999 - The Punk Singles 1977-1980

Fine compilation from a band which have been active since 1976 and never get tired. Much infos can be found in the net, here are some key data: In London, on Sunday 5th December 1976, Nick Cash (guitar&vocals), Guy Days (guitar&vocals), Jon Watson (bass) and Pablo LaBritain (drums&percussions) started to play together. The first gig was 22.1.1977 and their band was called The Dials at that time. Soon the changed their name to 48 Hours (Nick Cash was called Gene Carsons at that time), and after that the name was The Fanatics, and finally 999. A 21-track collection highlighting what surely ranks among the most refreshingly pure-sounding catalogs in British punk history, Punk Singles Collection: 1977-1980 rounds up the first four years of 999 history with a survey of every A- and B-side they released during that spell as spread across four different labels: their own Labritian, the majors UA and Polydor, and the post-Stiff maverick Radar. It's an eye-opening gathering. Although 999's reputation (at least at the time) was of a decidedly non-punky R&B band togging up in the latest fashion then cranking up their pub rock to mach ten standards, early 45s "I'm Alive," "Nasty Nasty," "Homicide," and most of all "Emergency" have taken on a classic aura that simply oozes period spit and vinegar. Equally rewarding, the B-sides are all cut from precisely the same cloth, meaning the first two-thirds of Punk Singles Collection: 1977-1980 races by in a blur of bondage pants, safety pins, and whatever other accoutrements you may require. Later 999 efforts lost something of that early adrenalin, but still it's hard not to execute at least a partial pogo as "Found Out Too Late" and "Trouble" get underway. Add Captain Oi!'s traditionally excellent packaging and a booklet stuffed with envy-making picture sleeves and even if you already own the band's regular albums, this set is well worth investigating. Essential!

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SUBURBAN STUDS - Slam 1978

Formed in 1976 and hailing from Birmingham, the Suburban Studs consisted of Eddy Zipps (vocals/guitar), Keith Owen (guitar), Paul Morton (bass), Steve Pool (drums) and with their already punky sounding name were one of the first bands to be signed to an independent, the equally punky sounding Pogo Records, and marketed through the major label WEA Records. In their time they released two 7Inches and even an album within a year, a feat not reached by many a Punk band of the time. Originally featuring the sax antics of Steve Heart the instrument was felt to be inappropriate to their sound and he left to start the Neon Hearts.

The Suburban Studs were active live throughout 1976 but were a different looking proposition then with a more glam look. Supports at the time included The Runaways. They played their first London gig at the 100 Club on the 31st August '76 supporting the Sex Pistols and The Clash. A quote from a Sounds review by John Ingham appears The Clash book "Last Gang In Town" where he describes their set as 'a laughable mixture of tacky jumpsuits, tacky make-up, tacky props and tacky music'. The Studs also headlined over the Clash on the 27th of October '76 at Barbarellas in Birmingham, this time complete with haircuts and a more Punk image, though still playing the same dated glam set as they did at the 100 Club. Gigs at the usual suspects like the Marquee, Vortex, Roxy Club and Barbarellas and tours even supporting the likes of AC/DC and The Runaways did nothing to break the band. Not even a John Peel session broadcast in December 1977 or appearing in a Punkrock special on ATV helped.

WEA supported with marketing and also helped land them on the double Live At The Hope And Anchor album with a live version of 'I Hate School' along with The Stranglers, 999, X-Ray Spex & The Saints among others. Their WEA Press release which accompanied their album Slam l is suitably hyperbolic and manages to sadly spell the bands name wrong in the first sentence! WEA Press Release Born in the slums of the Midlands and educated with street level certificates, the Surburban Studs are deeply involved with their music. "We're fed up with rock superstars", said lead vocalist Eddie Zipps. Their music has got fuck all to do with living on the street today. We live in a slum... You've got to play music, that's life, that creates a situation. Their debut album 'Slam' reflects the seamier side of life and focuses on Suburban Studs instinct. Unfortunately the music didn't live up to the hype. Mediocre album reviews in the music weeklies didn't help either. PR was reduced to occasional gossip including the singer being subject to random Punk violence which was prevalent at the time and the shenanigans of their fans when two girls at their Thames Poly gig flashed their breasts on stage, daubed graffiti & set off fire extinguishers. With no sales the band who were astute enough to jump on the Punk bandwagon couldn't progress further and just fell off the Punk map.

