#dave ruffy

[mitjalovse]

Some records that got their musicians to be noticed again after a long time had a problem with the events that followed and that were beyond their control. Kirsty MacColl, for instance, didn't get a chance to fulfill the promise Tropical Brainstorm gave her. I mean, she was always on the edge of being recognized, but the label woes did their trick. I believe the platter I mentioned signified a better future not just thanks to the incredibly cheerful mood, which she did complement with an occasional dark subject matter. You noticed what I described? Yes, she would've fit the aughts and the previous decade well. She would've still been this eccentric lady with great music, since Tropical Brainstorm felt like an overture. Sadly, her death delegated that to a requiem.

[el-toca-discos]

"A Good Day Tomorow" comenzó como una canción que había escrito Boz Boorer para una banda llamada 12 Dirty Bullets. No usaron esta canción aunque terminaron otra. Buscando canciones para el nuevo álbum de Happy Martyr, a Lusty le gustó esta canción e hizo un gran trabajo al encontrar esa melodía para el coro. Joe luego la llevó a otro lugar con sus coros, Dave Ruffy (The Ruts) puso la batería y en el instrumental del medio hay un guiño a 'Been A Long Time' de Andy Ellison, cantante de 'John's Children'.

Initials BB es una canción de Serge Gainsbourg publicada en 1968 . Fue el simple de apertura de su álbum Initials BB y trata sobre la actriz y símbolo sexual francesa Brigitte Bardot, que era tan famosa en ese momento que sus iniciales eran suficientes para saber a quién se referían las personas. Gainsbourg una vez tuvo un romance con ella y esta fue su forma de expresar lo que sentía al respecto. Esta versión la hizo Boz Boorer el guitarrista de Morrissey y The Polecats y lo acompaña James Maker (cantante favorito de Moz), en voz. Publicó las dos canciones en su bandcamp en Mayo de 2022. Fué un simple doble. Acá se los dejo.

Disfruten.

[shohidari]

AMG Dave Ruffy Ruff Cutz -> Track 02 - FULL GROOVES -> User - 135 BPM

0:15

dmc1 public enemy drums lol

[vmonteiro23a]

The Ruts - (L to R) Malcolm Owen, Dave Ruffy, Paul Fox, John "Segs" Jennings. Photo by Virginia Turbett

The Ruts – (L to R) Malcolm Owen, Dave Ruffy, Paul Fox, John “Segs” Jennings. Photo by Virginia Turbett

[scottishmusicnetwork]

TOUR NEWS : DEAD MEN WALKING - Supergroup Embark on '2024 Part 1 Tour' Dates this Jan - Feb

DEAD MEN WALKING ‘2024 PART 1’ TOUR THIS JANUARY AND FEBRUARY ACOUSTIC & LIVE – SONGS & STORIES STARRING… DAVE RUFFY : JAKE BURNS : KIRK BRANDON : SEGS JENNINGS   Dead Men Walking are back in 2024 for a series of shows in January and February. Founding DMW member Kirk Brandon (Spear of Destiny/Theatre of Hate) will once again be joined by the heralded rhythm section Segs and Ruffy from The Ruts…

[bowiedd]

roddy frame, 1980s

[julio-viernes]

Code Blue por primera vez de gira por nuestro país. 

Casi el trío original.

[pupuplatters]

JAY AYERS :: Jay Ayers ~ 5.8

TAM | TRA-8001

Jay Ayers' self-titled album from 1980 opens with "Midnight Lady," three minutes of yacht rock perfection. High-pitched doo-doos and la-la-las hover overhead as the supple rhythm section lays a rock-solid foundation and Ayers yearns desperately for love, even if it's from a pro. Prominent acoustic guitars give the song rhythmic propulsion like some of the best country-rock hits of the era, and an unexpected clarinet appears midway through to sweeten the mix. The rest of the album suffers for not containing material up to the standard of its leading track. The deficiency is strong lyrics. "It's Only Love" and "Younger Days," both bouncy, soul-tinged numbers, sound great on the surface, but the words are uninspiring and routinely fall into cliché (the former is also, dare I say, square: "It's only love, it's the only thing that everyone wants to acquire"). "Lady in Mexico" sets up a potentially interesting whiskey-fueled story of one that got away, but it winds up mundane and in serious need of a plot twist. "Easy Way Out" connects, delicately addressing depression with an appropriately melancholy backing and topped with a memorable vocal hook from Ayers in the way he sings the song's title. The mood suddenly changes on side B, opening with a lively mashup of "Different Drum" and "Mr. Tambourine Man." The guitars are jangly and the sound is more primitive. When he sings, Ayers sounds like a filthy drunkard wailing for quarters on a busy street corner. Instead of shortening the songs and butting them together to create a traditional medley, the tunes are carefully interwoven together, and the seams never show. While the lyrics don't improve much, the more reckless sound on side B shows more personality than the first half. The cover of "American Girl" doesn't contain the conviction of the original, but the Petty-influenced "It's So Hard" is an engaging power-popper with some nifty vocal interplay. I wonder if the mix of the slithery "One More Night" was intentional. The distant instruments and echo-heavy vocal create a smoky haze, enhancing the lyrics about foolishly holding on to someone. I would love to know the story behind the difference in the album's halves. Perhaps side B's loose and raw recordings were Ayers' early studio attempts, which led to sessions that produced the more professional and mature songs on side A. For the most part, the presentation of songs on Jay Ayers is more fascinating than the music itself.

