KIZZA PING - Demo Hösten 1980

Well, it almost seems as if the blog death is picking up speed again, first the crash on AJ's hard drive and now Doc Drunk, who is having an extra long drink... Eieiei. Well, I hope both find their way back and enjoy their break. Now let's talk about Kizza Ping, an interesting combo from Linköping and I'll let them say a few words about herself:

 

"So was the headline in an article in Östgöta Correspondenten January 1982. Even though we were pestered by some mates it did in fact have some truth. Most of us were breed by the punk but all started to become tired. The incredibly exciting punk scene of 1977-1980 had slowly ebbed away. The bands that took over after The Clash and Ebba Grön were The Exploited and Anti-Cimex and were not as fun. Instead bands like Simple Minds, U2 and Reeperbahn came and it was about here Kizza Ping started.

The first chords appeared 1980. Anders, Johan, Lars and me had performed in punk bands as RAS, ÅOBF, Spy and Zpamhead. During the summer I had made some appearances with the joke band Rabarbarna. Helene and Annette sang "Young & pimply", the only song we had. When it was time to establish a real band during the autumn, the girls were natural members. Helene and Annette, our own Annifrid & Agnetha, were of course a big asset. They used their voices in several different ways, sometimes they devoted their time to the undervalued singing exercise in canon. Johan's and Anders' tunes differed us to other bands in the town as well as Johan's especial bass playing. The fact, that we were on stage six times also contributed, punk was simply too far away.

To arrange stage sessions was no problem at the time in Linkoeping. Just call the youth recreation centers (yes, it existed at that time) and decide a date. The music association Rock d’Amour did of course also exist and people always came. In some way we managed to take the band one step further. We got performance stage sessions in neighbour-towns, wrote contract with local Dåvhjort Records and the single ”Männen”/”Lär I Tid” (Men/Learn In Time) (of course recorded at Bosse Sound) did get a good review in the customs of that time Music Bible "Schlager". We were interviewed by Radio Östergötland, were several weeks on the local chart and did small out on tours to Gävle, Västerås & Göteborg.

Maybe we could come even further. In March 1982, just a few months after the single, we made our last play. Today, almost twenty years later, I have no idea why we did end. I must call some of the others and ask if they remember. To listen to these old songs today feels strange. Sure it sounds dated but at the same time I like what I hear. Despite we were just between eighteen and twenty we managed to do something that didn't sound like all others. And the punk most of us did return to." Peter Kagerland/April 2001 (Source: b-sound)

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SPLIFF - Herzlichen Glückwunsch! 1982

Okay folks; Monday evening and surprisingly it has been quite a pleasant day to date... that was not always so, but who fucking cares? - After the success of the album 85555 in early 1982, Spliff followed suit with their third album at the end of the same year. Commercially this was not quite as successful as its predecessor, but Herzlichen Glückwunsch! is still a solid classic nowadays. With "Das Blech" and the title track, two singles went to the crowd in advance, and musically both shot little splashes of dancing pleasure around the mob. The band presents a sound that has little in common with that of the debut. Not least thanks to Reinhold Heil, who pursues his weakness for strange keyboard sounds, and Herwig's electronic drum pads, Spliff is the perfect symbiosis of rock & electronic musicians.

A review: "Released the same year as their smash hit 85555, Spliff's third album Herzlichen Glückwunsch! doesn't feature anything approximating their immensely catchy ironic pop single "Carbonara," but it continues their fusion of rock & electronics and manages to stay interesting throughout its running time. The main forces within the band are still drummer Herwig's rock-based songwriting, the booming sound of his Simmons drums, and his punk-influenced singing voice on one end of the spectrum, and Reinhold Heil's keyboard textures, his laconic, almost rap-like vocals, and his electronic-oriented songs on the other. The group managed to score another hit with the single "Das Blech" (as in "Da Fliegt Dir Ja Das Blech Weg," a colloquialism which could be roughly translated as "This Blows Your Mind"), a coolly arranged synth funk number for the dancefloor, with an electronic percussion solo in the middle. Elsewhere on the album, there's Mitteregger's energetic title track with an almost atonal bridge, a dreamy funk song written and sung by bassist Manfred Praeker ("Tag Für Tag"/"Day By Day"), and the Kraftwerk-ian "Herr Kennedy", with vocals by all four group members. Even though Heil's contributions are more diverse and interesting, the album's best tracks are written by Mitteregger: the frantic "Wohin? Wohin?" ("Where To? Where To?"), a fast-paced rock number about smuggling in Algeria, and the epic album closer "Glaspalast" ("Glass Palace"), which keeps building its intensity from its slow, moody beginning. While nothing on Herzlichen Glückwunsch! is absolutely essential, the album is an interesting clash of styles that rewards repeated listening." [Christian Genzel]

The third album is the band's last usable release. After that, the fucking commerce grabbed them by the balls and 1985 they finally split up due to musical differences and various solo projects.