Having said that however, the single Questions/No Faith (1977 Pogo Records) is a peach as good as any. Classic driving overdriven punk at a frenetic and heart attack inducing pace. Steve Harrington (sax) who was later in the Neon Hearts played on the first version of Questions/No Faith (July 1977) which was withdrawn, both tracks were re-recorded when Harrington left to start the New Hearts and e-released in November 1977, this time with "No Faith" as the A-side. Slam their album feels like Punk by numbers. All the ingredients are there but there's something missing and that's a spark. For once I think the reviews of the time got it right. Like the art work on Slam below? They couldn't get straight jackets from anywhere and in the end had to have them tailor made. Their only other single was I Hate School/Young Power (1978 Pogo Records) pulled from their album and this time reusing the album over in monochrome. They are also on the Live at the Hope & Anchor Compilation (March 1978) again singing I Hate School in the company of The Stranglers, 999 and X Ray Spex. Ironic as one of them went on to become a teacher.

While bands like Eater and Menace never got a John Peel radio show, the Suburban Studs did which aired on 22.11.77 and which featured "Suburban Stud, I Hate School, Necro, No Faith" and that was it! (source: punk77)

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THE IGNERENTS - Radio Interference 7'' 1979

The Ignerents were formed in 1977 in Whitstable, Kent, by brothers Chris and Steve Harris, joined by neighbour Mark Leighton on guitar, vocalist Kevin Holmes (later replaced by Ben Challis) and drummer Stan 'Gretsch' Littlejohn. The band were an important part of the local punk scene in the late seventies in Kent alongside bands like Wild Billy Childish's Pop Rivets, Naughty Thoughts and the Rivals. Like others they identified with Punk if not actually playing Punk. Having demoed for Step Forward records with the excellent 'Uganda Calling' the band released their debut 7'' in 1979 (Radio Interference) on Ace Records and then re-released it on their own label. The band finally evolved into a new band, The Beekeepers, which featured Nick Appleton on guitar alongside Steve and with Chris, Ben and Stan, and then after Stan died, Russell Lax on drums. The Beekeepers released one 7'' called Platform 5 in 1981. On the live circuit the Ignerents were active from 1977-1981 with infrequent gigs that included the Marquee Club (with Chelsea) and the Vortex in London (with Wayne County & The Electric Chairs) and they supported bands like 999 and The Only Ones. So enjoy this little pearl of early UK punk stuff and give the band your full attention. (source: punk77)

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KNIFE EDGE - Favourite Girl 7'' 1980

Only 7Inch (2000 copies were pressed) by this band from Leeds on No Hessle Records. Knife Edge were Mark (vocals), Tim (guitar), Charly (bass), Martin (drums) and the strength of the four were their live performances, 999, Iggy Pop, Eric Wreckless, etc.... they have one more song on the Rock On compilation from EMI and in 1981 the band broke up. Two beautiful nuggets and the flip is for me the winner because more energy is in. More info on Bored Teenagers #2 with other heroes of the early 80's.

- Great Thx to Fredrik -

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V/A - Fin De Siecle 1999

Back in Europe and just before the turn of the millennium, the French label Crânes Blasés has released this nice Oi!/Punk compilation in an edition of 999 copies with fifteen interesting bands. Some already known to me, others not at all. Most have made at least one album and on the elaborate gatefold sleeve are all infos about the bands printed what I personally always like. Likewise, the mixture of fast and 3-4 minute pieces makes this record an entertaining listening pleasure. Solid Plate.. Now a glass Federweißer, that lifts my mood!

1.Long Chemin Mortel - CHARGE 69

2.That's Yer Lot! - LUTECE BORGIA

3.Peter Bowler - NEGATIVE IQ

4.Conscience - ETHYLIC SYSTEM

5.Sorriso Doloroso - STOICKS

6.Rangers Celtic - USUAL SUSPECTS

7.Comme Tous Les Matins - COUP DE GRISOU

8.Headbanger - LES TECKELS

9.Raymonde - SYMPHONIE URBAINE

10.Rotterdam - KK 44

11.Cruelle Section - CRUELLE SECTION

12.H.P. - KAOTIK SYSTEM

13.Yaourt - EBOLA

14.Hors La Loi - P.38

15.Le Vieux Millionnaire - 2 D'TENSION

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V/A - Burning Ambitions (A History Of Punk) 1982

Burning Ambition: The History of Punk, attempts to be a definitive overview of the British (except DK) wave/punk scene in the late 70s/early 80s and while it falls short of its goals, it's nevertheless an admirable effort. The Crème de la Crème are here to honor, only classics on it. Surely some of you, like me, have the original records at home but this double album should become a favorite of yours, because this record is one of the finest punk compilations which is ever released. Love to hear all these classic songs in this order and believe me.... you will enjoy it as a good fuck.

