1313 Mockingbird Lane: The Ghosts of Garage Punk Past Are Back



26th Anniversary DELUXE edition of this gloriously raucous, seriously demented, organ-fueled garage punk gem!

“…gut wrenching fuzz punk in the tradition of The Avengers, Unrelated Segments and the Seeds. Tough punk with powerful keyboards, fuzz guitar, pounding bass and drums and vocals with enough snarl and snot that you have to clear your throat after each tune. In other words, prime slime…” — What Wave

Sure, I know this genre of music has been done before, but how many times (aside from The Cramps and Lyres) have you heard it done this well?” — Buzz Magazine

Stream 1313 Mockingbird Lane’s “Oooga Booga Baby”
Watch/embed video for “Oooga Booga Baby”
Link to order Have Hearse Will Travel
Download high resolution album cover image

The story of 1313 Mockingbird Lane isn’t much different from other circa-1990 garage punk contemporaries such as the Mummies or Gories… After discovering Back from the Grave-style compilations of ’60s garage rock, three friends decided to form a band, two of them having never even played instruments before. After finding a drummer — one with more experience than any of them, having toured with Link Wray and appeared on Link’s Live in ’85 LP — they crank out two seven-inchers and this here long-player within roughly a year’s time, all inspired by an amalgam of the ’60s garage sounds they’d discovered anew; surf music; and the ’77-era punk bands they’d grown up loving.

1313MBL_BandPhoto_600dpiHailing from New York’s capital city, Albany, they’d go on to share the stage with East Coast luminaries of the genre like the Cynics, Chesterfield Kings and Lyres, and win accolades from all. But, prior to any of that, Have Hearse Will Travel finds the band at their rawest and most powerfully innocent. Original copies of this LP now sell for mucho dinero, if you can find one. So why isn’t Have Hearse Will Travel spoken about as are other pebbles of hardened garage punk lore?

Well, this 26th Anniversary deluxe edition seeks to fix that conundrum and restore this thrill-filled piece of history to its rightful place in the garage punk pantheon. This is the first time the LP has been repressed since an initial small run in 1990, and marks the album’s premiere appearance on compact disc and cassette. On beautiful colored vinyl, the LP is packaged in a posh gatefold jacket. It features a restored cover that matches the band’s original vision and greatly improves upon the murky original, with newly added liner notes, personal memories from each band member, never-before-seen photos, memorabilia and more — including six bonus tracks on the CD and digital download editions, three of which have never been heard before.

Filled with crude caterwauling, slithering Farfisa, blasts of fuzz, and a bit of rock’n’roll alchemy, 1313 Mockingbird Lane’s Have Hearse Will Travel is a primal, lo-fi, bloodcurdling blast of darkly whimsical rock’n’roll trash, à la bands like the Cramps, Scientists and Deadbolt, with some ? & the Mysterians organ thrown in for extra kicks. It’s a must-have for any garage punk fan unafraid to explore the deep dark caves of rock’n’roll and the (as of yet) unheralded but deserving ghosts of garage punk past.

Track listing for Have Hearse Will Travel:

1. Dig Her Up
2. Big Black Car
3. Bat’s Milk Yogurt
4. Headless Angel
5. Teenage Devil Doll
6. Blood on the Moon
7. My Hearse… (Is Double Parked)
8. Oooga Booga Baby
9. Jack the Ripper
10. Wolfman
11. Tilt-a-Whirl
12. Hey You (and the Wind and the Rain)
13. Space Ghost
14. Things Are Different Now
15. Egyptian Caravan
16. Queek Bitch
17. Monkey Cage Girl

Available in deluxe-packaged LP (with download), limited edition cassette (with download), digital download and CD. Both the CD and downloads included rare and unreleased bonus tracks. Remastered for superior sound!


For a digital promo of Have Hearse Will Travel, or other press request, contact Kirsten Ferguson at JetPack Promotions, (518) 788-7995, kirsten@jetpackpromotions.com.

Scout/Pines Announces “Give ‘Em Hell” Exhibit of New Paintings

Scout/Pines Give Em Hell

For artist Scout/Pines, the street is a canvas. The Chatham, New York-based artist surreptitiously places his stencil-art paintings on abandoned buildings in distressed communities. There, they usually disappear fast—unscrewed by collectors or lucky passers-by.

His pieces—painted with spray paint or house paint on reclaimed plywood or old metal—depict real-life people on the periphery: the have-nots, the overlooked, the marginalized. He tries to place them in historical context, in neighborhoods similarly forgotten and neglected but where the art will have meaning to people living there.

A painting done in tribute to the victims of the Charleston church shooting, for instance, went up in Harlem. “It was two or three in the morning,” Scout/Pines recalls. “I waited until it was quiet to put it up. I heard this woman yelling ‘Excuse me.’ She followed me down the block and was very persistent. She said, ‘Did you put this up here?’ When I said I did, she said, ‘I love it. It’s beautiful. Keep doing this.’

“That’s why I do what I do—that’s what I hope happens,” Scout/Pines says. “The images are usually very positive and colorful. I try to make them uplifting images—it’s an offering to those areas.”

Scout/Pines, née Brian Buono, first got into street art while working in the screen-printing department at the Capital Region independent record label, Equal Vision. There he met co-worker Chris Stain, now a muralist in New York City. “We had the same interest in skateboarding, punk art and graffiti. He was an old school graffiti writer who had gotten into stencil art. He taught me how to cut stencils,” Scout/Pines says.

