THE WALL - The Punk Collection 1998

CD's are not really my source but this one is a damn MUST! This fantastic compilation was released by Captain Oi! and contains all recordings of The Wall, originally formed in Sunderland early 1978, and their six year career may have seen them go through enough members to form their own football team but it also saw them release some outstanding records along the way. The first line-up of note featured Ian Lowery (vox & guitars), Andy 'Andzy' Griffits (bass & vox), John Hammond (guitars) & Bruce Archibald (drums) and it was this incarnation of the band that recorded the superb 'New Way' EP for Small Wonder Records. It's success (it sold over 10.000 copies and was heavily played by John Peel on his (then) important Radio 1 show) led to Lowery & Andzy relocating to London where they recruited guitarist Nick Ward and Drummer Rab Fae Beith (ex-The Pack/Patrick Fitzgerald Group) and they issued the 'Exchange' single for Small Wonder which reached No.26 in the very first published independent chart and was produced by the Sex Pistols Steve Jones (the first band to be produced by a member of the Pistols).

However, not long after this the band suffered the time honoured 'musical differences' which led to the depature of Lowery (he later released a solo album called "King Blank" on Beggars Banquet) who was replaced by one time Ruefrex member Ivan 'Kellz' Kelly and he made his debut with the Wall on a UK tour supporting the Angelic Upstarts and on their first single for Fresh Records, August 1980's 'Ghetto' EP which, produced by Sham 69's Jimmy Pursey, enjoyed a three month indie chart run peaking at the No.19 position. This line-up also recorded the debut LP "Personal Troubles & Public Issues" (which came out in December 1980 in two different sleeves and reached No.15 in the indie chart) which also saw the arrival of guitarist Andy 'Heed' Forbes, formally a member of The Strapps.

Shortly after the album's release, however, Ward & Kelly departed leaving Rab, Heed and Andzy to continue as a three piece with Andzy assuming vocal duties. This line-up was snapped up by Polydor and their debut for the major was the three track 'Remembrance' EP which they promoted by doing a UK tour with Stiff Little Fingers. They also issued one final single for Fresh, 'Hobby For A Day' before a second Polydor 45 'Epitaph' followed in November '81 and it also saw the first appearance of new bassist Claire Bidwell (ex-The Passions) which allowed Andzy to concentrate on the vocals. Their time with Polydor ended with early 1982's album "Dirges & Anthems" (which came with a free 7") and which saw guitar duties split between Heed (who left half way through recording) and Baz.

Rob & Andzy continued under The Wall name throughout 1982, their last release being the ten track 12'' EP "Day Tripper" for No Future (also issued as a four track 7'') which reached No.21 in the UK indie chart. The 'band' folded not long after with Rob later turning up in the UK SUBS and playing on the "Huntington Beach" and "In Action" albums. He also set up RFB Records and released albums by the likes of Condemned 84, UK SUBS and Broken Bones.(Mark Brennan)

In August 2007, the band reformed for a headline appearance at the Blackpool Rebellion with seven of the original members, Andy Griffiths (vocals), Nick Ward (guitars), Al Gregg (guitars & bass), Andrew Forbes (guitars), John Hammond (guitars), Claire Bidwell (bass) and Mark Dyvig (drums) with a warm-up gig the previous night @ The Thatched House in Stockport. This was followed by the release of a new live album in August 2009 on Captive Records (Opus Productions/Captive Records). The debut album "Personal Troubles & Public Issues" is getting a re-issue on CD for the first time, by Westworld Recordings on 13/05/2016.

This little sucker shines with twenty extraordinary nuggets and I love the Wall and you will do it too... 'In Nature'!

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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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V/A - Bad Teeth #4: UK & Irish Punk Bands 1977-1982

Before I switch to SGE against Cologne today the last volume of Bad Teeth and before you ask 'Where's # 2?', don't exist. Again generated by Hyped To Death with Punk/Powerpop bands V-Z. The rip was improved a little by me, because the original CD scratches at the beginning what you can hear on song # 4 and I placed one more rare piece by the Vektors at the end of the compilation. One more little hint, Zeppo & The Zepp Zepps is a Swedish band. Enough blah blah, enjoy the music and look forward, like me, to hopefully more H2D issues in this theatre. Don't miss Volume 1+3 and complete your collection.

