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L.A.M.F.: The Lost '77 Mixes

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The Heartbreakers' L.A.M.F. could be the best record of the original 1970's NYC punk era. Its only possible rival from bands that sprung from that CBGB's scene is the Ramones first album. So why have so few people ever heard Johnny Thunders & the Heartbreakers...much less heard of them? That's a long story you can read about in Legs McNeil's book "Please Kill Me." For now, do yourself a favor and make up for lost time. Listen to Johnny Thunders and crew on this, the most recent release of 1977's L.A.M.F.

If you are already a fan of the earlier releases, you will want this one for the fresh new mixes and for Jerry Nolan singing "Can't Keep My Eyes on You." Plus, there's a bonus CD with lots of great tracks; a fabulous video of "Chinese Rocks;" liner notes by Nina Antonia, Johnny's official biographer; and commentary by Walter Lure, Johnny's fellow Heartbreaker.

If you are new to Johnny Thunders, this is good place to start. Be careful though: it might be a long time before you have the desire to listen to anything else.

Up from the red-leather remains of the New York Dolls rose the Heartbreakers, founded by ex-Dolls guitarist Johnny Thunders (né Genzale) and handsome-devil drummer Jerry Nolan in 1975. Leaving their former band members in Florida with some guy named McLaren so they could score smack back in the Big Apple, Johnny and Jerry tapped proto-punk poster-boy Richard Hell for their new ensemble. CBGBs and Max's Kansas City were their battlefields and they were an integral part of this febrile, fertile spawning ground. You know the litany of names: the Ramones, Television, Blondie, Talking Heads, etc. etc. Though Hell froze up and departed, the Heartbreakers, eventually released only one album, the sonically-challenged "L.A.M.F." in 1977. This recent mix, from re-discovered tapes, sounds wonderful, less muddy, and all sleaze.

What makes the Heartbreakers great is simplicity. They reduced twenty years of rock and pop and rhythm and blues into 3 minute rave-ups that always leave the listener wanting more. Johnny's guitar-slinging rings true, always teetering on the edge of collapse: it's chaotic and exhilarating. Blistering leads, solos that sound like a strangling cat, chugging rhythms like the subway trains roaring beneath the city streets.

Songs like "Get Off the Phone," "Going Steady," "Baby Talk," and "Let Go" are trashy rock'n'roll rave-ups, with all the requisite elements: catchy choruses, sleazy good-time lyrics (the ones that make sense, anyway; Johnny weren't no English perfessor), driving drums, and immediate gratification. A song like "One Track Mind" is a beautiful thing, all irresistible chorus and air-guitar glory. "It's Not Enough": is a reflective ballad-sorta thing, with Johnny lamenting how "You can give me this/You can give me that" but it's not enough. Man it's good! "Pirate Love" exists only for the dual-guitar solo that rivals anything the Dolls ever laid down.

Then there are the classics, the signature tunes that no Johnny Thunders performance was complete without: "Born to Lose," (or, alternately "Born Too Loose") which opens the album: with some out-of-tune guitar whines, and the lyrics reveals again just what a poet of the streets Johnny was: "Nothin' to do/Oh nothin' to say/Only one thing that I want/It's the only way/I said hit it!/Baby I was born to lose."

"Chinese Rocks" is perhaps Thunders' most famous song even though it was written by fellow junkster Dee Dee Ramone. Anyone unsure as to what the song refers can be sure, it ain't nothing like Pop Rocks.

"The plaster's fallin off the walls
My girlfriend's cryin in the shower stall
It's hot as a bitch
I shoulda been rich
But I'm just diggin a Chinese ditch
I'm livin on Chinese rocks
All my best things are in hock
I'm livin on Chinese rocks
Everything is in the pawn shop"

These songs depict the downside of downtown and how the jungle could eat you alive. Johnny's status as a stylish, decadent loser who strutted those mean streets is legendary. As Wayne Kramer (MC5) said of Johnny: "He could snatch defeat from the jaws of victory."

The Heartbreakers weren't really a punk band, even though they rounded out the legendary Anarchy tour of the UK in late '76 with a couple bands you mighta heard of, the Sex Pistols and the Clash. Rumor has it--actually, it's more than rumor, it's fact--that the Heartbreakers introduced heroin to the much younger and more naive UK punks, and Nancy Spungen went looking for Jerry Nolan and followed them there. You know what happened after that.

