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)

here

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.

here

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 -

here

THE SKEPITX & THE INSANE - Split 7'' 1984

Nice split 7Inch on White Rose Records with two well-known acts from England. I don't think, I have to babble unnecessary words here, both bands are guests for tea & biscuits from time to time in my madhouse and therefore a lot of infos can be read and this little review follows now: "A good double-billed 7″. The Insane from Wigan offer a mid-tempo number with a wall of guitars and a great singalong chorus; Stoke On Trent's Skeptix cut alternates between slow-building parts and thrash. Worthy material and hot production make this a winner." (Jeff Bale, MRR #12 • March 1984) - And with that, you're dismissed for today 😑

here

THE NOTHINGS - Alot To Learn 12'' 1983

Welcome to another rare slab from California with catchy powerful music by the Nothings from Los Angeles which were active in the early Eighties and this is their lone release and reissued 1999 with two bonus tracks (jojo). The band consisted of Rob (vocals), Phil (guitars & vocals), Lenny (bass), Bob (drums) and this five track 12Inch was released via Augustus Records. A short review: "If you thought the Sex Pistols sound was dead in 1983, you’ve got “a lot to learn,” because this Southern California group is the mirror image of the Pistols stylistically. They’ve got the same crunching rhythm attack and wall-of-sound guitar on the Rotten one’s vocals are missing. Highly recommended for nostalgia buffs." (Jeff Bale, MRR #10 • December 1983) - He describes their music perfect and the four are the American version of the Londoners, in every way. Oh Yeah, a fucking great five cruncher! They didn't get invited on compilations in their active lifespan, presumably because the songs always exceeded the three-minute mark but I think, they deserve full attention.

here

SHAM 69 - John Peel Session 28.11.1977 EP [2020]

Another unofficial release of an early John Peel session, this time by Sham 69 and the line-up on these recordings were Jimmy (vocals), Dave (guitars), Dave P. (bass), Mark (drums) and I guess, I don't have to tell you much about this early English and brilliant band. Founded 1975 in Hersham and with Borstal Breakout & If The Kids Are United they create two immortal hymns and everyone who listens to Punkrock must know this bloody songs and both will long be heard while you and I rot in eternal black! If not, catch up immediately! Maybe together with them, but that's a fartz. The four hasn't commercially successful as many of their contemporaries, albeit with a greater number of chart entries, Sham 69 has been a huge musical and lyrical influence on the Oi! and streetpunk genres. The band allegedly derived their name from a piece of football-related graffiti that founder Jimmy Pursey saw on a wall, which originally said Walton and Hersham '69 but had partly faded away. Numerous albums were released just waiting for you to hear and they are still touring the world, be sure they are coming to your town. Some compilations in the blog aren't unimportant as well. Enjoy five rough goodies in a row and in one go.

- Great Thx to Fredrik -

here

BAD RELIGION - Suffer 1988

Back With A Bang! You can say this without hesitation. After a five-year break and their foray Into The Unknown 'ProgRock' business, which was more a bummer, they returned to a somewhat mellower Rock&Roll version of their original sound with the Back To The Known EP (1985), but disbanded temporarily soon after. It was time to think and Bad Religion remembered what they can do best; writing short meaningful melodic energy Punk anthems and Suffer is the essence of it all and came out at the end of the Eighties, a time when HC/Punk was beginning to sprout and no wonder many critics praised the album as a Hardcore Milestone. Thirty-six versions of this slab confirm its popularity and my copy is the second press, I think. My review is short and sweet: I love this record, the only manko is the short playing time, but half an hour of Pogo makes you feel alive and on course again, and Greg's haunting voice pierces your body and bounces from the wall back at you. My absolute favorite is Do What You Want with its fast, dynamic, no-frills riffs and awesome lyrics, a fucking lightning strike of finest California Punkrock. Shit, why am I writing so much anyway? Buy this little fucker because you need this listening pleasure for REAL, and not those shitty uninspired digital files.

here

L.U.L.L. - The Highest Wall 1987

Tonight is a historic moment, SGE is playing against Barcelona and I can't wait, but before we start, a little trip north. The debut album by this Danish late 80's Punx called L.U.L.L. (short for "Leben Und Leben Lassen") and the band consisted of Kent (vocals), Lars (guitars), Niller (bass), Andreas (drums) and this album was released via Starving Missile and features ten loud very guitar-heavy numbers. I'm a little drunk and really can't write anything sensible. A second album (Freakline) followed in 1989 and I think shortly after that the band was history. Now I need to collect myself and stay upright, the week has been tough and for all who likes loud stuff, this album is sure a treat.

here

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

here

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.

here

IDEAL - s/t LP 1980

Even if Annette says these are not punk pieces, in my opinion this is a gross understatement. Because what the band delivered with their debut is extremely powerful and impressively plays some punk albums of the early Eighties on the wall. Remarkable F.J.'s guitar playing which is recorded as unprecedentedly scruffy as I love it, plus great lyrics, hectic rhythms and astonishing variability. This album is an absolutely timeless gem and a real masterpiece. Annette (vocals/keys), F.J. Krüger (guitars), Ernst (bass), Hansi (drums): four musicians from Berlin came together in spring of 1980, when hardly anyone was talking about a "New German Wave". When they parted in April 1983, this wave had already ebbed and splashed along in dreary Schlager monotony. Ideal's musical life was comparatively quick and short. But it was honest. Or with Hansi's favorite saying: "Only the pure material is tolerated." Also against each other. Each of the four could have said it like Annette in one of her texts: "Alone In My Skin." But, what Ideal was, no one could have done alone. Released via Innovative Communication and only real at 45 RPM. Enjoy!

