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Who Put the Bomp was a rock music fanzine edited and published by Greg Shaw from 1970 to 1979. [1] [2] Its name came from the 1961 hit doo-wop song by Barry Mann, "Who Put the Bomp". Later, the name was shortened to Bomp! Bomp!, and extended by Shaw to the record label Bomp! Records, which he headed until his death in 2004. [3] [4]
Records albums, as well as subcategories containing those things (themselves set categories). Topics about Bomp! Topics about Bomp! Records albums in general should be placed in relevant topic categories .
Pages in category "Bomp! Records artists" The following 9 pages are in this category, out of 9 total. This list may not reflect recent changes. 0–9. 20/20 (band) B.
After three self-financed singles, the band was signed by Bomp! Records, who issued the debut album L.A. Explosion! in 1979 (described by Trouser Press as "a near-perfect debut"). [1] It was also issued in Germany (Line Records), Japan Trio/Trash Records), and the UK by London Records. [2]
AIP Records also issued numerous CDs in the English Freakbeat series and Pebbles series, with the first 6 Pebbles volumes being basically the same as the LPs, with bonus tracks. The 6th Pebbles album was reissued more appropriately as the 6th CD in the English Freakbeat series , since this LP also featured British music.
Disconnected is the debut solo album by Stiv Bators, released in December 1980 on Bomp!.The album is a radical departure from the punk rock sound of his previous band the Dead Boys, [6] and sees Bators venturing into 1960s-inspired power pop.
He Put the Bomp! In the Bomp is a Greg Shaw tribute album released in November 2007 by Bomp Records in the USA and Vivid Sound Corporation in Japan. The album features 23 classic songs covered by different bands having in common the raw approach to rock and roll music Shaw most liked.
Kill City has been generally well received by critics.Nick Kent of New Musical Express called it "a great album". [15]Mark Deming of AllMusic called the album "a minor triumph", writing: "The music is more open and bluesy than on Raw Power, and while Williamson's guitar remains thick and powerful, here he's willing to make room for pianos, acoustic guitars and saxophones, and the dynamics of ...