PROTEX - Strange Obsessions 1980/2010

An unreleased album recorded for Polydor around 1980, finally released in 2010 by Sing Sing Records. Protex was a band from Belfast and formed 1977 after a Clash gig by Paul Maxwell (bass/vocals), Owen McFadden (drums), David McMaster (guitar/vocals) and Aidan Murtagh (guitar/vocals) and they released four nice 7Inches and are on numerous compilation (click me). The band was greatly influenced by The Clash and took their original name, Protex Blue, from an album track on The Clash's eponymous debut album. The band did not realise the Clash song was about condoms. They toured much. opened for the Boomtown Rats on their UK tour and on further tours in America and Canada in 1980. Protex's final release for Polydor was the single A Place In Your Heart, after which they were dropped by the label. The band did farewell shows at the Pound Club in Belfast before splitting in 1981. In 2010 New York label Sing Sing Records unearthed unreleased Polydor recordings for an album that never happened and released them on vinyl as Strange Obsessions. This prompted renewed interest in the band. Original members Aidan Murtagh and David McMaster reformed the band with new members Norman Boyd on bass and Gordie Walker on drums and they're still alive.

- Great Thx to Reinhard -

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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 CLASH - s/t LP 1977

Veteran of the punk movement and one of the most influential bands that shaped our culture. Their debut album is still the best for me and belongs in every well-stocked record collection. A few basics: The Clash were formed 1976 in London as a key player in the original wave of British punk rock. They also contributed to the post-punk and new wave movements that emerged in the wake of punk and employed elements of a variety of genres including reggae, dub, funk, ska, and rockabilly. For most of their recording career, the Clash consisted of lead vocalist and rhythm guitarist Joe Strummer, lead guitarist and vocalist Mick Jones, bassist Paul Simonon, and drummer Nicky "Topper" Headon. Headon left the group in 1982 and internal friction led to Jones' departure the following year. The group continued with new members, but finally disbanded in early 1986. You can read more about their records and career, etc.. in the net. I need a little refreshment and open now a cold Allgäuer, Cheers!

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GENERATION X - Untouchables (Live & Demos 1981)

"This group are important. They are something new, young and exciting. They're fuckin great!" Mark P.(Sniffin Glue 5.11.1976). This nice release was brought to us by A William Broadcasting Production and I don't know the exact release date but that doesn't matter, fifteen live recordings in a modest quality, plus three demos gather here for an hour to document the early days of Generation X, formed in London during the fall of 1976, Billy Idol (guitar), Tony James (bass & vocal) and John Towe (drums) perform a few gigs, under the name Chelsea with Gene October as frontman. Idol and James are also developing a song writing partnership, the results of which are not performed by Chelsea due to a lack of fit with the current group. Idol and James eventually decide to leave Chelsea so that they can create a group based upon their own vision and songs. John Towe comes along as well. On December 4th Billy finds the missing key to their new line up at the Fulham Arts Centre, when he sees seventeen year old Bob "Derwood" Andrews playing guitar in the band Paradox. Derwood is quickly recruited, given a hair cut, and within as little as three weeks after leaving Chelsea, Generation X play their first gig. In mid April 1977, Generation X decide that the weak link in their line-up is drummer John Towe, and he is asked to leave. After auditioning over twenty different drummers, they decide upon eighteen year old Mark Laff (a.k.a. Mark Laffoley). He was drumming for Subway Sect, and upon completion of their lengthy tour with the Clash, leaves to join up with Generation X. With Mark Laff now on-board, the "classic" line-up of Generation X is complete.In May 1979, Bob "Derwood" Andrews tells the other band members, that he is quitting the band. However, his departure is short lived and he soon comes back to finish the remaining live dates (including a tour of Japan) as well as recording sessions for the 3rd LP Sweet Revenge. On December 19th 1979, Derwood again announces to the band that he is leaving and this time sticks to his decision. On January 23rd 1980, Billy and Tony ask drummer Mark Laff to leave the band as well. Bob "Derwood" Andrews and Mark Laff go on to form the group Empire and release one LP Expensive Sound in 1981, before breaking up. Billy Idol and Tony James recruit former Chelsea guitarist James Stevenson and ex-Clash drummer Terry Chimes, re-christen the group Gen X, and go on to release one LP Kiss Me Deadly in 1981, before breaking up.(Source: Mark Gale & Mark Laff) I think you are well informed now so enjoy their sound at maximum volume!

