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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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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ACME ATTRACTIONS - Anyway 7'' 1980

This rare piece is a smiley and again 'many words for your further education which all from the booklet of the CD compilatin 'Terelene Boys from 2013 on Only Fit For The Bin Records: Acme Attractions released one great single in 1980 called "Anyway" and listen to the lyrics of this song, it is all about the late great 'Keith Moon'. The band did follow up this debut release and backed another local artist Bonnie Parker a year later. After watching the Damned in a local pub in Luton back in 1976, members of this band were mesmerized with their performance and one stand-out moment was when the Damned were being heckled by members of another local band THE Q-TIPS about their ability of playing, Dave Vanian jumped off the stage and poured a pint of beer over their heads. Then a month later they witness the Sex Pistols @ the Queensway Hall in Dunstable. THAT WAS IT! The seed was sowed and Jim and Dave knew they had to be part of this new vibrant scene and Acme Attractions were born (even though at this point it was only a dream).

Now in the bands own words: "Born from an after pub party, while miming in a front room to whatever song was on The threat of "Now let’s see if you can go out and form your own band" Was the only challenge we needed! Within six months of that night the guitarist had self-taught himself and the bass player the basic skills required to form the band (three chords). (I got my first real six strings, played it till my fingers bled). It was happening! (Me and some guys from school we got a band and we tried real hard). After months of rehearsing, it was time to show the local pub that we didn’t want to listen to 'Smoke On The Water' or 'Johnny B. Goode' anymore. It was our time. Having been influenced by the attitude of the Pistols, Clash, with undercurrents of the Who, Mott the Hoople and some self-penned songs thrown in as well Acme Attractions played their first gig. The local interest had drawn big crowds which lead to the band being banned from their first three gigs. This was not caused by violence, but due to over crowding resulting in damage caused to chairs, tables & beer glasses. The band were forced to seek bigger venues and halls this resulted in Acme Attractions being the only local band being able to fill "The Royal Hotel", the biggest of all the venues, not once but twice.

Not all gigs were as successful as that though as the landlord of The Kingsway Tavern Would tell you.  After refusing to leave the stage one night until their set was finished, The landlord locked the band in the dressing room with his Alsatian dog. Threatening not to pay them as they had played over the permitted time. His error had been locking the door, as he had no escape himself When we threatened to break his legs. The bands popularity and reputation was growing and growing and after progressing through a Battle of the Bands competition at the expense of the singer losing a front tooth, the band was making their name. Local newspapers were wanting to know the story behind the band and local promoters were asking them to headline the local festivals such as The Luton Carnival and the Marsh Farm Festival. The money gained through gigging went towards hiring a studio and the costs of producing 1.000 copies of their first single "Anyway"/"Never Again". EMI had tried to claim a percentage of the copy rights through a distribution deal that did not suit the band, so the band decided to distribute it themselves. This is why most copies of the single have tipex on the label over the line that mentions EMI. After continuous gigging and some radio air time, The band had reached a point that required more commitment To take them to the next level.

They had travelled as far as they could have on the local scene. A meeting had been called to discuss the next stage of progression and It was decided it was time for Acme Attractions to come to an end. It was not the end of the band however as the remaining members continued under various names such as 'English Dream' and 'Pressure'. With the new name of 'Pressure', it wasn't long before being signed to Anagram Records a division of Cherry Red Records. Releasing a further two 12Inches and touring the country before finally calling it a day back in 1983.

You can find the band on two splendid compilations, Raw And Rare British Punk Volume 4 (coming soon) & Bored Teenagers #11, as well. Great Stuff!

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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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STIDLJIVA LJUBIČICA - Osvrni Se Na Mene 1981

Let's come together and unlock your eavesdroppers because it waits another example of fantastic powerpop riffs, this time by Stidljiva Ljubičica from Croatia and they were active 1980-1982 in former Yugoslavia. The band split up soon after releasing second album. Members were: Renato (vocals, organ, piano), Zlatko (guitars), Tvrtko (bass), Elvira (drums). Glorious music deserves background knowledge and I give you a bumpy translation because my Croatian is a bit rusty, but I think you can follow that, here we go:

The emergence of a new wave in the music scene, which enabled various musical styles and directions to simultaneously exist in this region at the same time. In the beginning it was underground art music created by people often without big musical experience and not much talent but with a lot enthusiasm for new ideas. There were various fusions and almost incompatible directions that created new hybrids of completely unique and original music. Combinations of rock'n'roll, punk, ska, surf, new wave created Clash, Talking Heads, Blondie, B52, Ramones and many more... in Yugoslavia by Film, Haustor, Azra (only the first two albums), Stidljiva Ljubičica and some other bands who wanted to use this boom to catch a slice of glory of the wings of a successful trend which enters the mainstream.