1.Mixed Up World - VICTIM

2.That's It - V2

3.It Don't Mean Nothing At All - THE VALVES

4.I Don't Know Why - THE VEKTORS

5.Uniforms - THE WALL

6.Can't Wait Til '78 - THE WASPS

7.No Such Thing - THE VIPES

8.Who Knows - THE VIP's

9.I Need You - VICTIM

10.When The World Isn't There - V2

11.Bad News - X-DREAMYSTS

12.Radio Fun - THE ZEROS

13.Ode To Johnny Rotten - ZEPPO & THE ZEPP ZEPPS

14.Pay As You Earn - WHIZZ KIDS

15.Teenage Treats - THE WASPS

16.Freedom Man - X-CELLS

17.The Teenage - VICTIM

18.Worthless Trash - THE VACANTS

19.Nymphomania - VERMILLION

20.Exchange - THE WALL

21.1000 Marching Feet - THE XPOZEZ

22.Be My New York Doll - THE XPOZEZ

23.We're No Angels - ZONES

24.Imaginary - XS ENERGY

25.D.N.R. - THE WRETCHED

26.Who Are You - THE WALL

27.Kicks - BERNIE TORMÉ

28.Nothing To Declare - SUSPECTS

29.Yesterdays's Dream - THE VEKTORS

- Big Thx to Mark -

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GERMS - (GI) 1979

Another classic that needs to be heard is the debut by the Germs, punk from Los Angeles and originally active from 1976 to 1980. The band's main early lineup consisted of singer Darby Crash, guitarist Pat Smear, bassist Lorna Doom, and drummer Don Bolles. They released only one album (GI) on Slash Records, produced by Joan Jett, and were featured the following year in Penelope Spheeris' documentary film The Decline Of Western Civilization, which chronicled the Los Angeles punk movement. Germs disbanded following Crash's suicide on December 7, 1980. Info from wiki which says everything:

Crash (born Jan Paul Beahm) and Smear (born Georg Ruthenberg) decided to start a band after being kicked out of University High School for antisocial behavior, allegedly for using "mind control" on fellow students. Their original name was "Sophistifuck and the Revlon Spam Queens", but they had to shorten the name as they could not afford that many letters on a T-shirt. The (initially hypothetical) first lineup consisted of Beahm (then known as Bobby Pyn, and later as Darby Crash) on vocals, Ruthenberg (under the name Pat Smear) on guitar, an early member named "Dinky" (Diana Grant) on bass, and Michelle Baer playing drums. This lineup never played in front of a live audience.In April 1976, the band added Lorna Doom (born Teresa Ryan) on bass, with transitional member Dottie Danger (later famous as Belinda Carlisle of the Go-Go's) on drums. Carlisle never actually played with the band, as she was sidelined by a bout of mononucleosis for an extended period. She was replaced by her friend Donna Rhia (Becky Barton), who played three gigs and performed on their first single. Carlisle remained a friend and helper of the band (she can be heard introducing the band on the Germicide: Live @ the Whiskey recording, produced by Kim Fowley), only leaving because her new band, the Go-Go's, were becoming popular and, as she put it, "I was really disturbed by the heroin that was going on". Nickey Beat, of various noteworthy Los Angeles bands including the Weirdos, also sat in on drums for a time.

The band's first live performance was at the Orpheum Theater. Smear recalled: "We made noise. Darby stuck the mic in a jar of peanut butter. It was a dare, we had no songs or anything! Lorna wore her pants inside out, and Darby covered himself in red licorice...we made noise for five minutes until they threw us off". The Germs initially drew musical influences from Iggy Pop, David Bowie, Ramones, the Runaways, Sex Pistols, and New York Dolls. Early on, Smear was the only musically experienced member; Doom survived early performances by sliding a finger up and down the fretboard of her bass while Rhia generally kept a minimal beat on the bass drum, periodically bashing a cymbal. Early performances were usually marked by raucous crowds made up of the band's friends. As a result, their gigs became notorious for being rowdy and usually verged on a riot.