Ready Steady Go/Trying For Kicks/Triumph/Anna Smiles/Valley Of The Dolls/Revenge/Day By Day/Rock'N'Roll/Shakin' All Over/Heavens Inside/Untouchables/Andy Warhol/Poison/Kiss Me Deadly/New Orders/Dancing With Myself/Taxidriver

- Great Thx again to Reinhard -

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T.N.T. - Manifiesto Guernika 1983

One of the pillars and most important records of early Andalusia punk, this LP from 1983 was the only official studio album by Granada's TNT. (A Spanish band that shouldn't be mistaken for an identically-named Swiss group). They mixed '77 punk, early 80s post-punk and late period Clash in a record that covered themes such as the Spanish Civil War, George Orwell's "1984", Stanley Kubrick's "A Clockwork Orange" and the poetic influence of the band's place of origin. In January 1982 they recorded the demo Una Naranja Mecánica, which included covers of Clash songs, “Johnny B. Goode” and original songs. At the end of 1982 they signed a contract with DRO to record their awesome single "Cucarachas". That 7” was followed by one of the most impressive singles of early ’80s Spanish punk: TNT paired “Guernika,” based on Pablo Picasso’s painting, with “Gilmore ’77”, an intense track about the case of U.S. convict Gary Gilmore. When in early 1983 the record label told them they needed to release an album, the band had already conceived a specific project, a kind of collage where they could express the ideas they had in mind. And the result is this pearl here.

A review: "This debut album from Spain's TNT is a mixed success. It contains a brace of melodic mid-tempo punkers with bouncy appeal, but there are also a couple of catchy pop ditties (like "Deberías Tener Cuidado"), silly commercial numbers ("Radio Crimen Charleston"), post-punk things ("La Noche..."), and even synth muzak ("El Jardin Extranjero"). "Habitácion 101", "Sin Futuro" and "Nadsat" are the most appealing of the previously unreleased cuts." - Jeff Bale (from Maximum Rocknroll #16, August 1984)

The band would carry on with some line-up changes until they finally split up in 1985. Since then, they have reunited on different occasions, the last one more recently, when they decided to re-record some of this tracks and the reissue with original insert came out in a limited edition in 2010 on Munster Records. I know, you enjoy this brilliant gem because your hearts at the right place.

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THE UNDERDOGS - The Punk Demos Collection 2015

Fine tidbit by Common People Records which remastered the demos of the Underdogs and brings this as limited edition finally for us available. All tracks taken from their first demo “Riot In Rothwell” that was recorded 1982 and from their second demo “East Of Dachau”, recorded 1983 and it's a terrific revelation, pure impact. Info from Backcover:

The Underdogs from Leeds, were a prolific band of the second batch of UK Punk. They recorded two brilliant demos between 1982 & 1983. The band were formed in 1981, and their name was inspired by the song of the Mancunian legends The Drones. Although some pundits likened them to the The Clash, SLF and Dead Kennedys their own preferences were varied. That said, all four members were fans of The Clash. They rehearsed at the Windmill Youth Club in Rothwell (Leeds), which was also the launching pad of fellow Riot City Punksters, The Expelled.

They recorded their first demo in 1981, which included the songs 'Big Brother' and 'Make It Last'. However, it was their second visit to the studio in 82/83 (this time funded by Riot City, that saw their finest hour), the production of 'East of Dachau' EP, which, with 'Johnny Go Home' and 'Dead Soldier' announced their arrival on the Punk scene.