Stidljiva Ljubičica unmistakably had the characteristics of a famous new wave groups, they appear suddenly, out of nowhere. They were more than ten years younger than their competitors. They had a female drummer Elvira (not common at this time) & they were fuckin' teenagers who held their first gig at the end of 1979 in the hall of the high school center Vrbovec. Their songs are short, mostly 2-3 minutes long, varied, completely stripped of superfluous arrangements and with catchy beats. Lyrically small pop art stories. They performed in cinema halls, clubs and in smaller towns. The audience celebrated them frenetically, they played a couple of two-minute songs and ran off stage. There they were greeted by a bunch of journalists and photojournalists so they held a short press conference and told them "we release our first single via Jugoton and starting recording our first album."

In summer 1981, their debut 7Inch 'Volim Te' was released and a Yugoslavian version of Top Of The Pops invited them and the whole country became aware of the fantastic four! At that point, the band had about twenty songs ready so they go ahead and started the recordings for their first album, Osvrni Se Na Mene. Before that, they decided to celebrate their success with a promotional concert at the sports hall in Vrbovac, together Johnny Stulic and Azra, and held a concert in front of thousand people. Many gigs all over Yugoslavia were made in front of several thousand visitors & it was a great opportunity to promote the album which they recorded and mixed in seven days. Despite the praise of the media, the commercial success of the album was not as satisfactory as that of the record label.

The band decided to start immediately with the recording of the second album Jesenje Frke, with the idea, that after recording, Renato (he hasn't finished high school) as soon as possible join the army and Elvira start a job at the media and when the record is out, she will be performed again, as well as Renato's return from the army. There was very little no praise for the album, because there was not much opportunity to promote it. It was early 1984 that the group could physically reunite, but the members couldn't find the feelings of the "old" spirit, so there was only one concert in the original cast at the Pauk Hall in Zagreb. The air was finally out and Stidljiva Ljubičica history.

Don't hesitate, get it!

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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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ZYNTHSLAKT & THE PAST - 7 Låtars EP 1983

This rare split EP has to bands from Köping on it and their sound is clearly at home in catchy dirty fast punkrock.

Zynthslakt (Swedish for synth slaughter) was a band that started around 1982. Mikael Thörngren, who played drums, was impressed by the energy of bands like the Clash and the UK SUBS. Together with Per Granberg's twin brother John (guitar in Charta 77) Zynthslakt were born. Because it was expensive to make records, explored other bands to share the cost with. Result was the split single with N.O.S. The band released another split EP called 7 Låtars with with The Past. They played a lot outside Norrköping, Mikael remember once in Västerås they liked the band that just played on stage was so bad that they took over the instruments. But it did not get better because everyone was a little too round underfoot. In Kolsva they would play along with Kent Impotent. No one knows exactly what happened, but Zynthslakt never played. According to "Goofy" was the band members had to go home to Köping the evening. The album 'Spraya På En Vägg' came out 1984 on Rosa Honung Records. That same year the band folded. A posthumous EP 'Hit Med Stålarna' saw the light of the day in 1986 containing all the Zynthslakt tracks from the split singles. The track 'En Stad, En Bomb' was contributed to the 1983 cassette compilation 'Bara En Dröm'. 1993 Rosa Honung released another sampler containing the songs 'Religion Blood' and 'Land Of War'. The fact that some members were in the army, disbanded around 84-85. Then started the band J. Hex and the Scarecrows, which did not have much in common with Zynthslakt and its punk.

The Past started by the turn of the year 80-81 and consists of on Roger Andersson (drums), Pelle Hedblom (bass) and Linus Linder (guitars). Everybody was singing just to not hear who sung most false. Later Linus got to take over most of the singings. They started to play covers jut to learn how to play. Because no one in the band know how to take one single chord in the beginning. As fast as they got ready they started to write own songs with influences from bands like S.L.F., Sham 69, Sex Pistols a.o. 1983 they recorded their first record which was splitted with Zynthslakt, also a band from Köping. It was a 7-song EP sold in 1000 copies. Then they struggled on to get money to record a 7” which was supposed to be released on Birdskit, but the sound was damn bad so it was never released, but Birdskit sponsered them to record a MLP “In The Future With The Past” 1987, the single got to be included as a bonus with the first outgoings. Then they contibuted on “Swedish Stand” a compilation from the Indie labels in 1990. The Past still exists...