The end of the band came when Crash, who had become increasingly impatient with drummer Bolles' antics, fired him and replaced him with his friend Rob Henley. Shortly after the Germs split, Crash and Smear formed the short-lived Darby Crash Band. Circle Jerks drummer Lucky Lehrer joined the band on the eve of their first (sold-out) live performance, when during soundcheck, Darby kicked out the drummer they'd rehearsed with. The band, described by Smear as "like the Germs, but with worse players", played only a few gigs to lukewarm reaction before splitting up. Shortly after that, Crash contacted Smear about a Germs "reunion" show, claiming it was necessary to "put punk into perspective" for the punks on the scene. However, Smear has said Crash told him privately he wanted to earn money for heroin with which to commit suicide. Since Crash had described this scenario many times in the past, Smear did not take him seriously. On December 3, 1980, an over-sold Starwood hosted a final live show of the reunited Germs, including Bolles. At one point, Crash told the amazed kids in the audience, "We did this show so you new people could see what it was like when we were around. You're not going to see it again".

Crash committed suicide on December 7, 1980, at age 22. Unreported at the time, Crash had overdosed on heroin in a suicide pact with close friend Casey "Cola" Hopkins, who ended up surviving. She later insisted that he did not intend for her to live, nor did he change his mind at the last minute and intend for himself to live. According to Spin, apocryphal lore has Crash attempting to write "Here lies Darby Crash" on the wall as he lay dying, but not finishing. In reality, he wrote a short note to David "Bosco" Danford that stated, "My life, my leather, my love goes to Bosco". Outside the world of the Germs' fans, news of Crash's death was largely overshadowed by the murder of John Lennon the next day. A local news station mistakenly reported that Crash had died from taking too many sleeping pills.

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THE WALL - Left Behind The Wall [Demos 1978-1979] EP 2022

The cold April winds down with a breath of fresh air and now to a band I appreciate and whose records I can heartily recommend, and by that: I mean every fucking one. We're talkin' about The Wall from Sunderland which formed early 1978 and this EP came via Last Year's Youth Records and is limited to 300 copies, 100 numbered copies on blue, 200 black on black vinyl and this essential piece of wax features six tracks, two never released before, and if you haven't discovered this brilliant band yet, do so immediately, and it' sad that three members have already passed away, but their music is still one of the best what the British islands brought for us. All tracks were recorded 1978/79 at the famous Impulse Studios in Wallsend near Newcastle and available on vinyl for the first time and the songs are all a bit rougher and snottier than on their slabs and show what impulsiveness the band had. This is a fucking great record with rare goddies and shows the Wall in top condition! 

- Great Thx to Fredrik -

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RIOT 111 - Subversive Radicals EP 1982