The band was never able to secure a record deal with an American label due to their, uh, extracurricular activities, so eventually they broke up. Johnny would put out a decidedly mixed solo album a year later ("So Alone") and continue to travel the world as a performer. Shows were plagued by his drug use, his attitude, his poor guitar-playing. I never got to see him perform, and odds are that if I had, I'd've seen a shambles of a set. Although a friend saw him in the mid-80s and remembers the acoustic set Johnny did as particularly entertaining. In April of 1991 Johnny Thunders was hauled out of a grimy New Orleans hotel, his lifeless body doubled over from the effects of countless drugs. It's not enough, is it, Johnny? No, I guess it never is.

Well, all that don't matter. What does matter is that if you care about real rock'n'roll you need this album. It rocks like nothing else I know, but fits kinda between the Stones and the Replacements (whose "Johnny's Gonna Die" is an ode to Thunders), G'n'R, Hanoi Rocks, very early Crue and other hard rock of the '80s. Practically every hard-rock/glam/metal guitarist that tosses a mane of out-of-control hair with a sneer and screech copped it from Johnny (who of course copped it from Keith Richards, let's be honest here). Johnny deserves to be remembered for his single-minded rock tunes, his dedication to the rock'n'roll lifestyle, and also for one of the coolest rock "nom de guerres" ever--I mean, "Johnny Thunders" how cool is that?! Thanks Johnny Rock on RIP!

This album was the eye opener for me in '77. These guys rocked it, and lived it, like nobody else's business. Walter's guitar style complimented Johnny's like they were twin brothers. And, it's fun to figure out who played what on which track, although Johnny (the musical genius) is almost always evident. What the world really needs is more bass and drums like Jerry and Billy played it. Simple, powerful, succinct. I was lucky enough to see The Heartbreakers live. They changed my life for the better.

Catchy, powerful, brutal, funny, lo-fi, punk, not punk. Who cares? This album rocks. The vocals sound desperate. The guitars are dirty. And there's a murderous cover of "Do You Love Me?".

This 2-cd reissue simply shreds from the first note. It is one of those records that just reaches out of the speakers and grabs you. This takes what Johnny Thunder's and Jerry Nolan started doing with the Dolls and trades in the red leather, high heels, and lip stick for black leather, black boots and blue lips, no lip stick needed. This is the seamy, sleazy side of rock and roll, not for the faint of heart. No feel-good endings here, just elemental cravings, sex and drugs and rock and roll, the good and the bad. Johnny Thunders could be a superb guitarist in the Chuck Berry, Yard Birds, Keith Richards mode, going right for the throat. Jerry Nolan is great on the drums, and Walter Lure provides excellent second guitar, there are some awesome little jams going on. Billy Rath is excellent as well. Not a bad song on here, the original disk and the outakes second disk. This is a bonafide 5-Star, Must Have This In Your Collection kind of disk. It truly is a classic that did not get it's due at the time of it's release. Hugely influential on both sides of the Atlantic, the New York early punk scene, and the early English Punk all owe this effort a huge debt of thanks. It is a great record, timeless, with all the best elements of the 50's rock, the Stones, the Yardbirds, and punk all in one glorious mash-up that anyone who likes their rock to rock will appreciate and tresure.

The Heartbreakers were the Ramones with all the cuteness taken out. Their approach to rock 'n' roll was brutal and elemental, a vicious swagger that had more to do with Chuck Berry, Keith Richards, and 60s garage rock than the Sex Pistols. In a way, L.A.M.F. sounds like a punk rock reworking of Exile On Main Street. It maintains that classic's shambling, atmospheric haze, but filters it through distorted power chords, drunken vocals, and drug-fueled desperation. L.A.M.F. is a wild 'n' wooly good time, but it's dark under the surface: It's the sound of a band being swallowed by apathy and addiction, but who're determined to have a good time while waiting for their lives to fall apart. The result? A lot of storming guitar runs, bloody-minded humor, boozed up 50s melodies, and amphetamine garage punk. There are plenty of classics: "Chinese Rocks" is a miserable good time, and "Baby Talk" is the most appealing slab of chaos rock since the Velvet Underground unleashed "Sister Ray." "I Love You" is violent girl-group pop, and "It's Not Enough" is sleazy and catchy and wonderful. It's a damn punk classic, and no decent rock 'n' roll collection is complete without it.