Despite limited success, mainly due to lack of gigs, Riot City persevered with the band and an 8' track Mini-Album was planned for the following year. Sadly, Riot City fell into financial difficulties at this time and so those 8' tracks, which included 'Never Gonna Give Up', 'Hate Bomb' and 'Paint It Red' never saw daylight. During the following year they managed to do a few gigs, supporting The Toy Dolls, Angelic Upstarts and Subhumans among others but they never got the chance to play outside the UK. The very last line-up was: Bill and UG (The Underdogs) and Macca and Tim (The Expelled). By this time they had changed their name to Paradise West. They played one gig supporting the Upstarts then disbanded, permanently. 'Riot In Rothwell' was released posthumously... Using the tracks from the 8" track EP that never was. (UG 2015)

Fifteen solid punk dutties, still fresh and without a best before date - TOP!!!

- Great Thx to Fredrik -

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THE DISHRAGS - Love/Hate 1997

A quick re-post now: When the Dishrags formed 1977 in Victoria, British Columbia, they were like the Runaways without Kim Fowley's behind the scenes machinations: three teenage girls, singer & guitarist Jade Blade, bassist Dale Powers and drummer Scout, devoted to the Ramones and the Clash and creating their own short, sharp shocks. Moving to the more punk-friendly Vancouver scene (where bands like D.O.A. and the Pointed Sticks were already defining the sound of western Canada's new wave) in 1978, the Dishrags made their debut on the now-legendary Vancouver Complication anthology. If they had never made another recording, the Dishrags would remain beloved in punk-fanboy circles for the track "I Don't Love You." 103 seconds long and built on an insistent, scratchy guitar riff and a positively crazed drum part played primarily on the ride cymbal, "I Don't Love You" is as clangorous and primitive as U.K. second-wavers like the Slits or the Desperate Bicycles, but it also features an instant-classic pure pop chorus that would do the Buzzcocks or the Undertones proud.

The Dishrags followed that up with a slightly more polished three-track EP, "Past Is Past," and following a lineup change (Powers being replaced by second guitarist Sue MacGillivray and bassist Kim Henriksen) the band traveled to London to record the EP Death In The Family. Produced by Chris Spedding and featuring a more traditional punk-pop sound akin to the Adverts' first album, Death in the Family was insistently tuneful and clever. The wistful title track seemed to have actual hit single potential, while "Love/Hate" explored a darker post-punk sound along the lines of Siouxsie & The Banshees. Though RCA's U.K. imprint released the EP, it disappeared almost immediately, and the Dishrags broke up. Over a decade and a half later, the Canadian reissue label Other People's Music gathered the complete recordings by the Dishrags -- the two tracks recorded for the Vancouver Complication sessions, including the previously unreleased "Bullshit," the single, the EP, and ten demos and live tracks including covers of Lou Reed's "Vicious," the Ramones' "I Don't Wanna Walk Around with You," and the Clash's "Janie Jones," alongside previously unheard Dishrags originals. This is a textbook example of how to do a punk-era reissue properly. Review by Stewart Mason (source: AllMusic)

- Great Thx to Dante D -

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THE STANDBYS - E.P. 1980

A nice 7Inch for the weekend and this is the Standbys one & only record on World Records. Founded 1978 in San Diego by four students and the band consisted of Tom (vocals/bass), Dave & Jeff (guitars), Ted (drums). The roots of the band go back to jam sessions between guitarist Dave and his brother-in-law, including a few party gigs playing Ramones covers, soon accompanied by singer/bassist Tom. According to Dave in a local Snare 'zine interview, "The name of the band came from it being flashed on the TV. It was either that or technical difficulties, but I couldn't spell it." Word of mouth increased after they opened for the Clash at Golden Hall in October 1979. "The Clash were really nice," says Dave. "I've never been so scared in my life was I was at that show. But Mick Jones thought we were really neat." (San Diego Reader) - The Standbys recorded an album alongside this single called Buy Now Or Die Dumb but I'm not sure if its came out, and split up in 1985. One song was later featured on their only compilation appearance, Back To Front Vol.4.