1.Boredom - BUZZCOCKS

2.Bingo Masters Breakout - THE FALL

3.12XU - WIRE

4.Life - ALTERNATIVE TV

5.Keys To Your Heart - THE 101'ERS

6.I'm Alive - 999

7.Gary Gilmore's Eyes - THE ADVERTS

8.Justifiable Homicide - DAVE GOODMAN & FRIENDS

9.Where Have All The Boot Boys Gone - SLAUGHTER & THE DOGS

10.(Get A) Grip On (Yourself) - THE STRANGLERS

11.Your Generation - GENERATION X

12.Baby, Baby - THE VIBRATORS

13.Identity - X-RAY SPEX

14.Read About Seymour - SWELL MAPS

15.I'm Stranded - THE SAINTS

16.Chinese Rocks - HEARTBREAKERS

17.Lock It Up - EATER

18.Ain't Got A Clue - THE LURKERS

19.Lady - ADAM & THE ANTS

20.Love Song - THE DAMNED

21.Looking After No. 1 - BOOMTOWN RATS

22.Where's Captain Kirk? - SPIZZ ENERGI

23.In A Rut - THE RUTS

24.Angels With Dirty Faces - SHAM 69

25.Stranglehold - U.K.SUBS

26.Flares & Slippers - COCKNEY REJECTS

27.The Wait - KILLING JOKE

28.No Goverment - ANTI-PASTI

29.Holiday In Cambodia - DEAD KENNEDYS

30.Dead Cities - THE EXPLOITED

31.Last Rockers - VICE SQUAD

32.Harry May - THE BUSINESS

33.Police Story - THE PARTISANS

34.Someone's Gonna Die - BLITZ

35.City Baby Attacked By Rats - G.B.H

36.Complete Disorder - DISORDER

37.Russians In The DHSS - ATTILA THE STOCKBROKER

38.Lust For Glory - ANGELIC UPSTARTS

- Huge Thx to Fredrik -

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V/A - Personality Crisis!! 1984

A small break of the 7Inch posts for this classic compilation with only hits on it, released via Action Replay Records, everybody knows the songs and if not so let's go. So everything is said and before I give here some crap again I'd rather urge you to download this shit. I like the album title, that is worth mentioning. And now it's time for breakfast.

1.White Punks On Dope - TUBES

2.King Rocker - GENERATION X

3.Hurry Up Harry - SHAM 69

4.Peaches - THE STRANGLERS

5.Bad Girl - NEW YORK DOLLS

6.Gary Gilmore's Eyes - THE ADVERTS

7.Personality Crisis - NEW YORK DOLLS

8.Listen - STIFF LITTLE FINGERS

9.Obsessed - 999

10.Milk & Alcohol - DR FEELGOOD

11.If The Kids Are United - SHAM 69

12.I Think I'm Wonderful - THE DAMNED

- Special Thx to Fredrik -

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KÅMEJNIS KALLSONGER - Extas Rock? EP 1981

Kåmejnis Kallsonger (Khomeinis Underwear) was a punk band from Växjö. They played together between 1977 and 1982. Originally calling themselves Zlem (or Slem), but changed its name in 1980 to Kåmejnis Kallsonger. The band was inspired by English punk bands Sex Pistols and 999. In the spring of 1981 they released their one & only EP titled Extas Rock?. The songs were recorded in the Speldosan Studio in Ödetofta and contains four awesome KBD smashers plus a bonus track. Ecstasy Rock was released in 500 copies and has now high value among collectors. In Peter Janderus book The Encyclopedia Of Swedish Punk the EP's value to 5 on a 10-point scale, where 10 represents an extreme rarity with very high value. The group was Växjö's first punk band (Vägra Raggarna Benzin Vol.3 & 4) and in addition to their gigs they were opening act for Ebba Grön, Dag Vag, and Nationalteatern. Members were Johan Wetterberg (John Olive) who sang and played bass, Per-Ola Evaldsson (Per Capita) vocals, organ & guitar, Jonas Nilsson (Jonas Volta) vocals & guitar and drummer Håkan Bohlin (Malte Metronome). They never really officially split up.