Wellington's Riot 111 were active from 1981-1983 and it consisted of John & Geoff (vocals), Nick (guitars), Mark (bass) & Roger (drums). In their lifespan they released two 7Inches. A bit info: "RIOT 111 appeared during the fractious Springbok tour of 1981 and can lay claim to being one of the first New Zealand punk bands to deal with overtly political content in their music and imagery. With members of the band active in the anti-tour marches Riot 111 was conceived following the infamous Molesworth Street baton charge on July 29. “Here's these people supposed to be protecting what's right and they're hitting old ladies over the heads with batons.” (Roger Allen With Geoff Ludbrooke on vocals as John Void, Riot 111 was formed along with Roger Allen on drums and Mark Crawford on bass. Nick Swan formerly of Life In the Fridge Exists on guitar was the only member recognised as having any serious musical ability and like his former band RIOT 111 was intended as more of a performance happening than a radio friendly unit shifter. Their first single 1981 was recorded in a couple of hours released on 7” as a pressing of 500. The song ‘’1981’’ is based on an English interpretation of Ngati Toa’s Te Rauparaha's haka 'Ka Mate', and made famous by the All Blacks. Shouted by Void over searing guitars and pounding drum beats. It is an anthemic call to arms that Void intended to be played as anti-tour protesters marched into battle with police and pro-tour rugby heads.Following the tour the single was repressed and entered the national charts at number 46. '1981' was recently declared the 12th most important song in New Zealand history by the documentary series, “Rocked The Nation”. The success of '1981' spurred them to play their first gig at an anti-tour party in late September. In keeping with their agit-punk ‘manifesto’ the band's set featured songs about police violence, drugs, state power and impending revolution. The second single, “Subversive Radicals”, released in early 1982 paints a grim picture of New Zealand, under then prime minister Robert Muldoon, as an Orwellian 'East Berlin of the South Pacific' with social freedom progressively eroded by a violent 'police state'. The single charted at 19 and the band's increasing popularity/notoriety saw them open for big overseas acts such as The Birthday Party and Having already shown their interest in creating sensationalist media stories RIOT 111 upped the ante in 1982 when TVNZ refused to play a video for “Writing On The Wall”. The band transported their gear along with a horde of Wellington's punks and skins out to Avalon studios in Lower Hutt. Parked at the front door RIOT 111 played a set off the back of a truck, besieging New Zealand's castle of state broadcasting with an aural barrage and raising the anarchist flag. RIOT 111's confrontational music and style made them a favourite with the boot-boy scene and gigs were often marred by violence in the audience and through police actions to break up shows. By the end of 1982 the Wellington punk scene filmed in Chris Knox's Terrace Scene documentary only a couple of years earlier as a co-operative, playful, avant-garde movement was fast disintegrating into a nihilistic mess. In Easter 1983, RIOT 111 played at Golden Showers, a punk gathering in Newtown, Wellington, featuring bands from around New Zealand. A live recording of the show was released the following year as Capitol Kaos with RIOT 111 contributing three songs to the mix. By October 1983 the band members had had enough, Roger took off to Auckland and Void recast himself as an actor based in Sydney." (source: upthepunks)

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V/A - Bored Teenagers Vol.2 2001

16 tracks of pure, unadulterated British Punk Rock from the golden years of ‘77 - ‘82. This comp. delved ultra-deep into the archives to bring some of the best and rarest UK Punk singles ever, but also totally unreleased tracks by the likes of UXB, The Negatives, Knife Edge and Disorder making this one of the most essential items any Punk Rock fan could get his grubby little hands on. The makes usual put their heart and soul’s into this release - and once again both formats come with a great sixteen page booklet featuring liner notes written by the bands, pictures of the releases and ultra rare photos. "Sure, this could have come out years ago - we could have just bootlegged it and sent it out in a wraparound sleeve like all the rest of the money-hungry so called ‘fans’ out there. But we think the collectors deserve more - and we think the bands deserve more too - so we’re bringing this out 100% officially with the consent of all the bands involved. This is for the Punk connoisseur and the music fan alike - a blast from the past that still sounds fresh today. And ya wanna know the reeaaalllyyy cool thing?" You can imagine that this album was sold out quickly and this is not to say the quality on offer is poor, in fact on the contrary: the vast majority of songs here are excellent. Many rare tracks are showcased and this really is punk rock in its purest form: shoddily produced, home-made singles made by bored teenagers that still have a raw energy that encapsulates the very ethos of punk.

1.Air-Raid - DISORDER

2.Identity Parade - DISORDER

3.Crazy Today - UXB

4.Over The Wall - UXB

5.Society - THE THRUST

6.Fed Up - THE THRUST

7.I'm In Love - THE ZIPS

8.Don't Be Pushed Around - THE ZIPS

9.Stakeout - THE NEGATIVES

10.Love Is Not Real - THE NEGATIVES

11.We're From Bradford - THE NEGATIVES

12.Say You Will - KNIFE EDGE

13.Fighting In The Chapel - KNIFE EDGE

14.Reverberate - THE CASSETTES

15.200 Voices - NO COVER

16.Office Staff - THE REPORTERS

- Huge Thx to Fredrik -

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SKI PATROL - Agent Orange + 1 7'' 1980