- Great Thx to Fredrik -

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2760 - Numbers 12'' 1980

Here's another rare record from a band I can't say much about. Presumably the reason is that this is not really a punk plate. The five gentlemen, from Stockholm I guess, prefer a rock sound like the Clash or something in this way. Released was this on Adventure Records and as far as I know their only record, they had more two songs on the Let It Out compilation and that's it. If you need something different like me as always '77 punk then is this the right choose. A welcome end to a long hard day.

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RUBBER CITY REBELS - s/t LP 1980

Last post March and sailing across the Atlantic and stop in Akron, Ohio and meet the Rubber City Rebels, formed 1977 by Rod (vocals), Buzz (guitar), Donny (bass), Stix (drums) and Pete (keyboards). Let me give you a bit info from wiki: "In their early years, the Rebels were fans (and friends) of fellow Greater Cleveland-area bands the Dead Boys and Devo. Their breakout show was opening for the Dead Boys at legendary New York City rock club CBGB in 1977. This led to a split album with the Bizarros, titled From Akron, which was released that year on Clone Records. The Rebels moved to Los Angeles in 1978, minus Pelton (who was replaced on drums by Mike Hammer) and Sake (keyboards were deemed unnecessary for the band's change to a heavier sound), and gained considerable fame on the Sunset Strip. The band was signed to Sire Records; however, a clash between band and record label ensued and the recording contract was terminated before the Rebels could record their debut album. Following some personnel changes (Damage and Hammer left to form the Hammer Damage Band, replaced by Johnny Bethesda and Brandon Matheson, respectively), the Rebels signed a deal with Capitol Records and the eponymous debut album was released in 1980. Although praised by critics, sales of the album never vaulted the band past its underground status. In 1981 a 7Inch follows and the band faded from the scene and ceased touring in 1988, although they never officially disbanded. Despite not touring or recording any new material through the 1990s, the Rebels' reputation and support among fans remained strong and in 2001 the Rebels were back and still alive." So let's enjoy ten superb Ohio crackers and have a great weekend.

- Great Thx to Fredrik -

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V/A - It's A Youth Explosion! Vol.1 2020

Dear followers & visitors, there is a new little series from Heavy Soul Records and what the creators are unveiling here is first class stuff that is pretty close to the KBD compis, and yes, even better because most of the songs are unreleased, jaja... and described as follows: Fourteen rare & unreleased tracks taking in all that was good from 1977-1984ish. You get Punk, New Wave, and Mod revival all within the amazingly created artwork from Alf Button's Revenge. All fully remastered from a whole source of different formats to create a sound crispier than a bag of Wotsits! The names may not be familiar, but the "Sounds From The Street" created will certainly take you back to when all you needed in life was an LP by The Damned, Clash or Jam and a guitar, bass and drums. All original tracks, by a whole range of musical talent. So a perfect gathering of unearthed classics, limited edition is to be specified but no one knows how many copies were actually pressed... who cares!

1.Circa 2 - THE LIMPS

2.Someday - URBAN ENEMIES

3.30 Seconds - PATROL

4.Bright New Future - THE MEDIA

5.Let Me Show You Love - BACKSTAGE PASS

6.Talk - THE TWINSETS

7.Phone You - SLEEPERS

8.Lambs To The Slaughter - MIDNIGHT HOUR

9.Just A Dream - REACTION

10.One Of The Boys - THE DETOURS

11.She Don't Know - THE FACE

12.Dance Step Beat - THE MOD-L'S

13.Sound Of Today - STATION 360

14.In The Crowd - THE PLOY

- Great Thx to Bristolboy -

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THE NAILS - Dangerous Dreams 1986