here

PVC - Basic Colours 1984

PVC was founded directly after the first punk rock concert (February 25th, 1977 The Vibrators) in Berlin by Knut (vocals / bass), Raymond & Gerrit (guitar). After trying out different drummers, Jürgen finally joined the band and completed the first line-up. PVC existed in this combination until February 1979. During this time, in March 1978, the group created the term WALL CITY ROCK, which gave them more freedom in developing their musical spectrum. The ribbon carousel continued to rotate vehemently and after a short interlude from original drummer Jürgen D., Knut and Raymond continued with Torsten (drums) and Jimmy (guitar) as PVC. The band existed with this line-up from the end of 1979 to 1984 and released three albums. Basic Colours is the third one and has ten rock numbers to offer. From 1988 and with more line-up changes, the band was active (but not really a new album was recorded, only a few cool compilations with their old stuff came out) until their last concert on March 10, 2012 @ Wild At Heart in Kreuzberg.

- Great Thx to Fredrik -

here

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

here

NEIL SMITH - Rotten Roll EP 1994

"Wrowdy Music For Wrowdy People!" so Neil himself describes his music and Yes, we're pretty wrowdy. I use here a few words from his site: "Neil grew up in Indianapolis, Indiana and had his first experience with music at the age of 8 when he took up saxophone in school because it was the only instrument they offered which was also played by SHA NA NA (Neil's favorite band!). By the age of 10, Neil discovered the guitar and just immersed himself in it teaching himself from books and a few formal lessons, but mostly by ear from his collection of rock'n'roll records. There wasn't much for a kid to do in Indianapolis besides find trouble (and Neil found a LOT of it!) so the guitar became his main outlet throughout his teenage years and he played in many garage bands during that time. In 1986 when Neil was 18 years old, he encountered a guitarist wanted ad on a wall at a local music store. The ad was from a Florida-based band called STEVIE STILETTO who were a punk and pop band with a few records out on an independent label. He met the band and stayed up all night learning their entire latest album, Neil quit his job flipping burgers at Hardee's, quit school, dumped his girlfriend, sold his car, moved away from home and was on the road with a crazy rock band! Neil continued touring and recording with Stevie Stiletto for five years when in 1991 the band finally imploded in Lubbock, Texas. Neil then began releasing his own records and CDs and today he mainly plays country music." So enjoy this little record with four weird-deep-kickin'-ass-punk'n'roll numbers in its most extreme kind.

here

THE PSYCHOTIC YOUTH - Julie 7'' 1989

Punk'N'Roll of the finest by an already long-lived band that I wasn't even aware of. A short story to get to know: Psychotic Youth was formed 1985 in a small town called Kramfors by singer, songwriter & guitarist Jörgen under the name Ratfink-A-Boo Boo's. The other original members besides Jörgen were Nils (guitars), Anders (bass) and Sjöholm (drums). Gunnar who played keyboard joined later in the year. They began as a garage rock band, influenced among others by The Nomads and Wilmer X. Then later on incorporated various styles such as rockabilly, surf punk, metal, psychedelia and new wave/power-pop into their music. After two albums the band moved to Gothenburg in 1988 and continue as four piece. The band released their third full-length album Some Fun in 1989 and it became a breakthrough record for the band. The single "Julie" brought in further attention to the band's music, and I can confirm that! Two crackers on it crash like a truck through the wall of your house (especially the flip is the burner). Extensive tours followed, nine more albums as well and in 1999 Psychotic Youth broke up. Sixteen years later the band reunited with partly new members by request of US artist Kurt Baker and Norwegian Morten Henriksen (The Yum Yums) to accompany them on their Scandinavian tour in April 2015. And since then, the story continues...

- Great Thx to Fredrik -

here

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)

here

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.

here

V/A - 499 2139 1979

Oh, here again and I have a fantastic PowerPop compilation with mostly local bands from the U.K. in my luggage. Released via The Rocket Record Company, this is another nice example of an interesting record with solid tracks by short-lived unknown combos and a pleasant listening, in my opinion to the fourteen, is guaranteed. A slab that is not much valued and I think, you can get it for little money everywhere, that's a small perk so the mint fools ignore an excellent piece of wax, the artwork is simple but with useful liner notes on the insert. I didn't know any of the bands, bought them because of the low price and the release year and I'm not disappointed. Should you see the slab, buy it and enjoy fourteen lost refreshing nuggets from talented bands that deserve your full attention! That's it really for today, Soccer is due in about two hours, today versus RB Leipzig: not easy but I hope, it will be interesting and an exciting match with three points at the end. I'll see you tomorrow!

1.Sure Fire - THE ACT

2.Go Steady - THE LAMBRETTAS

3.Audio Audio - THE CLASSICS

4.Kicking Up A Fuss - MALCOLM PRACTICE

5.Carscape - ESCALATORS

6.King's New Clothes - THE VYE

7.Feelin' Hard - WOLFBOYS!!

8.Sex Object - MALCOLM PRACTICE

9.Tricky Girls - WARDENS

10.Distant Drums - THE BRICK WALL BAND

11.Career Girls - LES ELITE

12.Green Glass Green - REAFER

13.Alice In Wonderland - SINISTER

14.Skip The Beat - THE ACT

here