This is a review of the two cd edition which this site doesn't seem to acknowledge, although I do think that the cd that this review is linked to is the same one I bought from this site. What made buying this cd 'do-able' was the fact that you hear the first version of "Chinese rocks" on this album. When I heard this song for the first time on the 2 cd Ramones' anthology, I immediately loved it. The Heartbreakers are a band which, like Australian band Radio Birdman, often get labelled "proto-punk". In the case of both of these bands, I'm happy to call both of them "punk" although they do make music which transcends that boundary. They're punk enough, in any case. The sound quality on this cd is excellent. Musically, the songs range from punk, to rock'n'roll to boogie rock type of songs. Occasionally lead singer Johnny Thunders wears his Mick Jagger/Rolling Stones influences on his sleeve...or vocals, to be more precise.


The best song:


Chinese rocks - has some heavy metal type lead guitar flourishes in this song. There's not much difference between this version and the Ramones' later version. Former Heartbreaker Richard Hell did an inferior version of this song during his time in this band...well, it wasn't really a punk song the way he sang it. Check out the Hell anthology "Spurts" for his version. Anyway, this is a catchy song with a great riff. On the last six seconds of this track you hear a click...would have been good to have had that removed for this version. I listen to cds on headphones, so it might be less noticeable on loudspeakers. The lyrics to this song are grungy and anti-glam.


On second listen, the next best songs were:


All by myself - not a bad song...catchy, with a swing to it. Sometimes bassy, it has a catchy chorus too.

Get off the phone - one of the punk type songs on this album. Has a punk style bass run and the guitars have a punk tone to them as well. Has a jitterbug type vibe to it and the lyrics, sung at speed, gives it a punk vibe too.

It's not enough - catchy track, with Jagger-ish singing. The guitars have a country flavour to them. Bass noticeable and the track is also noteable for the good guitar solo in it.



Best after that:



One track mind - guitars sound punk/fuzz-rock. The guitar solo is pure punk. The verses are catchy in this song and I really like the cool drum fills at the start and later on.

I love you - has more Mick Jagger type singing. Drums have a nice tone to them and the track is sort of boogie rock.



The rest of CD 1:


Born to lose - qualifies as a punk song, I think, with the guitar sound and vocals. Rooted in 1950's style rock'n'roll, it has punk attitude in its lyrics too: "Nothing to do, nothing to say". Guitar solo featured.

Baby talk -like much punk, it draws on 1950s rock'n'roll forms. Has a very interesting drumming pattern. The guitar solo is also 50's style and the riff is catchy too. Features backing vocals.

I wanna be loved - maybe you could call this a "rock-a-billy" type song. The guitar riff seems to be a variation on the preceding track, I think.

Pirate love - a hard rock song rooted in the 1950's style. One of those "boogie rock" type songs I alluded to earlier. Think Status Quo and AC/DC type boogie rock. Good bass guitar in this song...run and riff, perhaps.

Goin' steady - has a bassy rhythm which is very familiar, I think. Not sure, maybe Ramones did this song too? Or maybe I'm thinking of a surf-rock type of song which this song reminds me of. Not sure.

Let go - a 50's style rock'n'roll song. On the second cd, this song sounds more rockabilly. And the track length is also a bit dodgy...the digital counter lists it at 3:17 but it seems to run at 2:24...not fresh in my memory, so I'll just have to note the disparity here.

Can't keep my eyes on you - more boogie rock. Also sounds like a Status Quo type song.

Do you love me? - a punk cover version with Jagger type vocals.



The 2nd CD:



Of particular interest on this cd is...