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ELECTRONAZE - Waiting For... EP 1984

Electronaze was created for the first time 1979 in Hem (suburb of Roubaix) by Mohamed "Luky" Metidji (guitar), Eric (bass) and Martin (drums). Rehearsals, galleys of all kinds and a few concerts including one in Lille 1982, with Jean-Marie Duchemin who came to lend a hand in singing after leaving the Bâtards (with Richard Cuvillier of SURPRISE). Luky: "...a crazy concert. In fact, we often went to Paris from 1979, to see the concerts, like those of the Clash, incredible, we were inspired by it a lot. I knew LSD." At the beginning of 1983, the second formation with the arrival of Nicolas Cailler (†) on vocals, Santino on bass, Eric on guitar & Martin on drums, replaced by Olivier Felix in October 1983 from the group 221 Bis Baker Street. After six months of rehearsal, a 5-track demo is recorded at G.R.A.V.E. by Herr Professor the guitarist of Killer Ethyl, who has already done that. Finally a 7Inch was born called Waiting For... and was published via the Belgian label Aaltrack Records.

In October 1984, in an interview for the fanzine Gratte-toi Le Cul T’Auras Des Verrues: “We put 2000 francs each for the EP & went to Belgium and we did it. We received a letter from Jello Biafra, he's telling us that our record was fucking great! For the concerts, we must have done about thirty, especially in Belgium and in the north of France”. The same year, we had our title "Just Wanna Be Myself" on the 1984: The First Sonic World War compilation from New Wave Records and comments on the insert: "Be Myself" was recorded and mixed live in our basement some time after receiving a letter from New Wave Records... and is the band's first track (which has been around for about five years) so it's normal that it's our first title on vinyl. Five years of getting high, of work, and of course a lot of problems but is it worth specifying. Might as well say that "Be Myself" concerns everyone, well those who still believe in it... ”. This title was therefore recorded before the EP but released after it, certainly due to the time to complete the track listing of the compilation (source:45vinylvidivici)

I guess, the band broke up in the mid 80's and this EP plus some Sampler contributions is all that's left of them, good stuff anyway.

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INNOCENT VICARS - Funky Town 7'' 1980

Specially the b-side is the burner here, brilliant song with pointed lyrics.

I never thought that would mean so much now.

The music from this band is really one of my favourites and it's no wonder that I choose the flip 'Voices' for my selfmade compilation Forward Into The Past because it's one of these tunes I can hear again and again, all day long you know. So Richard Norris was part of the Vicars and he wrote some info about when and why:

"The Innocent Vicars formed in 1980, with an average age of 14. The St. Albans band met at school, bonding over a love of Bo Diddley, the Undertones and Buzzcocks. The line up chopped and changed for a while before settling on Richard Norris (vocals + rhythm guitar), Aaron Russell (lead guitar) brother of the Toys Mick Russell), and Nigel Benson (bass) who went into a Christian recording studio in Wheathampstead to cut 'She's Here'/'Antimatter'. A host of local talent guested on the record, including Nick Egan from the Tea Set on backing vocals, Cally from the Tea Set on drums, Mark Adams from the Bodies on Roland 101 synth (making the acid house noise on 'Antimatter' nearly a decade early) and Waldo's Phil Smee on production duties.

The single sold out of it's initial 500 pressing, thanks to support from John Peel and Radio 1's Round Table show, where it was spun straight after the Clash. The band played many school discos, local clubs, various church halls and youth clubs in St. Albans, Hatfield, Luton and Harpenden, as well as a number of spots at St Albans City Hall (supporting Kagagoogoo and Paul Young's band Q Tips). They also played at the Fleur De Lys pub, despite all being underage, at a girl's Boarding school and in St Albans Abbey (twice).

After a quick line up change (Mike 'Mac' McDonald replaced Nigel Benson on bass, Steve Watts took over on drums), the band recorded a second single, a cover of Lipps Inc's 'Funky Town' backed with 'Voices'. They also appeared on two compilation albums, with the tracks 'Starship 22' and 'She Was My Girl'.