The same DIY ethos and punk rock subculture that drew Scout/Pines to street art also inspired him to play drums at age 15 in his buddies’ punk band, even though he had no experience. Known as Glee Club, they toured all over the Northeast in the late ‘80s-early ‘90s. Buono later played drums for 10 years in the Albany indie band, Beef.

“If you hit the drums hard enough, people won’t notice that you can’t play them,” Scout/Pines says. “That’s part of what punk rock taught me. Art’s a little scarier because it’s just you and your paintings. You are laying yourself bare.”

Scout/Pines brings his work out of the shadows and into a gallery for a show of new paintings that debuts at TSL Time & Space Limited in Hudson on May 14 and runs until June 30. The show opening is Sat., May 14, 5-7 p.m.

Blockhouses Heading Back To The Studio. New Record Out In Spring 2016.


Left to right: Christopher Peifer, Guy Lyons and Jim Balga. Photo by Linda Rizzo.

Attention fans of blistering NYC rock and roll.

Blockhouses has some really exciting news to share with all of you.  The band will be setting up camp at Kawari Sound in Philly in early February to record a brand new album.  Pete Donnelly of The Figgs (NRBQ, Shelby Lynne, Soul Asylum) will be pushing knobs and buttons as producer.

The tentative release date for the new Blockhouses album will be Spring of 2016. No title as of yet.

Can’t wait to get your Blockhouses fix? Then check out the bands YouTube page with live performances from the bands last tour.

Pete Donnelly Releases New Album, “Sobrecarga”

Pete Donnelly Sobrecarga

Under the pseudonym Pêro Lua, singer-songwriter Pete Donnelly has released a new album, Sobrecarga. (The title means “overload” in Portuguese.)

For his fourth LP, released on the Colonial Way label, Donnelly wrote, played and recorded the album in its entirety.

The eight songs of Sobrecarga were written and mostly recorded within two weeks of June 2015 at Donnelly’s Westmont Station Studio in Westmont, New Jersey, outside of Philadelphia. Donnelly built the musical landscapes piece by piece using the palette of softer, jazz-influenced cymbals, piano and other acoustic instruments.

Lushly layered yet raw in execution, the album is personal story-telling at its finest. An exposition on relationships, affairs and overexposure, Sobrecarga offers poignant themes with immediate pop constructions.

Sobrecarga is available at petedonnellymusic.com/shop.

Track Listing

Wired Magnetic
Dragons and Perfume
Stark Mercy

Face Without A Mouth
Little Bear
Steady Ruth

Capowski Releases “Wild Animals” Today


“Wild Animals” is the new album from Capowski, produced by John Ashton (Psychedelic Furs).

An incredible cast of players feature on the recording of “Wild Animals.” In addition to Capowski and John Ashton on guitar, the Band guitarist Jimmy Eppard plays on the album, as does bassist Sara Lee (Gang of Four, B52s), drummer Joe Magistro (Black Crowes), keyboardist Pete Levin (Miles Davis, Gil Evans) and vocalist Simi Stone.

“I had this wealth of rock and roll experience to help in the recording of the album,” Capowski says. Working with Ashton also expanded Capowski’s sonic palette and opened him up to new ways of writing and recording music. “There’s a dissonance, a tension in the music that John encouraged and helped to create,” Capowski says. “There’s an indefinable element between the notes, a certain atmosphere on the record.”

“Wild Animals” is out June 2, 2015. Available on CD and download at CD Baby and also from major download sites like iTunes.


1. At First Sight
2. Stealing Time
3. Do You Want to Get Lost?
4. Wild Animals
5. Don’t Think of Nothing
6. Everlasting
7. Tattoo on My Wrist
8. Not Like Before
9. Everything I Need
10. Where You Been So Long?

Capowski Releases Video for “Wild Animals”

“Wild Animals” is the new single and video from Capowski, a rocker with roots in the antifolk scene that percolated in New York City in the late 1980s.

Back then, an emerging antifolk artist known as Beck stored his records in Capowski’s apartment. Singer Michelle Shocked slept on the roof of Capowski’s apartment building on MacDougal Street. And Capowski tried out his own burgeoning song-writing skills on the stages of the East Village clubs that made up the antifolk scene — although his music at the time was “completely unfiltered and too intense,” he admits today.

Drugs and alcohol eventually took their toll, and Capowski dropped out of the music scene — for over 20 years. But he returns on June 2 with a stellar new album, “Wild Animals.”

Recorded in an artist’s loft in Barrytown, New York, by producer and Psychedelic Furs guitarist John Ashton, the loosely conceptual album tracks the trajectory of an emotional love affair — whether true bliss is ever realized or remains perpetually out of reach is the guiding tension behind the album.

Touches of dreamy jangle-rock and dark melody stand alongside effervescent, twangified pop — on an album inspired musically in equal parts by the Psychedelic Furs’ desire-filled, brooding post-punk and the bittersweet, supremely well-crafted pop of Fleetwood Mac‘s “Rumours.”

An incredible cast of players feature on the recording of “Wild Animals.” In addition to Capowski and John Ashton on guitar, the Band guitarist Jimmy Eppard plays on the album, as does bassist Sara Lee (Gang of Four, B52s), drummer Joe Magistro (Black Crowes), keyboardist Pete Levin (Miles Davis, Gil Evans) and vocalist Simi Stone.

The video for “Wild Animals” by Pigsaw Productions was shot in Capowski’s Arbor Hill neighborhood in Albany, New York, as well as in the studio while recording a live session for WEXT 97.7 with bassist Jeff Sohn and drummer Jamie Hurst.