London Boys - The Sex Pistols wrote a song called "New York" which was a king-hit on the band "The New York Dolls", which had Johnny Thunders as a member. Thunders takes the opportunity to reply to this attack on this song, with The Heartbreakers. He has a terrific handle on the English "Yob" type of character...the song sounds like a chant you'd hear at a Manchester United v Liverpool F.A.Cup final encounter. Thunders can also be said to be impersonating The Sex Pistols' lead singer Johnny Rotten in this song. Personally, I would have liked this song to be a bonus track on the 1st cd. Last week I reviewed The Sex Pistols debut album which has their attack on The New York Dolls ("New York") on it. That's a good song in itself. Thunders' track is also stinging in intent and execution.

The rest...lots of alternative versions and instrumental versions (and out-takes) of the songs from the first cd. I liked "All by myself" the best the best from it, then "It's not enough", which has a country flavour to it, Jagger-ish vocals and a nice ringing tone to the duelling guitars. "One track mind" isn't a bad song either...good drum intro, good guitar solo and a good singing rhythm too. In general, the second cd had a "Once bitten twice shy" vibe to the material (hopefully I'm reading my notes right here! Been a little while since I listened to this). There is one 'new' song on the second cd: "Too much junkie business" which is cautionary tale on the dangers of drugs. Has good guitar solos in it.


Recommedations:



New York Dolls - New York Dolls. Thunders' first band, I think. Reviewed it here recently. It's rock'n'roll and boogie type rock. A very good album from "Frankenstein" onwards.

Radio Birdman - Radios Appear. Contemporaries of The Heartbreakers and Australian punk pioneers The Saints. Very good debut album which has some jazzy type tracks on it, which fans of The Stooges "Fun House" may enjoy.

The Saints - (I'm) Stranded. The next punk album off the rank after the Ramones' debut. The most seminal of the early punk albums, I think.

The Damned - Damned, damned, damned. The first of the British punk bands to release an album. Good, pub rock based punk...quite laddish too.

'LAMF' is one of those 'seminal' albums, reverentially whispered about and discussed in hushed, worshipful tones. Laid down as influence to everybody from the Pistols to Snow Patrol and hundreds beyond, but it's a sad, rather disconcerting stat, that here on our very lovely new Amazon pages, it's garnered a paltry 14 reviews,(15 if you count this one, providing I tow the line and don't get all rebellious and start gobbing and swearing) while poser-appeasing nonsense like the hugely disappointing 'London Calling' accumulates a massive 450 or so. There's just no justice in the world.

'LAMF' is a rollicking power-house of an album, a force of nature. Johnny Thunders has an inimitable guitar style (though, significantly, Steve Jones' wall of noise for the Pistols bears noticable resemblance) and here beats the idea to submission.
Ear-tremblingly loud riffing, hotter than molten bitumen. You can gleefully detect slivers of Richards and from further back, little shards of Wray and Berry deep in it's worrying decibels. It's a wrist-slashingly potent statement, as positive and inspiring as all its gleaming ancestors.

'LAMF' transcends stoopid labels like 'punk' and 'new wave'. It's one in the eye for those obsequious, unimaginative squirts obsessed with categorizing and pigeon-holing everything that's not already dispassionately tagged up.
It sounds eerily fresh and new, it still has enough power to re-start a small planet but it appears classier than it's modern offspring. Still manages to be casually, disdainfully more impressive than it's prodigious but regrettably common-or-garden descendants.

Respect to original producer Speedy Keen and re-mixers Jungle Records for making the whole caboodle sound more electrifying than it's ever done. Good lyric booklet too, with useful comments by singer/guitarist Walter Lure.

There's a thought; Lure, Rath, Hell, Thunders - what kind of degenerate would have role-models like these...?
I'd be worried how they turned out....

This thing has been mixed, remixed, reissued so many times over the years I can't keep track of which version is which anymore. The songs are great and almost all of them are about getting high! Make sure you also have the live D.T.K. for all the great between song banter.

Check out Mighty High...In Drug City.

Classic - Johnny Thunders rocks. He was not the best guitarist by any means but you know Johnny Thunders sound as soon as you hear it. The recording quality is not the greatest but it is still worth it to hear this clasic group. They put out a sound that ushered in the punk era. I I always liked Jerry Nolan on drums with the Dolls but I really appreciated his drumming accents on this CD. The sound is like 50's rock with an attitude x 50. This album rocks - Long live Johnny and Jerry.