Johnny Thunders & The Heartbreakers - L.A.M.F.: The Lost '77 Mixes (1977) [Special DCD Edition '2002] RESTORED

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Johnny Thunders & The Heartbreakers - L.A.M.F.: The Lost '77 Mixes (1977) [Special DCD Edition '2002] RESTORED

Johnny Thunders & The Heartbreakers - L.A.M.F.: The Lost '77 Mixes [Special Edition '2002]
2CD Set | EAC Rip | FLAC+CUE+LOG or MP3 CBR 320 | DATA (Music Video) | 91:42 min | 657 or 210 MB
Include Bonus CD with Demos, Outtakes & Alternative Mixes and 24-page booklet with liner notes, instros and comments

The Heartbreakers' L.A.M.F. is hailed as one of the classic punk albums. Formed by New York Dolls Thunders and Jerry Nolan in 1975 they influenced the UK punk scene, joining the Sex Pistols, Damned & Clash on the infamous "Anarchy" tour. L.A.M.F. was released on Track Records in 1977 to much acclaim, but was marred by a muddy sound. In 1994 Jungle found long-lost original mud-free sessions and re-compiled the album. This edition of L.A.M.F. was amended with a bonus disc featuring studio outtakes, rehearsals and early demos. The studio rehearsals include the original instrumental backing tracks with studio chat, plus alternative 1977 mixes from different studios, and two demo sessions from early and late 1977.

Shortly after the disintegration of the New York Dolls in 1975, guitarist Johnny Thunders and drummer Jerry Nolan formed the Heartbreakers (not to be confused with Tom Petty's Heartbreakers). The original lineup consisted of the duo plus former Television bassist Richard Hell. The group played regularly in New York City, becoming part of the early CBGB punk scene. Thunders assumed the vocal duties, while the music was quite comparable to the trashy rock that the Dolls patented, except that just about every song was about either the pursuit of the opposite sex or drugs (all the bandmembers were addicted to hard drugs, so much so that at one point, Thunders considered changing the band's name to "the Junkies").
Hell's tenure in the band didn't last long, especially when it became clear that Thunders was the leader of the group, and there would be little room for Hell's original compositions (Hell would soon after resurface as the leader of Richard Hell & the Voidoids). Taking Hell's place in the group was Billy Rath, and a second guitarist, Walter Lure, was welcomed aboard as well. Although the Heartbreakers didn't have a recording contract, they were offered a slot as part of the Anarchy Tour (alongside such Dolls disciples as the Sex Pistols, the Clash, and the Damned) in the U.K. during the fall of 1976. The tour was banned at most dates due to the public's preconceived notion of punk, but it succeeded in creating a buzz overseas for the Heartbreakers, resulting in a recording contract with the Track label.
Their debut album, 1977's L.A.M.F. (short for the phrase "Like a Mother Fucker"), failed to catapult Thunders and his cohorts to the same commercial heights that the other bands on the Anarchy Tour were enjoying, but has subsequently gone on to become one of punk's all-time classics, spawning the drug abuse anthem "Chinese Rocks" (a song co-penned by the Ramones' bassist, Dee Dee Ramone). The quartet's hard-living lifestyle quickly began to take its toll on the group, as they split shortly thereafter, but would reunite from time to time over the years, right up until Thunders' drug-related death in 1991 (with Nolan following his longtime partner in crime to the grave in 1992).

Despite now being hailed as one of punk rock's most important and enduring statements, Johnny Thunders & the Heartbreakers' banshee wail of a debut, L.A.M.F., screamed in silence upon its 1977 release, doing a commercial nosedive worthy of an FAA investigation. Admittedly, the record didn't stand much of a chance in the soft rock quagmire of the late '70s, but its odds certainly weren't helped by abysmal distribution (the group's label, Track Records, went belly up soon after the record's release), the band's increasing drug-induced lethargy, and a mix that buried the group's roar deeper than Jimmy Hoffa. It's this mix that's often blamed for the record's quick demise – rightly or wrongly – with the result that L.A.M.F. has been re-released three different times with three different mixes. The most prominent of these re-releases – 1984's L.A.M.F. Revisited and 1994's L.A.M.F.: The Lost '77 Mixes – took very different approaches to unearthing the musical firestorm smoldering under the sonic sludge. In the case of Revisited, Thunders himself remixed the original tapes; he also rearranged the track order, dropping one song ("All by Myself") and adding two others ("Do You Love Me" and "Can't Keep My Eyes on You"). Sonically, the result was a welcome improvement over the original L.A.M.F., bringing the Heartbreakers' melodic sense into much clearer focus. Yet, strangely, Thunders' remix also added a layer of gloss to the recording that seemed totally at odds with the Lower East Side dirt-and-blood aesthetic of the band, sacrificing power and dynamics for clarity. The approach taken by The Lost '77 Mixes, however, is a much more comfortable fit. Taking the best of the 250 original mixes that the band and producer Speedy Keene made of all the tracks, The Lost '77 Mixes proves that the spit and punch were there all along. The versions here rock with a greasy, maniacal raunch missing on the curiously antiseptic Revisited. The production sheen is gone, giving the music a chance to hit harder and deeper. And hit it does. The guitars of Thunders and Walter Lure buzz and screech louder than ever before; Billy Rath's bass twists and pounds; and Jerry Nolan's drums swing and crash with a newfound violence. Two songs recorded at the original sessions but not used on the original album are also added here: "Can't Keep My Eyes on You", with Nolan on lead vocals, and "Do You Love Me". Thoughtful liner notes by Thunders biographer Nina Antonia round out a pretty cool package. L.A.M.F.: The Lost '77 Mixes may well be the definitive version of this long-neglected classic. It captures Johnny and the boys as they were meant to be recorded: rude, crude, and loud.