Before I dedicate myself to football this record and I don't know how I got this? Anyway, fact is that also very good new wave music was created overseas, a bit different from the UK sound but The Nails prove with their second album that they had what it took, ten beautiful melodic songs crown Dangerous Dreams and I listen to it a second time in a row (especially the voice of Marc is fantastic). A bit info from wiki: the Nails were originally a five-piece new wave band that formed in Boulder/Colorado in 1976, originally named as the Ravers, and their roadie, Eric Boucher, later became known as Jello Biafra of the Dead Kennedys. The band members were Marc Campbell (lead vocals, guitar), Dave Kaufman (keyboards), Al Leis (drums), Artie Freeman (lead guitar), and Jon Cormany (bass).

In 1977, the Ravers recorded an EP in Boulder with Screwball Records. The Ravers moved to New York in June 1977 and played the showcase clubs CBGB and Max's Kansas City. Shortly after arriving in NY, The Ravers changed their name to The Nails (there was a local band named Raver). A '45 with the band's original lineup was recorded in New York City in 1978. By mid-1978, Leis (now deceased), Cormany, and Freeman (now a medical school professor) had left the band.

By the late 1970s, The Nails had established themselves on the club circuit and were now composed of vocalist Marc Campbell, bassist George Kaufman, saxophonist Douglas Guthrie, drummer Mike Ratti (Dennis McDermott on Mood Swing), keyboardist Dave Kaufman, and guitarist Steve O'Rourke. Hotel for Women, an EP recorded in 1981, contained an early version of "88 Lines About 44 Women", a song that caught the attention of RCA. The Nails were signed to RCA by Bruce Harris, also known for bringing The Clash to America. In 1984 "88 Lines About 44 Women" was re-recorded for RCA and included on The Nails' full-length debut LP, Mood Swing. The song received regular airplay despite a number of double entendres and lyrical references to masturbation and sadomasochism.

Two years later they released Dangerous Dreams, also on RCA. Both Mood Swing and Dangerous Dreams made the Billboard top 200 album chart and were critically acclaimed. But after the release of Dangerous Dreams The Nails left RCA. RCA did not release either LP on compact disc. "88 Lines About 44 Women" continued to appear on compilations 20 years after its release and was featured in a Mazda television commercial that aired in the late 1990s.

In 1988, the band reconvened (without Guthrie and Dave Kaufman) to record a third album, Corpus Christi, which was not released until 1993 and received little exposure. The Nails deny ever receiving any proceeds from this album, citing a rift with their former producer, claiming that he swindled them of their rights. They posted re-recordings of these songs on the late George Kaufman's site, along with the explanation of the dispute. They strongly discourage fans from purchasing the album, as they will never be compensated.

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YPÖ-VIIS - Hyvästi Masentava Maanantai 7'' 1980

Ypö-Viis made history in Finnish punk scene. They were the first punk band to have a self-released record out. Ypö-Viis was formed in Karhula in summer 1977. Originally the band was five-piece, but as they changed their style to new wave, the organ player and second guitarist were dropped off. The remaining trio was Miika Söderholm: bass & vocals, Mikko Holmström: guitar and Rabbe Johansson: drums. Their first record was the one-sided self-financed 'Energia On A Ja O' (200 copies) and were published in late 1978. The latter song was a cover version of the Clash's, 'London's Burning'. Followed by the 2nd single 'Mari Pogoaa' from 1979 and a contribution on the great Hilse compilation. They moved to the legendary finnish label Poko Records and in autumn 1979 the 3rd record 'Me Myytiin Itsemme' came out. In spring 1980 they made by far their best release, the single 'Hyvästi Masentava Maanantai'. The B side is sung by Räsänen. Both are catchy tunes, and everything looked good again. Ypö-Viis existed from 1977 to 1981.