A band that got little reputation is Ski Patrol from London, which founded 1979 by former The Wall and future Folk Devils singer Ian Lowery and Nick Clift of The Debutantes. Inspired by the darkwave and Punk-funk sounds and emotions of British PostPunk bands, and also influenced by the Jamaican rhythms and politically charged environment, Ski Patrol set about writing angular, moody songs that fused Lowery's dark lyrical pre-occupations with Clift's ringing guitar. Joined by fellow North-Eastern transplants Peter on bass and drummer Bruce (original drummer in The Wall), the band began playing shows at the London Circuit. They recorded four songs at Alaska Studios in Waterloo, two of which became their first singles. In early 1980, Bruce left and was replaced by Alan. More shows followed, and the four came to the attention of Malicious Damage (Killing Joke label). In June 1980, this new partnership produced the second single Agent Orange. Largely inspired by the film Apocalypse Now, Lowery's lyrics referenced the defoliant used in the Vietnam War and the song itself was built around a pulsing three-note bassline, guitar harmonics and a metronomic beat with catchy synthesizer atmospherics, the single was released later in 1980 and became their best known song, both are found in this post. In early 1981 Peter had left to join Fad Gadget, and was replaced by bassist Francis. The new line-up recorded a session for John Peel's BBC show in January 1981 and three tracks were broadcast on 19 January and repeated again later that year. A third single Cut was released on Malicious Damage in early Summer. The band's final recording session, in April 1981 yielded three new songs but none were released at the time, the band finally fell apart in August. A collection of the band's work, Versions Of A Life (Recordings 1979-1981), which includes the three tracks from the final recordings session was released in 2014. Their songs have drive and are extra class, driving and emotional and never get boring.

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THE RUDE KIDS - 7'' Collection 1978 - 1982

Long before Millencollin and The Hives spread the Swedish punk rock over all the world's continents, there were a bunch of rascals who took the aptly named The Rude Kids, one of the most classic swedish punkbands from the late 70's. The Rude Kids were a punk rock band from Hagsätra/Stockholm. Their first single 'Raggare Is A Bunch Of Motherfuckers', that they recorded themselves, was released by Polydor in 1978. Rude Kids was the first Swedish punk band to release a record trough a major record label. The single sold between 5000 and 6000 copies (compared to 600-700 copies for an average Sham 69 single). Tony Parsons named it "Single Of The Year". Polydor also released the single 'Stranglers' and the LP Safe Society. Their records got good reviews in the press. Rude Kids played in London a few times. Once they opened up for Madness (only realising at the gig that it was Madness, not Doctors of Madness) and were attacked by Skinheads in the audience. After they fled the stage the audience smashed up all the gear without realising they smashed up Madness' gear. In 1980, when Rude Kids signed with the record company Sonet, they had a more poppy sound compared to their earlier music. In 2002 Turbonegro performed a cover on the Rude Kids song 'Raggare...' at Hultsfredsfestivalen. Singer Böna was killed tragically in a car accident in 1982. That was more or less the end of the band. Musically they are a typical '77 punk band, loud guitars & huge hooks, they blow everything up against the wall, brilliant lyrics and awesome songs, I cannot stop listen to. Their last two singles are "a little" quiet and with a nice casio tone but equally brilliant. "We are the Rude Kids and we're made this record that we think you should listen to!" (Böna) - Absolutly!!! In this file you get all 7inches, all covers and overall 13 songs in 37 minutes of pure impact.

- Extra Special Thx to Fredrik -

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SECTION 5 - The Way We Were 1990

