Chipmunks, Electrocuting Elvis, The Swiv-O-Matics, The Electric Prunes, Mädels No Mädels, The Diaboliks, The Loons,  De Bossen, Clowns For Progress, Hundred Million Martians, Jalla Jalla, Rocket 69, Chumbawamba, , three dozen pages of 60s, 70s, 80s, 90s CD, LP and 7" reviews, books, fanzines, etc. + 33rpm vinyl EP: THE SWINGIN' NECKBREAKERS "Daddy's Little Girl" // THE JENNYS "Fastest Car In Town" / ELECTROCUTING ELVIS "Worst Case Scenario".

THE KENTUCKYS 1964 and 1965


continued on hartbeat! / Gorilla Beat 2