Since their release thirty years ago, the original singles have been bootlegged a number of times in America and Japan and regularly sell for over £100 on ebay. BBC Radio's Steve Lamacq named 'She's Here' one of his all time favorite records, playing it on BBC 6 Music as recently as February 2011. Richard Norris, 'Mac' McDonald and Steve Watts have all had long careers in music. Aaron Russell and Nigel Benson are currently missing in action (any updates gratefully received)."

I hope you have come to taste and on compilations: Teenage Treats Vol. 1, Killed By Death #69, The Class Of '81 and Rupert Preaching At A Picnic, all classics I think.

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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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MÉTAL URBAIN - Les Hommes Morts Sont Dangereux 1981

 

Before I dedicate myself to football, a small, considerable sound document from the early 80s: "Dead Men Are Dangerous" is the only studio album by the French electro-punk band Métal Urbain. Formed 1976 in Paris and heavily influenced by the Clash and Sex Pistols on one hand, and on the other by an electro approach related to Metal Machine Music by Lou Reed. They relied on heavily distorted guitars and replaced the traditional rock rhythm section of bass guitar/drums with a synthesizer and drum machine, a then-unique approach that foreshadowed the experimental possibilities that were explored by later post-hardcore bands such as Big Black. They were also known for their radical image (the color scheme of albums always being a stark black, white and red), and subversive lyrics sung in French. They were met with some enthusiasm in the United Kingdom, particularly by John Peel and the Rough Trade label. (Métal Urbain's 2nd single Paris Maquis was Rough Trade's first release.). In 1977, their first single "Panik" was named "Single Of The Week" by New Musical Express. They had an enthusiastic but small audience in France, receiving little exposure. The punk rock scene was not as popular in France as it was in the United Kingdom, and they did not interest the French media as British bands like Sex Pistols did. As a result, singer Clode Panik left in December 1978, though the band continued to gig and record with Eric Debris on vocals, and also recording with spin-off bands Metal Boys, and Doctor Mix and the Remix, until 1980, when guitar players brothers Schwartz and Lüger left to form the short-lived band Desperados.

Métal Urbain had focused their efforts on singles and only produced one album during their first period of activity. However, several compilation records were released, gathering their singles with additional material such as BBC sessions and live recordings. Their electro approach was very innovative for its time, and the group are a reference point for such groups as the Jesus and Mary Chain, Bérurier Noir and the producer Steve Albini. The band reunited in 2003 to tour in the United States, and had since toured consistently in France and the rest of Europe. Métal Urbain recorded their second studio album, J'irai Chier Dans Ton Vomi, in 2006, produced by Jello Biafra in San Francisco; a follow up mini-album, Crève Salope, was issued in 2008.

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VORWÄRTS - A Trip Down Memory Lane 2002

Swiss punk veterans Vorwärts are from the area of Basel, founded by Udi (vocals), RR & Bibä (guitars), Nutty (bass), Roli (drums), and today the oldest Punk combo from Switzerland still playing live. In 1984, when singer Udi and his friends went into the studio for the first time and the result is the very much sought nameless five track 12'', 300 copies exist. Vorwärts already had several years of service under their belt: the band was formed 1979 and Udi remembers his first contact with the punk movement, which was only slowly making its way from London and New York to the Upper Basel area. "When punk was born in 1976/77 we had no idea," he says. It wasn't until two years later that he heard the first songs by the Ramones, The Damned, Clash and Sex Pistols and had pictures in the "Pop/Rocky”or “Musikexpress”. That "simply blown him and his friends away", as he told the bz: "Punk was so much better, more urgent and more important than anything we had heard before." The founding of his own band was "an outbreak, a departure, an undreamt-of freedom". Forward hit the Zeitgeist and were able to record their first successes: with their song TV Generation the quintet made it onto national radio and with a self-made clip (you can find it on YouTube under the title Boring Generation) even on Swiss television. But in their early years, Vorwärts not only met with approval. It belonged then that they were insulted as “Schwuli Söu”, “Gsindel” and “Soupack” because of their appearance - “bright green and black striped jeans, studded belts and bracelets, sprayed shirts, holes in clothes, a lot of leather and so on” the everyday life of the five young men. In 1988 the dissolution followed due to various individual follow-up projects and 1998 the reunion on the occasion of the wedding of a band member and since then they still active and their last record was released two years ago for their 40th year existence! (source: partly bzbasel)

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THE BRIGADES - Costa Del Dole 1986