An older rip: "Section 5 was founded 1981 in Stoke On Trent, England. Formed by Tosh & Sid the original bassist for many years and the first line-up consisted of Tosh (guitar), Sid (bass), Rat (drums) & Tony Boult (vocals). This line-up did around five shows when it came clear it was not going to work out. Tony was replaced by Dave Maskery aka Mask around 1983. This line-up then went on to do around twenty gigs and thirteen demo tracks. On hearing these tracks Roddy Moreno then signed the band in 1985 to his label Oi! Records. By this time Tosh had taken over on vocals and the band became a three piece when their debut album we wont change came out in 1985. By the time the second album came out on Link Records in 1987. Rat had been replaced on drums by Nik Drjuricic. By 1988 for the Street Rock'N'Roll album on Link they had been joined by Tezz Roberts ex Discharge/Broken Bones & UK Subs. This was the line up that paved the way for what is now Section 5's sound! After this as only Tezz knew how he settled in the states became Terry Bones and ended up with Minstry. By 1990 Tezz was replaced by Tony Sids mate on lead and Nik was replaced by Steve Walker. It was this year they released their last album on Link The Way Way We Were. But in true Tezz style he did return to the U.K.to guest on Bring The Wall Down/Too Many People & Final Fight on that album. He would later return to record 'They think its all over/Hammer In The Nails' and the Hard Life CD & play a big part in the bands comeback in 2003. But back to the early 90's the situation of the scene started choking the band and they called it a day. The right wing left wing fights and bullshit became too much and Tosh wanted no part of it. Many more line up changes later various splits and comebacks and more splits. All be it one of the laziest bands on the planet as far as doing gigs. But things are about to change in 2010. So watch this space." (source: myspace)

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THE KELPIES - Take Me Away 7'' 1982

One of my favourite Aussie Band are the Kelpies. They were a superb band in Sydney during the early 80s. They began in March of 1981 and, according to the liner notes of their one and only LP, developed "a knack of being banned from venues as quickly as they packed them out." They lasted until August of 1982, leaving behind the Phantom Records single "Take Me Away/Second By Second" and three tracks on the brilliant Aberrant Records compilation Flowers From The Dustbin to go along with their lone album.

The Kelpies consisted of Ashley Thomson along with James Gelding as lead singer, Mark Easton and Brian Conolly on guitars, Con Murphy on bass. Con and Mark had been in the Sydney punk band Suicide Squad, with Mark also having played in the Bedhogs and the delicately named Vic Vomit and the Varicose Veins. James had also been in the Bedhogs & another band called Black Runner. Brian had been in the Swankers & Aftermath.

Their first gig was at the Royal Exhibition Hall on March 27, 1981. The band did well from the start because their members had good reputations among the gig-going crowd from their previous efforts, but they were plagued by violence at many of their gigs. They played places like the Manly Vale Hotel, Sydney Trade Union Club, Sgt. Peppers and Brownies. In May 1981 they recorded a 9 song demo at the 8-track Now Studios in Sydney. 

Three of these tunes ("Television", "My Wall", and "Truro Murders") are the ones that appear on Flowers From The Dustbin. After a temporary break up in September 1981, they reformed for another demo recording session in March of 1982. Subsequently they went to a 16 track studio and recorded three more songs, two of which made up the Phantom single. But it wasn't to last; the band played their last gig on July 30, 1982 at Mosman Hotel and split for good in September. They have now reformed and are releasing a new album and doing their first show back on the 9th oct 2003 at the annandale hotel Sydney! (source: mp3.com)

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V/A - Winters Of Discontent: Peel Sessions 1977-1983

A feature of Peel's BBC Radio 1 shows were the famous John Peel Sessions, which usually consisted of four songs recorded by an artist live in the BBC's studios, and which often provided the first major national coverage to bands that later would achieve great fame (These 'sessions' are similar to 'Live Lounge' sessions recorded today for the station). The BBC employed it's own house bands and orchestras and it also engaged outside bands to record exclusive tracks for its programmes in BBC studios. This was the reason why Peel was able to use "session men" in his own programmes. Sessions were usually recorded and mixed in a single day; as such they often had a rough and ready, demo-like feel, somewhere between a live performance and a finished recording. John Peel remained on BBC Radio 1 for 37 years, until his death in 2004. During that time over 4000 sessions were recorded by over 2000 artists. Many classic Peel Sessions have been released on record, particularly by the Strange Fruit label and this one of these.