Great stuff from both which makes you hungry for more. ENJOY!!

- Special Thx to Fredrik -

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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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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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BERLIN - Over 21 7'' 1980

One of the early Dublin Punk/New Wave bands. Early line-ups included John Borrowman & Chris Green who left in mid-1978 to form The Atrix . Ex School Kids drummer Charlie Hallinan joined around the same time, while original drummer Pat Moylett (brother of Boomtown Rat Johnny 'Fingers' Moylett) became the bands manager. Berlin were accused of cashing in on the Rats connection by some and even of copying their act outright, especially lead singer Brian Devon, but these accusations was unfair.Berlin supported both The Clash and The Jam at the Top Hat in Dub Laoghaire, two legendary gigs in Dublin which thousands now claim to have attended. They were treated badly by roadies when supporting Graham Parker at the Olympic Ballroom, which resulted in some equipment damage. They turned down an offer from RSO Records and had two tracks ("Tube Talk" and "Waiting For The Future" slated for inclusion on the aborted/delayed Irish new wave comp which eventually became Just For Kicks in late 1979. During November-December 1978, Berlin and the New Versions set out on the "Streets Ahead Tour '78" across Ireland, the first new wave tour of the country. They appeared on Our Times on RTE TV at the end of the year.

Berlin played the Dandelion Market twice in 1979 and once in 1980: on 5 May 1979, 25 August 1979 and 2 February 1980. Most of 1979 was spent building momentum. They recorded demos which were aired by RTE Radio 2. They were courted by Charisma Records Dave Hitchcock as early as May and finally signed a deal with Charisma in September. The contract was for two singles and one album. The first single was announced for October but didn't come out until the following January 1980. Meanwhile their vinyl debut was on the "Just For Kicks" various artists LP released at the end of 1979, which included their track "Stop Stop", a strong effort. They played a farewell show at McGonagles on October 14, signalling their move to the UK. The band released their debut single January 1980, well after it's originally announced release date of October 1979. "Over 21" is a great pop punk track, though the band came in for some stick for being well over 21 themselves, especially Brian Devon and Maurice Czerniak. Both sides were written by bassist Maurice Czerniak. The Portugese issue appears to have predated the Irish & UK release by a few weeks. They performed the A-side (and, as far as I recall, another track) on Our Times on RTE Television, though I may be remembering the 1978 appearance. I vaguely recall Brian Devon holding up a sign saying "Hello Mum" or "Look Ma, I'm on TV". Does anyone have video of this? In February 1980 they embarked on a UK tour and appeared during the Sense of Ireland/Sounds of Ireland gigs in \ London in March 1980, playing Acklam Hall with U2 and the Virgin Prunes in support on the 19th (with at least one warm up gig in Nottingham a few days previous). When this failed to break the band, they split up, in April 1980.

Berlin reformed later in the year and released a second single in November 1980. "Boyfriend" appeared on Philips Records. It is a much weaker effort than their debut and sold poorly, which may explain why it is so hard to find now. It seems to have had very little distribution, unsurprising as the band split again soon after it's release. There are undoubtedly unreleased recordings (eg "Tube Talk"). Not to be confused with the Australian pop band on IRS Records who took your breath away. (Source: irishrock)

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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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BANDAGE - Republik EP 1978 + Populär 7'' 2015

You take what you have, Bandage thought and sat in a boy's room in the mid seventies and tried to mimic the hard rock bands with the help of acoustic guitars. In April 1977, they thought it was time to buy real gadgets, and in the same vein they heard the Ramones, The Clash and Sex Pistols and decided that it was punk they wanna play. In July the same summer, they did their first gig at a farm party in Tyresö. The set was then Peter (vocals/bass), Jan (guitar) and Stefan (drums). A little later Stefan #2 joined as 2nd guitarist. Then the high school began to approach the end and for a couple herded the lump. When Bandage rented a studio in May 1978 to record this four-song EP, it was already almost clear that the band would be closed down. Although the studio technician had to decide, it had not become a record. He suggested a little tentatively that it might be enough if they used the recording as a demo ... But a record it was, though so terribly punk it didn't sound. "Republik" their attack on the royal house, and closing "Sven Brutal" were pretty tough songs, while "Jesus Lever" could be mistaken for a religious song. However, they assured it was irony. And speaking of irony, they changed the lyrics from "Republik" to "Diktatur" instead of emphasizing the irony. But according to David Halvars, it was marginally more people who understood the irony in the text line “Dictatorship - We should have that! Dictatorship - We want that! Dictatorship - We shall have that in our country ”. Over time, a new bandage emerged. With only Peter and Jan from the original set, they continued for a while before the band went to the grave for good. (Info from the book Ny Våg)