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STALAG - Date Limite De Vente 7'' 1981

Stalag was a short-lived four piece from Bordeaux, today their lone 7Inch on Studio Isis Records with two superb smasher. Info: It all started in the spring of 1978 when Kick, singer of Strychnine, friend of Thierry introduced him to two of his friends, one bassist, the other drummer: Richard and Jean. Following Chinoi's rapid passage to this post, deemed too old and technical, Vincent "Tungstène" Simonacci, a student from Dordogne, was recruited after having worked hard to impress his examiners. The audition of a first demo was almost fatal to the combo, but the real blow is dealt a little later when Richard, pillar of the band, leaves Stalag to join Strychnine. The savior will be Raymond Belliard, alias "Beber" & "Magic Ray", a roadie from Standards with an unforgettable look that our three friends flashed on. According to legend, Beber, who had a superb bass which he had never played in his life, surveyed the repertoire in a few days. The quartet was born and started with the anthem "You're not good for nothing!" their brief existence. The image of the bad wankers that they give off at the first appearance is contrasted by the committed statements, the sound and the self-sacrificing atmosphere of their concerts. Stalag works hard and Thierry shows in his lyrics with his magic pen with privileged themes such as fashionable Parisianism, society and the left behind, daddy's boys and the forbidden.

Their charisma puts them more in line with the Clash than the Pistols, and Stalag's many fans (who formed very quickly) chant these words as they gaze at the stage and pogo around, nurturing the group's darkest side. Stalag becomes identifiable to the institutions, who call it "public disorder". Some concerts are canceled as a precaution. It is both the excesses and the ultra-realism of the revolutionary message that make Stalag a historic group. Traces of their precocious power can be heard on this 7Inch and on some wild compilations. But Stalag is best enjoyed live. They will include more than a hundred appointments in total, which is not negligible for a group of the time! They owe this activity in large part to the work of Boogie Production, a company run by Richard and Fabrice, which gave birth to the famous Bordeaux rock tours. In 2003 Cameleon Records re-released their single in an edition of 300 copies and was sold out in a short time and 2007 followed a compilation Dernier Cri via Mémoire Neuve with all songs of their active days plus rare live goodies. Stalag rules, even today! 

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DECLINO - Terra Bruciata 2LP 2017

I thought, I had already posted something from this great band, but even after checking it three times, I didn't find anything except a few compilations. Well, it's time to change that today, and the best way I can do that with a fucking great release by F.O.A.D. Records. We're talking about Declino, a four piece based in Turin, active between 1982 and 1985, and they were one of the most influential Hardcore/Punk bands in Italy. Members were Sandro (vocals), "Mungo V.R." Bertotti (guitars), Max Occhiena (guitars on A1 to A9), Silvio (bass), Orlando (drums on A1 to A6), Roberto (drums). They were featured in early MRR reports on the Italian Punk/HC scene and were also featured on the essential P.E.A.C.E. double LP compilation on Radical Records! Their style was a very energetic clash of speed, rage & creative songwriting. They were definitely the first in their area to develop a mature style that leaned more towards the intensity of full-on Hardcore than the rawness of Punk.

So this essentiell Anthology (limited to 550 copies on black, 150 copies on ultra clear vinyl) includes all their existing studio recordings, consisting of: the debut EP (1983), Mucchio Selvaggio split tape/LP with Negazione (1984), three unreleased tracks (1984), Eresia 12″ (1985) and a complete soundboard live recording (Denmark 1985) never released before in its entirety. I know all you maniacs of angry and raw energy will love this double album, and all you others as well.