1.Somethin' Better Change - THE STRANGLERS
2.Love In A Void - SIOUXSIE & THE BANSHEES
3.Gary Gilmore's Eyes - THE ADVERTS
4.Shoplifting - THE SLITS
5.Fast Cars - BUZZCOCKS
6.Rich Kids - RICH KIDS
7.Of One Skin - THE SKIDS
8.It Doesn't Matter - ADAM & THE ANTS
9.Another Girl Another Planet - THE ONLY ONES
10.Suspect Device - STIFF LITTLE FINGERS
11.Mess Of My - THE FALL
12.Stretcher Case - THE DAMNED
13.Anti-Pope - KING
14.Read It In Books - ECHO & THE BUNNYMEN
15.Sus - THE RUTS
16.A Brand New Life - YOUNG MARBLE GIANTS
17.Start From Scratch - THE NIGHTINGALES
18.Big Jesus Trash Can - BIRTHDAY PARTY
19.A Matter Of Gender - THE ASSOCIATES
20.The Fan And The Bellows - THE CHAMELEONS
21.Wall Of Fir - THE VERY THINGS
22.Enchanted - WILD SWANS
23.Sun - MICRODISNEY
24.Kick Over The Statues - REDSKINS
25.A New England - BILLY BRAGG

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V/A - P.E.A.C.E. Compilation 2LP 1984

I don't think this excellent release in form of a double record set can be more topical, and as we all have to realize, mankind hasn't gotten any wiser even after almost forty years. There is always some aggressor somewhere who expresses its sick ideology with lies and blind helpers and it is appalling that no diplomacy, no system, and no sensible compromise can prevent a violent confrontation. Pathetic, disappointing & lifeless all the pursuit of power and heroism. About the record: "This massive international Hardcore/Punk compilation features fifty-five bands/songs and was organized and released by the infamous MDC on the band's own label R Radical Records. The worldwide hardcore scene was at its peak at this point, still underground enough to repel corrupting outside influences like major labels and heavy metal, but already hardened into a rigid aesthetic and political dogma that often encouraged groupthink and musical conformity. P.E.A.C.E. documents the state of "Reagan-era" Hardcore, just before the popularity of extreme music spread through decidedly non-radical camps and into the mainstream. Among the fifty-five bands on board are well-known plus the best tracks by courtesy of obscure groups of the local scenes from Argentina, South Africa to Japan. Most of the bands included retain, either through design or some bizarre quirk of ineptitude, a stamp of individuality on their sound that makes this an entertaining collection.

An extensive booklet insert is packed with political rants, cartoons, and suggestions for further reading, making explicit the double-LP's theme of activism and action against a corrupt authority. Plus, each band is provided with a full page to express their ideas (and plug their wares) with printed lyrics and crudely effective collage art. Reissued on CD in 1997 by New Red Archives with bonus cuts." (Fred Beldin) - A real highlight of an international gathering that shows how it can work.

1.Up Against A Wall - ARTICLES OF FAITH

2.Endless Blockades For The Pussy Footer - G.I.S.M.

3.Ashes To Ashes - NEON CHRIST

4.Schlueters Kabinet - KALASHNIKOV

5.Time Will Tell - CAUSE FOR ALARM

6.No U.S.A. - LOCAL DISTURBANCE

7.Honour's Calling - UNWARRANTED TRUST

8.Finirà Mai? - WRETCHED

9.Drop The A-Bomb On Me - O.D.F.X

10.Here Come The Cops - THE AFFLICTED

11.Inutile Trionfo - DECLINO

12.Hope You Get Drafted - THE DICKS

13.Arms Race - B.G.K.

14.It's You - CRASS

15.Swastika Ratss - UPRIGHT CITIZENS

16.Banana Split Republic - FALSE PROPHETS

17.Nuclear Attack - MOB 47

18.Face Down In The Dirt - OFFENDERS

19.Sbarre - CONTRAZIONE

20.So Much Hate - S.C.U.M.

21.Viejos Pateticos - LOS VIOLADORES

22.Sometimes - DEADLOCK

23.Will It Ever End? - P.P.G.

24.Peace Of What? - TRASH

25.Police Brutality - VICIOUS CIRCLE

26.Gartlands Pit - CONDEMNED TO DEATH

27.Non Mi Dire - NEGAZIONE

28.America The Beautiful - D.O.A.

29.Snap - D.R.I.

30.Jump Back - PORNO PATROL

31.Drop Out - TREASON

32.Abortos - SHIT S.A.

33.Silence - SEPTIC DEATH

34.Life Of Punishment - C.C.M.