Today a really cool record from France with a lot of esprit, refreshing guitars, rich bass runs and pleasant vocals. Melodic and powerful the whole thing and I like this. Info: The Brigades were formed 1981 in Paris and after a few changes, the group stabilized with Vlad "Dialectics" Marcus (vocals), Kid Bravo (guitars), Xavier Saveriu "Chatterton" (bass) and Tony Aigri (drums). Vlad remembers: "I met Kid when I arrived in Paris, a friend with whom I was doing a fanzine (Burning Rome) introduced him to me. On Cité 96 in the evening, we played just after the program of Stéphane Planel and the singer of Orchester Rouge, Théo Hakola. With Kid, we set up the band with Tony on drums, and recruited by the classifieds, (Xavier in Corsica) on bass. Our name was chosen above all for the ease to understanding it in the world. Our first single, Riot & Dance, did a great job, same for the mini LP 'Bombs N'Blood N'Capital', both released on our label Rock Radical Records (founded with the aim of having our own control over what we produce), and we really started touring in 1984 and I remember Dunkirk where we met the Sub Kids. Great guitarists!"

1983 they released their second 7Inch 'Janis Would Say' and a live tape 'My Taylor Is Communist'. Kid Bravo then leaves the group for musical divergence and Tony, Kid's childhood friend, also leaves. Vlad recruits Miguel on drums thanks to a classified ad and Franck on guitar, originally from Toulouse. They rehearse near Nanterre with the Trotskids as neighbors. In 1986 the second LP 'Costa Del Dole' came out, and 1987 their last 'Yours Negatively', both on their new label Negative Records. Many concerts (over 200) followed and take them to Poland, Switzerland, Germany & Great Britain. Their last concert took place at the Cirque d'Hiver in 1989 with Bérurier Noir. 

Vlad wants to mount another formation to continue, so he contacts Fredéric from the Sub Kids, but he cannot. Guitarist of Richard III, Jean-Marc, with whom he is friends (a canceled concert with the Stiff Little Fingers), is not available either. Franck leaves for Toulouse, so the Brigades broke up in 1989. Miguel had already been playing with Dirty District for some time, hence the difficulty of finding dates with him and the other members for concerts. (source: 45vinylvidivici)

A nice review: "Much more rockin’ than their previous releases, the Brigades cut loose with powerful pop-punk. Their style is a cross between mid-period CLASH and ’80s Brit-punk, while their lyrics are unabashedly political. Driving, well-recorded Punkrock." (Tim Yohannan, MRR #36 • May 1986)

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MALE - Zensur & Zensur 1979

Male was one of the first German punk rock band and pioneers of the German New Wave. The band was formed in December 1976 in Düsseldorf by Jürgen Engler, Bernward Malaka & Stefan Schwaab. After their first appearance in March 1977 at the legendary "Ratinger Hof" they played in 1978 at some historically significant festivals of the burgeoning punk scene (at the opening of the SO36 in Berlin and at the legendary Hamburg punk festival "Into The Future" and "In Die Zukunft"). The following year, 1979 they released their only LP, "Zensur & Zensur," the first German punk album, and later the single "Clever & Smart" at Rondo. In May 1980 they accompanied the British punk band The Clash on their tour in Germany. After a final single production with a new sound that had first announced at the Clever & Smart 7'', under the name Vorsprung the band split up. Engler & Malaka founded Die Krupps, while Schwaab and Claus Ritter (drums) went on to pursue the new wave sound under the name "Freunde Der Nacht". Although Male released a few publications and performances during their existence, they were one of the most influential bands of German punk. After a short reunion in 1990, Male exists since 2002 (more or less) and play almost in the original line-up. - Great record!

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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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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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UNNATURAL AXE - Is Gonna Kick Your Ass 1978-1988

Awesome punk band from Boston and I quote you a review from an expert of the Boston punk scene: "It is 1977. A scruffy neighborhood of Boston sprouts a band of naive working-class kids who think they can shake up the world with their personal take on the punk rock experience. Not content, or possibly even competent enough, to be another Jam clone or a Clash clone, Unnatural Axe bash out their own brand of two-chord and three-chord rock, and crank it up extra high. Throughout 1978 and 1979 the Axe were playing regularly in New York, and at Cantone's, the Rat, and the Space in Boston as the opening act for the "big" UK and US new wave acts of the time. Their strangest billing must have been opening for The Police at the Rat in Kenmore Square. It is truly unfortunate that Sting squandered this "turning point" opportunity to learn the essentials of punk rock from Boston's finest. Sting's only question of the Axe vocalist: "Did you poop?" But such is the fate for the greatest moments of brilliance of our times: few people recognize it. The big club owners didn't see it and the major record labels didn't hear it. After two short years, the Axe packed it in. As a result, the Unnatural Axe discography is small, but what recordings do exist provide the documented proof that the Axe were, and shall always remain, the most important punk band Boston will ever call its own." (Monsieur Michel Bastarache) - Enough words, time for music so let's go boys!