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CALIGULAS BARN - Askungen EP 1981

And further with awesome old rare stuff from the early days. Drummer Mats Westin was on its 16th anniversary on 28/9 in the year of grace 1979 grapevine aware that he was a member of a punk band called Caligula's Barn! Guitarists Magnus Kollberg and Eric Levander had already switched to the Swedish punk and plank Ebba Forsberg and already honed the concept of Caligula's Barn. An early draft of "Stick To The Soviets" was reworked to be acquired but the first song, with Mats on the drums, "Blood In The beard" as straight irony total of anywhere from dictators to scientists. The group's major milestone was the fourth gig at The words house 12/9-80 when it recently reached Umeå and managed to lift themselves together, gameplay. The whole thing has been preserved in a good audience recording. A typical gig where the Ramones, Clash, Ebba Grön and selection of Swedish bands such as The Baiters and attacks are mixed with many originals. sixteen songs cleared in forty-five minutes. But it did not pay Caligula Barn a milestone on his record. New new wave and the influences should have worked, but was scuttled by a nice "production." The single became a little punk, but fortunately did tape is heated to several ropes. The band was characterized by energy - perhaps more fun than aggression - and a measure of humor, for example: the slogans "total dots with scratching" and "pop with speed stripes". Opinions on the CB was really polarized between "the worst band you've heard" to "impressive vocal harmonies." Immediately in 1982 transformed the band to El-Alamein, with more pronounced new wave sound and a minor emphasized pop rock. 1984 converted it to The Trap, which popinfluenser of vintage/retro character was heard more than in previous projects.

- Huge Thx to Fredrik -

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THE SCABS - So Called Friends 7'' 1981

The Scabs are a Flemish band that were founded by Guy Swinnen (vox+guitar), Frank Saenen (drums), Fons Symons (bass) and Willy Willy (guitars) 1981 in Diest and had their greatest successes in the late eighties and early nineties. The original line-up of the band was composed in 1979. Strongly influenced by the British punk sound of the late 1970s; they were sometimes referred as the Belgian answer to the Clash. The first single 'So Called Friends' appeared 1981 on Refused Records. After two self-produced singles, the group signed a record deal with EMI. After the 12inch 'Here's To You Gang!' and the less successful debut album 'For All The Wolf Calls' they leave EMI and move to the new label Play It Again Sam Records, based in Brussels and released seven albums. 1996 the Scabs were history. On the occasion of the 25th band birthday they came together again, played a few concerts and in 2015 came their latest record 'Ways Of A Wild Heart' out. That's the short story. I like their first two singles best because these cuts are excellent punk killers, sound & rhythm = TOP!, cool voice and 'So Called Friends' is the absolute highlight for me. Rare record and one of my favourite piece of vinyl.

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FOXY - Por Vida, Stay Foxy! 2001

So, the second semi-final of the DFB Cup will start shortly and yesterday my favourite team Eintracht managed to make it into the final and let's see who is on 27.05.17 in Berlin with us. But first another highlight which I have already posted on DU and I think it's worth to present this stuff again. This is the debut album by Foxy from Orange County, which includes thirteen songs that were produced by John Maurer (Social Distortion) and recorded 2001 at EMG Studios, North Hollywood/California. Beautiful melodies, inspired by the Ramones and Clash, and all songs are really rockin' and rollin' and they live entirely clear of the rough, but never screamin' voice of hot Lisa, uuhhhhhh..... - You can read a detailed review of the record on OC Weekly, and I leave you for today because I have to pay my bills and soccer rolls in. So suck down this brilliant album and enjoy!

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ALERTA ROJA - Historiko 81-87: La Otra Cara Del Punk 2013

 