35.No Mai - PEGGIO PUNX

36.An Uneasy Peace - THE PROLETARIAT

37.From Protest To Resistance - CONFLICT

38.Battlefield (Nightmare) - ICONOCLAST

39.Pay For Shit - PANDEMONIUM

40.Kinky Sex Makes The World Go 'Rround - DEAD KENNEDYS

41.Skorbut - BOSKOPS

42.Rats - SUBHUMANS

43.Peace Officer - WHITE LIE

44.R.A.T./Pentagone - WARGASM

45.Four More Hours - SLAUGHTERHOUSE 4

46.Finale - THE EXECUTE

47.Reagan Youth - REAGAN YOUTH

48.The Man Goes On - IMPACT

49.100 Million People Dead - BUTTHOLE SURFERS

50.Ataque - KANGRENA

51.Will Amerika - PORCELAIN FOREHEAD

52.No Mercy No War - BARELY HUMAN

53.Contro La Pace Contro La Guerra - R.A.F. PUNK

54.Moment By Moment/Exiled Shadows - ZENZILE

55.Missile Destroyed Civilization - MDC

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ONE WAY SYSTEM - This Is The Age 7'' 1983

Hmmm, I thought I'd posted something about the following combo, but apparently in my old Blog, well.... I'll catch up on this immediately, because they are among the heroes of early, typical trembling UK Hardcore/Punk sound. One Way System were formed 1979 in the Fleetwood area of Lancashire and shuffled through several different line-ups before settling into a quartet that would make the band's first life possible: Gavin (vocals), Craig (guitar), Gaz (bass), Tez (drums). They made their first mark on the Country Fit For Heroes compilation on No Future Records in 1982 which helped launch the debut EP Stab The Judge on Beat The System!! Records. They didn't release an album until 1983, when they switched to Anagram Records where consequently the debut All Systems Go appeared, based on the single Give Us A Future followed by the second album, The Writing On The Wall. 1984 came the next EP entitled Visions Of Angels, which raised hopes of a US tour as opener for the legendary Circle Jerks. Unfortunately Keith Morris (leader) broke his neck just before the start of the planned tour and the dream was over. One Way System played two shows in the States in lieu of the unrealized tour before deciding to go home and quit. Ten years later, in 1994, punk rock reissue specialists Captain Oi! re-released their two albums, followed by Anagram releasing a best-of in 1995, leading to a reunion. After that, Gavin and Gaz decided to continue and were replaced by Andy (bass) & Lee (vocals) respectively. New material were recorded for a few different labels and they've been rockin' & rollin' to heart attack ever since.

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V/A - Me Want Breakfast! 1987

A fine unofficial release is the Dangerhouse Collection of their label bands with rare songs of the first 7Inches. Quickinfo: "In 1977, Dangerhouse was one of the first independent labels to jump into the fray and document the burgeoning West Coast punk rock scene, and all these years later their taste and judgment seems damn near faultless -- they released records on many of California's finest first-wave punk bands, including X, the Avengers, the Weirdos, and the Dils, and future members of Wall of Voodoo and the Gun Club were lurking among the members of Dangerhouse's other acts. Thankfully, the folks behind the label were also mindful of production quality, and were able to make great sounding records despite limited means -- their stuff simply sounded better than what most indie labels were offering in the early stages of the game. This compilation is a raucous and wildly entertaining look at what was one of America's most vital punk rock scenes, and few collections can match this for sheer power and lunatic joy." (Mark Deming, All Music Guide) Interesting song selection, numerous classics and very well done.

1.We Don't Need The English - THE BAGS

2.T.A.Q.N. - EYES

3.Kill The Hippies - DEADBEATS

4.Prolixin Stomp - RHINO 39

5.Mr.Big - THE DILS

6.Nothing Means Nothing Anymore - ALLEYCATS

7.We're Desperate - X

8.Solitary Confinement - THE WEIRDOS

9.Los Angeles - X

10.Disneyland - EYES

11.Survive - THE BAGS

12.Class War - THE DILS

13.Xerox/No Compromise - RHINO 39

14.Neutron Bomb - THE WEIRDOS

15.Adult Books - X

16.Let's Get Rid Of New York - RANDOMS

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