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LES LORDS - 1979-1980

 

The working year 2020 is over and four days off are comin'. Let's see, how I will end it musically and the opener is a treat, and this slab was released by Vidi Vici Records 2013 in edition of 300 copies. The Les Lords were Britz (vocals), Richard & Fifi (guitars), Laurent (bass), Lelett' (drums) and founded 1979 in Caen. And since nobody knows these guys until now, it is time for detailed information from the great creators of 45vinylvidivici which I would like to quote at this point:

1979: The musicians of the Caen punk group R.A.S. are orphans of a decaying movement. Britz, the singer-songwriter, mourns Sid Vicious. The others are starting to clearly prefer the power-pop energy of Jam, Skids, XTC or 999 to the neo-baba wanderings of the Cure or other Simple Minds.

The 60’s aesthetic and winks of the Who are already very present in punk, from black suits and string ties to the T-shirt with cockade of Billy Idol (Your Generation). Not to mention the Jam, of course. But when some members of R.S. land in Britain, it’s the shock. This one lives at the hour of "Mod Maydays", powerful revival which creates its own underground scene (Merton Parkas, Chords, Mo-Dettes, Squire...) in reaction to a punk now in the process of integration. "We hate the punk elite" sings Ian Page of Secret Affair. The musicians of R.A.S. are conquered, shop at Carnaby Street and return to Caen to tell friends about London news. The group is prompt renamed Les Lords.

As a result of this radical turn on the aesthetic level (because the songs remain the same) it appears fairly quickly that everyone gets into the idea of breaking their mouths, starting with the hard core of punks, more and more more influenced by the skinhead renewal and the “OI” wave. During the Lords' second concert in Lisieux, the skins came in force and have every intention of pissing off as much as possible. The chairs fly and the fans fall back on stage, somehow trying to send them away while the group continues to play. Arrival of the constabulary and relighting of the lights. We resume all the same and the Lords end in apotheosis by a resumption of "My Generation" of Who respecting to the letter the spirit of the original, that is to say accompanied by a methodical destruction of the material and the overturning of the columns sound system. Lying on the ground, arms outstretched to hold the

sound system lying on him and not to perish crushed, its owner, an old baba, manages to whisper "it's great, it's great...".

Great it is. The Lords continue the momentum of the most fit but harmonically rich punk, say Generation X to locate, incorporating 60’s influences, pre-psychedelic reminiscences (Creation, Move) and especially by tracing a new road, theirs. The group does quite a few covers: the instrumental The Persuaders ("Amically Your") as a concert intro, "For Your Love" by the Yardbirds mid-set and "My Generation" as a reminder. For the rest, it's a slaughter: slamming drums, metallic and melodic Rickenbacker bass, rhythmic Gibson "sound wall", dazzling escapades from the soloist on Telecaster. And there is the front man, with limited vocal capacities but remarkable texts and unparalleled charisma. It was obvious to who had once seen these kids in concert that they had fantastic potential. Because these are kids we are talking about, 17 years old at the time of history and just over 18 when it ended. Not really a "sex, drugs and rock n’roll" story, shot by the punk generation. No, just another story of tormented and rebellious teenagers. A story of music lovers who convert Gérald, the full barter shop of Throbbing Gristle to boots and frilled shirts. In return, he introduces them to Kinks and Small Faces, but also Real Kids, Charlie Mingus, Faust or Mother’s Finest. It is a story of rain (Normandy...), at night, of endless walking. Mopeds were rare, so scooters... It’s a story of cavalcades and frantic leaks, in the sad France of the end of the seventies whose "peripheral rascals" were so well sung by Renaud at the time.