Awesome stuff today from Alerta Roja, an Argentine Punk band from Gerli, Buenos Aires and they are considered one of the precursor bands of the genre in this country. In the late 1970s, Argentina was under a bloody military dictatorship. While Punk was rolling in the United States and England, the wave did not slosh into Argentina. At that time, a young man named Pedro Braun, alias "Hari-B", formed the group Los Testicles (1978), which would later become Los Violadores (1980). In that period, "Hari-B" had to perform Military Service, and his colleagues Sergio Gramatica and other members decided to change the name of the group to Los Violadores. From them, other groups quickly appeared, such as Los Psicópatas (1979) or Los Laxantes (1979), with Gamexane, future member of Todos Tus Muertos (1985) on guitar. Los Psicópatas (1979), later called State Of Siege, was initially made up of Pablo Stella on guitar, Fernán Contreras on drums and Daniel García on bass & vocals. After two months of rehearsals, the band would have their first five songs, from which they would choose the ones that would be part of their first demo. In mid-1981 they released the first Simple Punk from Argentina, which would be released months later, after the Falklands War. That demo would be a 7'' under the independent label created by the group itself, Pelmaso Records, produced by Marcelo Gasió, later a keyboardist for the band.

Months before the Malvinas conflict, they had already decided to call themselves Alerta Roja, as a symbol of the political moment that the country was experiencing. In reference to the chosen name, when interviewed on Radio del Plata by Tom Lupo in '83, they would mention that "" Red Is Not The Way Out Either "". During this time, Sergio Spatavecchia joined the band in voice: 11. In the case of Alerta Roja , we first called ourselves The Psychopaths. They censored us. Then we changed into State Of Siege, the same thing happened to us and before Malvinas we put on a Alerta Roja, to reflect the state in which the country lived. People didn't understand punk, and they don't understand it now. We were not Bolsheviks or Nazis. We just sang revolution, we wanted a much more powerful change. We were apolitical, totally anarchists. Alerta Roja wanted to reach the general public "without trading". Basics to the thirty goodies: Fernán (vocals on tracks: 1-19), Mongo (vocals on tracks: 1-26), Pablo (vocals on tracks: 1-19); Pablo (guitars on tracks: 1-26) & Ucci (guitars on tracks: 27-30), Daniel (bass), Fernán (drums), Marcelo (keyboards) and Chiflo (sax). Songs 1 to 19 belong to "Derrumbando La Casa Rosada", recorded in October 1982 at Estudios del Jardín. Songs 20 to 26 belong to "El Llanto Interior", recorded in September 1985 at Avatar Studios and lollies 27 to 30 were recorded live in Cement April 1987.

This great comilation from Pinhead Records shines with historical recordings of the band and they existed and survived under the nose of a violent and oppressive military dictatorship. The band played gigs in Buenos Aires in the early '80s, giving a voice to a generation of angry Latin American youth. After so many years, these thirty tracks are finally getting a proper CD and their influences pulled from music that managed to cross the ocean and fall into the hands of its members, one might hear the Clash, Sex Pistols or Wire seeping from the groves, but don't be surprised if you get a small dose of the Cure as you listen to this gem. Alongside other amazing bands from South America, Alerta Roja reaffirms that despite the conditions and lack of resources, these nations produced some amazing punk music/attitude.

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LAST STAND - Approved Cuts 1986

🌞 The warmest day so far this year and I'm in a very good mood and therefore a second post before I dedicate myself to the Bundesliga afterwards and exactly a month ago, Boston's Last Stand made their first notice at wdthtc with their spilt 7Inch from 1984 and today I post their debut on One Way Productions and this four piece existed since 1982 and I can't understand why a few Fuckers sort them to the Oi! genre?? In my opinion, their sound has nothing to do with the typical Oi! stuff so what the hell? On the contrary, I wholeheartedly agree with FPFTP's words: "They combine the best aspects of Boston's PowerPop bands like the Real Kids or DMZ with the fire of England's most biting political Punks, such as the Clash or Stiff Little Fingers. Perfect snarling vocals are worked into rousing music that's deceptively simple - It works its way into your head, rolls around and gets stuck. Like many of the best Rock And Roll bands, Last Stand have a slight blues influence haunting the guitars, setting the chords on fire. Charging Punk that swaggers with Rock & Roll bliss!" - That's exactly it. They have also been guests on Compilations, but they're all largely unknown to me, do you have any? gladly sending me. 🌞

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