In 2015 Slyngel Rekords dug out two more lost nuggets from the Stockholms and released the single in an edition of 300 copies in purple vinyl. They exchanged a few members, including David Halvars from Bitch Boys in the band, and recorded a demo in 1980 that sounded much rougher than the EP. The demo ended up on the radio program New Vags editorial which meant that the Swedish people got to experience a catchy punkpop song named "Populär". What should I report further? This is excellent stuff whereby I like the new single almost better but that's like everything, a matter of taste and I’m sure you’ll enjoy this fantastic stuff - they only existed about a year and never get outside Stockholm.

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EBBA GRÖN - Kärlek & Uppror 1981

Second album by Ebba Grön on Mistlur and a lot more polished than the debut We're Only In It For The Drugs, but still good. The original members were Joakim Thåström ("Pimme"), Gunnar Ljungstedt ("Gurra") and Lennart Eriksson ("Fjodor"). After their second album in 1981 they were joined by a fourth member, Anders Sjöholm ("Stry Terrarie"). One of the most famous songs they recorded is a cover by the Swedish progg band "Blå Tåget", and is called "Staten & Kapitalet", a song with anarcho-syndicalist political lyrics about how the government, "Staten", and the private corporations, "Kapitalet", cooperate to control and enslave the working classes. During a party in Rågsved, a working-class suburb of Stockholm, in 1977, Thåström, Gurra and Fjodor formed a band called "The Haters". A few days later they changed the name to Ebba Grön after the codeword used by the police in Operation Leo. One of the first songs performed by Ebba Grön was the controversial "Skjut En Snut" (Shoot A Cop), which was never officially recorded. They released their first single "Antirock" on April 21, 1978. The band bought all the 500 copies themselves and sold them in the streets. After a concert at Långholmsparken, which was recorded by the national radio, they were contacted by Mistlur record label, and offered a contract and to re-release the single.

Ebba Grön started a hectic period of touring all over Sweden, during which they also released two more singles. In 1978, the time had come for their album debut "We're Only In It For The Drugs", with songs about the tough, yet boring lives of young people in the working-class suburbs. Ebba Grön also covered White Riot,a song originally performed by The Clash at some of their gigs. The lyrics and the music of Ebba Grön were always credited to the entire band, but after a while it became more obvious that it was Thåström who was the creative engine, and he would also have the most successful career after the breakup.

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DANGEROUS RHYTHM - s/t LP 1981

Today and tomorrow the semi-finals and I can hardly wait until it starts. Four teams, each of which I think has the quality & power for the title, but only two make it to the final, we'll see who achieves it. In any case, my tip is clear if you have paid attention. But let's change the continent for a moment and take a detour to Central America and visit Mexico City and meet Dangerous Rhythm and you heard right, Mexico isn't much known for numerous punk bands, but they exist there too. D.R. was formed in Mexico, August 1978 by Cuban singer Porfirio "Piro" Pendas, Marcelo (guitar), Johnny (bass) & Rip Sick (drums), and can claim to be one of the first punk bands in the country. Piro, the band's vocalist, immersed himself in the whole Los Angeles scene, and was in contact with the Chicano side of the city through Tito Larriva from The Plugz and other bands from the area like Circle Jerks, Fear, and Black Flag. The impact of punk classics like the Sex Pistols, The Clash, or the Ramones obviously had a big influence on their sound. Dangerous Rhythm never forgot their family tree, absorbing large doses of unconventional rock like the New York Dolls, The Stooges, and Lou Reed. All these elements helped the band forge their own style and so they starting with songs sung mostly in English and vibrant, direct melodies and in 1979 the time had come and the band released their first EP No No No via Orfeon with three fantastic killers. After laying the foundations of the non-existent punk scene and recording their first eponymous debut album in 1981. It was released by Hip 70, a label run by Armando Blanco, who owned the club of the same name, which was the focal point of the Mexican scene in the '80s. The end result was mind-blowing and shows a band with nerve that played new wave with a punk rhythm. Their debut was reissued by a Spanish label called Beat Generation on 180-gram vinyl and features replica cover art and inserts plus a liner notes written by Piro in an edition of 500 copies. Solid Stuff!

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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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