December 16, 2019

[libertineangel]

As well as the main bands this is an awards show for Vive Le Rock magazine and they had their own band doing covers with guest singers, largely fun but unremarkable except for 1) the hugely underrated Dave Ruffy of The Ruts on drums who I'm always happy to see, 2) the titular singer of the Jim Jones Revue server a tremendous amount of cunt in a performance of I Put A Spell On You, and 3) the last track had special guest bassist Norman fucking Watt-Roy playing Roxette, guitarist played like a normal person rather than old Wilko but god damn I was not expecting that

[punkrockhistory]

The Ruts, a reggae-influenced English punk rock band founded today 43 years ago, consisted of singer Malcolm Owen guitarist Paul Fox, bass player John "Segs" Jennings and drummer Dave Ruffy.

#punk #punks #punkrock #theruts #history #punkrockhistory #otd

[torley]

This is a list of sample CD-ROM discs in both the Roland and Akai formats that were or are sold, gathered from various sources, old and current catalogues and websites. Some are no longer available (Ethnic by Zero-G), some are available as a special order (Voices of Istambul) and others are available now from Best Service (Germany), Sounds Online (US) or Time + Space (UK), the three large sample discs online retailers. Both formats have 147 known entries. Dave Ruffy Drum Samples (1992) Rhythm of Electronic Music Culture https://electronicmusic.fandom.com/wiki/List_of_the_Roland_S-700_and_Akai_S-1000_Collections

[allthatchernobyl]

The Ruts- The Crack (1979)

The Ruts es una banda londinense formada en 1977 avocada al punk rock con influencias del reggae como mucho del punk ingles de entonces. Alcanzaron cierto prestigio con el tema "Babylon's Burning" -que abre su disco debut de 1979 que aquí presentamos- cuando se metieron el Top 10 del chart ingles con mucho empuje de parte de John Peel en su programa en la BBC Radio. Se trata, entonces, como ya ha sido dicho, del disco debut de The Ruts titulado The Crack grabado en The Town House de Londres y editado por el sello Virgin. El repertorio del álbum pertenece por completo a la banda y desde ya se nota en su sonido sin equivalencias en aquel Punk Old-School. "The Crack" deslumbra en su originalidad y poderosos sonidos que saben beber tanto del Reggae de Marley hasta el Rock en general de la década. Un proto-hardcore que se toca rápido y duro, sin concesiones. El cuarteto formado por Malcom Owen en voz, Paul Fox en guitarra y coros, John Jennings en bajo y Dave Ruffy en batería supo condensar tanto musical como líricamente el contexto histórico que se vivía. Y lo hacían con frescura y mucha actitud, incluso coqueteando con momentos pop que servían para matizar el discurso musical sumido en la oscuridad en que se daba. Rebelión que se cuece a fuego lento en un par de ejemplos memorables como el ya nombrado "Babylon's Burning" o, mi favorito personal, "It was cold" con sus innumerables guiños que se articulan con el rock y el punk en un track de más de seis minutos, una duración poco usual para el punk en general y para este disco en particular y que anticipa con genialidad el sonido venidero. Una joya de aquel caldo de cultivo que termino por abrir camino a una generación de músicos entre los que se cuenta el new-wave o el post-punk de bandas como Joy Division, Public Image Ltd. o Magazine.

La edición que comparto se corresponde con la que empezó a circular en formato de CD en 1990 y que incluye tres tracks más que el original.

Genero: Punk-Rock, Dub Punk

Año: 1979

País: Reino Unido

Duración: 54:32

Compresión: 192kbps

Tamaño: 73,4mb

Tracklist:

1- Babylon's Burning 2- Dope for Guns 3- S.U.S. 4- Something that i said 5- You're just a... 6- It was cold 7- Savage Circle 8- Jah War 9- Criminal Mind 10- Backbiter 11- Out of order 12- Human Punk 13- Give youth a chance 14- I ain't Sofisticated 15- The Crack

ESCUCHAR 

DESCARGAR 

[encyklopediakoval]

