here is the NFO file from Indietorrents
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Bassholes – Broke Chamber Music (Early Singles + Unreleased)
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Artist……………: Bassholes
Album…………….: Broke Chamber Music (Early Singles + Unreleased)
Genre…………….: Rock & Roll
Source……………: CD
Year……………..: 2004
Ripper……………: &
Codec…………….: FhG
Version…………..: MPEG 1 Layer III
Quality…………..: Insane, (avg. bitrate: 320kbps)
Channels………….: Joint Stereo / 44100 hz
Tags……………..: ID3 v1.1, ID3 v2.3
Information……….:
Posted by…………: masoncity on 11/7/2012
News Server……….:
News Group(s)……..: indietorrents.com
Included………….: NFO
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Tracklisting
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1. Bassholes – 98 In The Shade [02:42]
2. Bassholes – Cigarette Blues [02:36]
3. Bassholes – Wooden Tit [02:01]
4. Bassholes – Little Rug Bug [03:04]
5. Bassholes – Jelly Belly [02:33]
6. Bassholes – John Henry [05:02]
7. Bassholes – Melody For An Unchained Girl [02:21]
8. Bassholes – 20-20 Vision [03:13]
9. Bassholes – Hokey Pokey [03:12]
10. Bassholes – Haunted Hill [02:09]
11. Bassholes – Red Leaves [03:45]
12. Bassholes – Cockroach Blues [03:06]
13. Bassholes – Then Again, No [01:59]
14. Bassholes – Pneumonia [03:37]
15. Bassholes – Frankie And Albert [01:47]
16. Bassholes – Lion’s Share [01:58]
17. Bassholes – Hey O.J. [02:50]
18. Bassholes – Jesus Book [03:24]
19. Bassholes – Baby Go [02:24]
20. Bassholes – (She Said I Had A) Problem [01:57]
21. Bassholes – Hell Blues [03:21]
22. Bassholes – Changes Had To Come [05:00]
23. Bassholes – Call Me Green (I’m A Schizophrene) [01:44]
Playing Time………: 01:05:57
Total Size………..: 155.83 MB
NFO generated on…..: 11/7/2012 4:55:56 PM
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Write anything you want… ;)
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:: Generated by Music NFO Builder v1.21a – www.nfobuilder.com ::
Compilation info
As the title suggests, this is a collection of early singles and unreleased tracks. Features my all-time favorite Bassholes track, “Changes Had To Come”, from their 1994 Bag Of Hammers 7”. More info:
The Bassholes began as a two-piece in 1992 in Columbus, Ohio. The 2-piece format was not so much an aesthetic decision as a practical one. (It was certainly not a trendy decision; there were no other two-piece bands going then until the Flat Duo Jets canned their bass player.) Gibson Brothers singer/guitarist Don Howland, a father and an inner-city middle school teacher, realized he had a lot of songs he still wanted to try but was too stress-fried to deal with organizing a 3- or 4-piece band. A country blues fanatic, Howland was fond of those impromptu Lightning Hopkins recordings from the ‘50s when Spider Kilpatrick or Connie Kroll happened by to play drums, and the Bassholes, but for a three month or so period when they tried adding a bass player, has remained a guitar-drums duo from the get-go. A series of 45s on various labels (compiled along with unreleased stuff from the period on an upcoming release on N.Y.C.’s Secret Keeper) and an LP on In the Red (Blue Roots, the label’s first full-length, later reissued on John Fahey’s Revenant label) were recorded in the converted stable house behind an operating funeral home with ex-Gibson Brothers’ drummer Rich Lillash manning the tubs. They moved inside the home, down the hall and past the draining room, to work on material for second and third LP’s, and the band (with Thomas subbing for Lillash at a Cleveland gig and sticking on ever since) has cantered along and accepting, finally, its cult status.
Hooking up with Grafton’s Lou Poster, who drove the band on a Midwest jaunt in his fur-lined ex-CIA conversion van, the Bassholes recognized a kindred spirit. The two bands did some gigs together, Grafton’s meat-and-spuds-and-suds Midwest power rock and the Bassholes’ how-do-two-guys-make-all-that-noise? din complementing one another nicely. When Poster said he was starting Dead Canary (the name harkens to Poster’s roots in the coal country of West Virginia), the Bassholes, who only work with friends, said they’d be happy to do an e.p. for the fledging label. The idea for doing an full length album on Dead Canary naturally followed.
Howland, who continues to teach middle school history and English because it is meaningful work, has a tough time describing the band’s sound to people who ask, but it is a sound reflects the sensibilities of a man who is first and foremost a music lover, and has been since his dad would bring home Top 40 hits – Animals and Sam the Sham and Gentrys and Castaways – on 45 every payday back in the mid-‘60s. A list of the covers the band has undertaken over the years might say as much about where the Bassholes are coming from as any critic blurb; it includes both widely influential and remotely obscure tracks alike but they all share a certain surreal if wanton bleakness and they are all songs Howland loves passionately: “Broke Down Engine” by Blind Willie McTell (a live staple presented here in high fidelity), the Avantes’ “Baby Go,” Joy Division’s “Interzone,” the Fugs’ “Coming Down,” the Ramones’ “Havana Affair,” ESG’s “Moody,” the Stooges’ “Raw Power,” the Frogs’ “Jesus Book,” Bob Dylan and the Band’s “Yea! Heavy and a Bottle of Bread,” the Who’s “Tattoo” and “Heaven and Hell” (the latter included in this set), Alan Vega’s “Love Cry,” Skip James’ “Evil Devil Blues,” the Germs’ “Lion’s Share,” and pub-rocker Lew Lewis’ classic Stiff B-side “Caravan Man” (also in this set, with guitar augmentation by thee Derek DiCenzo and harp by local (Columbus) harp legend Pete Remenyi.) Maybe that’ll help.
Or maybe not. If you want the answer Howland usually resorts to, it’s “sort of like punk rock.”