On this front the Lords take radical measures by weaving an alliance with the gypsies, which allows to calm quickly done well the skins and to bring them back to feelings of healthy camaraderie. As for the neo-Mod movement, it is developing like wildfire. In two strokes of a pot spoon, there are more than 200 Mods in Caen. Punks converted after concerts, fans of the Specials or Joe Jackson, high school students who wanted to piss off their parents. Barely 16 years old, Laurence gives up everything to join Fifi, the rhythm guitarist of the Lords and returns on a scooter at the end of the hutch to give the teachers honor by shouting "We Are Mods", as in Quadrophenia. Britz, Laurent and I are going to see the film dozens of times at the cinema of the Carrefour shopping center, in Hérouville, one of the working-class suburbs of Caen. So we pass and we pass again in front of a band of thugs, "Arabs" as they said at the time, who stagnate on the benches of the shopping center and do not take long to look for the fight. It degenerates for good and ends with a punch outside. "We are the Mods"! Impressed, the most devious of the so-called "Arabs" quickly bought a costume and asked to join the mods.

In Caen, these are a mass movement from the proletariat, the working masses. With guys who in case of confusion are more quick to fight than to parley... There is José who fights after the group has won the French flags in a party on July 14, Franck says "Barjot" the former rocker and fisherman, "Clash" who crushes my parents' flowers in a Vespa and shoots the rockies on Saturday afternoon in the middle of traffic jams, with a WWII Luger. And then other groups that are formed: Dandys, Holly Boys and Neckties. These are 13-14 year olds who have had little time to learn English. Suddenly they proudly adapt the Who in French, "I Can’t Explain" becoming "the Caennais complain."

The Lords play in Paris at Golf Drouot. They finish well last of the "springboard rock" but fuck a happy mess and meet that evening the fabulous Stunners. A core of Parisian fans of the Lords is formed around Laurent ("Stax"), Denis, Thierry and soon Patrice Bertrand, former Hells Angel turned Mod who sells US garage rock records in the Scooter shop in Les Halles. The Lords don't pretend. They provide the first part of the Olivensteins whose equipment they demolish ("My Generation"), the Dogs from which they steal the show and a whole bunch of others. They make all the fire, open for Valérie Lagrange and even go on tour for a few dates opening for Caravan, an old British progressive rock band.

Soon the mod-revival spreads in Paris then in the provinces. Lords are heroes and kings, but there is a misunderstanding. Basically they have little to do with twinks disguising themselves as twist dancers, petty bourgeois in polka dot dresses and groups making desperate efforts to sound "garage". In fact, while the Parisian skins led by Farid - a ringworm - are having fun persecuting this bunch of little wankers from fine neighborhoods, they carefully avoid attacking anyone who wears a "Caen" patch on their jacket. Britz and the hard wing of the Caennais accentuate the demarcation with the installers by calling themselves "Glory Boys" and adopting black shirts and white ties. But hey, it's all starting to go around in circles. Especially since despite their multiple trips back and forth in the capital, where I settle as a manager, the Lords are still out of recording contract. There are indeed some contacts with Antoine De Caunes, Marc Zermati or Patrick Eudeline, the tour of record companies, a photo in the monthly Best, but nothing comes out. Meanwhile, the sken-mod conglomerate of Caen feels winged. After two years of intensive fights against rockers (very bad in those distant times) and all that hung around as thugs in the Normandy countryside, these became real terrors. Wounds that set everything on fire and blood during the Jam concert in Rouen. The Lords are victims of Sham 69 syndrome: overwhelmed by the movement they have instigated and the excesses of their audience.

The tension rises with the rhythm, Fifi, a simple heart. Then with the bass player who stands in solidarity with him. Finally with Britz Notre Dame, icon of mods, always so frosty and uncontrollable who does not want to understand that such a radical trip cuts the group from a wider audience. In a few weeks everything crumbles. Fifi and Laurent will try their luck with another group. Britz moved to Paris where he succeeded in a few months in transforming a gang of Daddy's sons into a respected gang. Richard and Denis recruit a bass player and pursue the Lords in the form of a blazing power trio.

In the end, there will be nothing but wonderful memories and rehearsal recordings from this brief epic, in mini-cassette. Despite their obvious limitations, they will no doubt give a better idea of what the Lords were than the album they would have done at the time on a major, under the guidance of a survivor of the yéyé who was converted into a producer. And the fact that more than thirty years later RAS or Les Lords are arousing interest shows that at least the flame has been transmitted. So all is well that ends well. Raymond Debord (Summer 2013)

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