353) RUTS D.C. „Animal Now” LP Virgin 1981 - w lipcu 1980 oryginalny wokalista londyńskich The Ruts – Malcolm Owen – zmarł wskutek przedawkowania heroiny. Reszta zespołu, w którym drzema�� ogromny potencjał muzyczny, otrząsnąwszy się po tej tragedii, postanowiła kontynuować działalność muzyczną. Przyjęli nazwę Ruts D.C., gdzie dodany skrót oznacza z włoskiego „da capo” - tj. powrót do początku. John ‘Segs’ Jennings (śpiew, bass, instrumenty klawiszowe), Paul Fox (gitara, śpiew), Gary Barnacle (saksofon, instrumenty klawiszowe) i Dave Ruffy (perkusja) nagrali jedną z najciekawszych i najbardziej intrygujących płyt post punkowych. Nie tak dynamiczną i iście punk rockową jak debiutancki „The Crack” (1979), ale za to jakże klimatyczną. Zbudowana na świetnych, oryginalnych partiach gitary Foxa, saksofonie i klawiszowych dodatkach, a obok punkowo-nowofalowych utworów pojawia się też wyborne reggae. „Mirror Smashed”, „Dangerous Minds”, „Slow Down”, „Despondency”, „Different View”, „No Time To Kill”, „Fools”… W momencie wydania „Animal Now” nie zdobył uznania, wtapiając się w masę ówczesnych produkcji nowofalowych i doświadczając braku promocji ze strony wytwórni, która jak wiele innych przestała interesować się punk rockiem. Ruts D.C. natomiast nie zamierzali zatrzymywać się w rozwoju i poszli dalej, coraz bardziej eksperymentując, m.in. ze stylistyką dub (album „Rhythm Collision”, 1982). Na kompaktową reedycję „Animal Now” trzeba było więc czekać aż do 2010 roku, kiedy to za sprawą Westworld Recordings ukazał się CD z dwoma dodatkowymi bonusami z singli.

[ozkar-krapo]

The RUTS "The Crack" (LP. Virgin. 1979) [GB]

"The cover picture by artist John H. Howard shows the members of the group (from left to right: Malcolm Owen, Paul Fox, Dave Ruffy and Segs - who is perusing a copy of Exchange & Mart) seated on a large sofa, around them are some of their contemporaries such as Rat Scabies and Captain Sensible of The Damned (top right corner), Jimmy Pursey of Sham 69 (bottom right), while Peter Cook and Dudley Moore are standing behind Malcolm, John Peel appears to be doing something to a schoolgirl (in uniform) with a bar of chocolate on the left hand side, Jimi Hendrix looks on from the right, the wives and girlfriends of the band members appear in various poses, as does the band's roadie Mannah (seen from the back) who assisted in writing the song "S.U.S" which deals with the vagrancy act, widely used by London's Metropolitan Police Service in the late 1970s. The astronomer Patrick Moore looks on somewhat disapprovingly from the left. The album sleeve contains a dedication to Jimmy O'Neal, one of the organizers of the Deeply Vale Free Festival, where the band had their beginnings."

[lastchancevillagegreen]

In today’s post (Monday 18 November 2019):

21 Various Artists (Beggars Banquet)

 In 1998 the record label Beggars Banquet celebrated their 21st anniversary.  As a promotional tool, they had a variety of the bands signed to their label (and various offshoot labels) record the Rolling Stones’ 1968 album Beggars Banquet in its entirety.  The label was evidently excited by this recording because they spared little expense in making it look quite effectively like the Stones’ original album.  This promo was released only on CD but the package it is housed in is an elaborate gatefold album jacket.  The CD is housed on an insert which most certainly doesn’t contain the compact disc very well (and fortunately for me, the dealer I bought this from was kind enough to include the CD in a separate sleeve to protect it).  On that insert you will find the credits for the various bands performing on the album.

While I am aware of many of the artists and bands performing on this album, I am primarily interested in the opening band called The Global Twins.  Lead vocals for Sympathy For The Devil come courtesy of Robert Forster of The Go-Betweens.  Backing vocals and second guitar are played by Grant McLennan also of The Go-Betweens. At the time this recording was made The Go-Betweens wasn’t even a band any longer and both leading members were busy conducting solo careers.  Also part of The Global Twins are Edwyn Collins who began his career in the quite legendary Glasgow band Orange Juice (and eventually his own solo career), Conway Savage, who played for an extended period with Nick Cave and The Bad Seeds, Dave Ruffy who began as the drummer for The Ruts and has served on such bands as The Waterboys, World Party, Aztec Camera, Sinead O’Connor and Kirsty MacColl. Lastly there is Sebastian Lewsley who, operating under the pseudonym The Victorian Spaceman, has produced a variety of remixes for Edwyn Collins.

The only other “new” band is The Basement Flicks which is comprised of various members in two other bands: Penthouse and Dream City Film Club, the former of whom has been known to call themselves Fifty Tons of Black Terror.

The funniest thing about this release is that while it is 21 years old (?!) this year, I only discovered its existence a couple of weeks ago.  I’m on a serious Go-Betweens kick and this is just another piece of their all-too-short existence.  And their newest box set is due in just three short weeks!

[steveambush]

Dave Ruffy, Roddy Frame, Edwyn Collins, Robert Forster.