~ Andy Claps, all media guide
Tracklist:

Disc 1 - The Lost '77 Mixes:
01. Born To Lose
02. Baby Talk
03. All By Myself
04. I Wanna Be Loved
05. It's Not Enough
06. Chinese Rocks
07. Get Off The Phone
08. Pirate Love
09. One Track Mind
10. I Love You
11. Going Steady
12. Let Go
13. Can't Keep My Eyes On You
14. Do You Love Me?
15. DATA (Chinese Rocks Music Video). MPEG-1, 352x288

Produced by Speedy Keen & Daniel Secunda
Re-Compiled by Alan Hauser

Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 21. June 2012, 14:54

Johnny Thunders & The Heartbreakers / L.A.M.F. - The Lost '77 Mixes (Special Edition - CD1)

Used drive : PIONEER DVD-RW DVR-219L Adapter: 9 ID: 0

Read mode : Secure
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Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


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==== Log checksum C27D88C4933DDA57AE27371DC4158FD70C672F41E2A0F74B2D549C8BC0214CB0 ====



Disc 2 - Demos, Alternative Mixes & Rehearsals:
01. Born To Lose (Essex Studio Demo 20-22/2/77)
02. Chinese Rocks (Essex Studio Demo 20-22/2/77)
03. Let Go (Essex Studio Demo 20-22/2/77)
04. Goin Steady [Instrumental] (Ramport Studio Outtakes 21/3/77)
05. Baby Talk [Instrumental] (Ramport Studio Outtakes 21/3/77)
06. Pirate Love [Instrumental] (Ramport Studio Outtakes 21/3/77)
07. Born To Lose [Instrumental] (Ramport Studio Outtakes 21/3/77)
08. Chinese Rocks [Instrumental] (Ramport Studio Outtakes 21/3/77)
09. Do You Love Me? (Ramport Studio Outtakes 21/3/77)
10. Can't Keep My Eyes On You [Live] ("One Track Mind" B-side)
11. Get Off The Phone (Alternative Mixes - May/Juny '77)
12. All By Myself (Alternative Mixes - May/Juny '77)
13. It's Not Enough (Alternative Mixes - May/Juny '77)
14. One Track Mind (Alternative Mixes - May/Juny '77)
15. Too Much Junkie Business (Demos for EMI, Riverside Studio 13/12/77)
16. London Boys (Demos for EMI, Riverside Studio 13/12/77)

Don't skip through the rehearsal outtakes!
Studio chat and false starts are indexed as countdown time, before the actual track IDs.


Produced by Speedy Keen except "15-16" by Mike Thorne
Compiled by Pedro Mercedes and Alan Hauser

Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 21. June 2012, 15:22

Johnny Thunders & The Heartbreakers / L.A.M.F. - Demos, Alternative Mixes & Rehearsals (Special Edition - CD2)

Used drive : PIONEER DVD-RW DVR-219L Adapter: 9 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
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Read offset correction : 6
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Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


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Test CRC E71711A1
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Copy OK

No errors occurred


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You may have a different pressing from the one(s) in the database

End of status report

==== Log checksum E9FAC97CC45AB92CADA9CDE5138B5541B94A4204CBCD79ECDB938FB81B8F42CD ====


Compilation Produced by Alan Hauser.

After Track Records went out of business, manager Leee Black Childers took possession of all of The Heartbreakers' tapes; the Essex demos, the Speakeasy live recordings and the masters from the L.A.M.F. sessions, including thirty-five reels full of various mixes, from the Track Records offices, thanks in part to the contract provision the band signed early in 1977.

In 1982, the rights to The Heartbreakers' tapes were acquired from Childers, acting on behalf of the band partnership, by Jungle Records, an independent English label. Jungle convinced Thunders and former Generation X bassist Tony James (then with Sigue Sigue Sputnik) to remix L.A.M.F., but the results met with mixed reaction from purists.

In 1994, Jungle Records executive Alan Hauser had all of The Heartbreakers' tapes reviewed, and had the best available mixes preserved on Digital Audio Tape. It was soon discovered by Hauser that many of the original mixes left behind by The Heartbreakers were best suited to the band's protopunk sound, while others had a sound similar to sixties pop hits. It was finally realized that the problem with the sound on the original Track Records release of L.A.M.F. lay in the manufacturing of the vinyl records. A rare cassette edition, released by Track at the same time, "sounds as if it had a shower, shave, coffee and a cigarette". (liner notes of 2002 reissue by Nina Antonia, p. 10).

The 300-plus available mixes were narrowed down to a shortlist of fifty tracks, and various London-area friends and colleagues of Johnny Thunders, including sometime Thunders collaborator Patti Palladin and journalist Nina Antonia, were asked for their input. The mixes used were primarily what Hauser and company considered to be the "rockier, punchier" versions. This edition of L.A.M.F. was amended with a bonus disc featuring studio outtakes, demo versions of three tracks, and other related tracks and alternate mixes, including demos of "London Boys" and "Too Much Junkie Business" that the band recorded for EMI.

The first edition of what is sometimes referred to as L.A.M.F.: The Lost '77 Mixes was released by Jungle in 1994. Eight years later, a remastered edition, appended with an MPEG video of "Chinese Rocks", was released; this is the version currently in print. Henry Rollins picked L.A.M.F.: The Lost '77 Mixes as the recommended version of the album (over L.A.M.F. Revisited) in his 2005 book Fanatic!.


Original Album Released: October 3, 1977
Re-Release Date: March 3, 2003
Number of Discs: 2
Label: Jungle Records, U.K.
Catalog No.: FREUD CD 044-J