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VENOM - Barmy Army 7'' 2013

This nugget was released via Punkhouse Records, 250 copies in red vinyl and both tracks were recorded 1980-1981. I quote info from discogs: Consisting of David 'Snakey' Cooze on vocals, Glenn Evans on bass/vocals, Dai Monk on guitar and Sam Phillips on drums, the Venom played their first gig on 3rd may 1979 - the day Margaret Thatcher was voted in as Prime Minister. Formed from the remains of local punk heroes the Noise, the four-piece took their original inspiration from the old-school DIY ethic of bands such as The Clash and Slaughter & The Dogs. Monk and Phillips moved on in early 1980 and were replaced by Wayne Rowe & Steve 'Gagsy' Garland respectively. Following an incident at a football match the band took an enforced hiatus at Her Majesty's Pleasure. When they re-emerged, Snakey took to wearing a balaclava on stage and their style morphed towards the crowd pleasing chant-along style of Sham 69. The band recorded three self-funded sessions over their career, yielding such local punk classics as Saturday Afternoon Trouble, Barmy Army and their own irreverent take on Nancy Sinatra's 1966 hit - These Boots Were Made For Stomping. The results impressed Sounds journalist Garry Bushell enough to pen two articles about the band and subsequently include the track Where's Dock Green? on the Back On The Streets EP that accompanied the third Oi! album Oi Oi Thats Yer Lot. Their association with the Oi movement attracted an ever-expanding fanbase of punks and skins that saw previously good humoured gigs often descend into violence. The band called it a day in summer 1982 following their final gig at Swansea's Townhill Tech.

- Great Thx to Fredrik -

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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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ARSON - White Folks 7'' 1979

Five piece from Toronto hereby invite you to listen to their only great & rare 7Inch on Motor Records, which was released in a limited edition of 900 copies, and since I can't talk about the How’s, Why’s and Wherefore’s, because I wasn’t there at the time, I found a small but shiny & informative anecdote from someone who knows better, here we go: In 1977, at the height of the punk rock pandemic that was effortlessly engulfing the globe, vocalist and composer Rude Tuesdai fortuitously joined forces with guitarist Marcel Lafleur to begin a musical friendship that has spanned more than three and a half decades and spawned the incendiary band ARSON, the rest of the gang were Chic (guitars), Spyke (bass), Mike (drums). Ask anyone who’s ever heard them live and they’ll tell you that ARSON sonically sutures the Detroit destruction of the Stooges and MC5; the New York noise of the Velvet Underground and New York Dolls; and the British brainpower of the Stranglers and Clash. I could go on, so I will. Arson has independently toured all across North America and played countless concerts in a myriad of notorious rock’n’roll breeding grounds like New York, Detroit, and Chicago while sharing stages with (and stealing spotlights from) much influential legendary luminaries as the Dead Boys, Misfits, Suicide, Troggs, Destroy All Monsters, etc…. Meanwhile, Rude and Martin continued to douse the band’s smoldering ashes with new songs until the time was right to finally tap their past and craft a contemporary sound containing the unflinching fury of their earlier incarnation.

Aided and abetted by John Sutton (Weakerthans) on bass and David Quinton (Mods, Dead Boys, Stiv Bators) on drums, Arson recently recorded an in depth profile for Toronto radio station CIUT while recent concerts have garnered a whole new generation of rave reviews. That not hyperbole, that’s a fact and you can take it from me because I actually was there back in 1977 at the height of the punk rock heyday. So who you gonna believe: me or your own ears? (Bio by Jeffrey Morgan)

Two amazing songs and really too little for a talented band like Arson.

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THE YOUNG LORDS - Young Lords EP 1980

Out in the town of Halden right on the Norwegian/Swedish border in the late seventies, the band was named The Ice Cream Band (name inspired by a Jonathan Richman song) successfully opened up for hero Elvis Costello in Oslo in 1978, before drop this name for The Young Lords. By the time the band came around to releasing their debut album (Same Shit - New Wrapping) in 1980. Henning's songs and the band's musical qualities put them way ahead of the Norwegian punk/new wave music scene at the time. The Young Lords actually sold records and toured. By 1981 the road hardened quartet had expanded to a quintet, changed their name to Saturday Cowboys, left their record company for Norway's first independent , New Noise (partially owned by Henning) and recorded the album We Like To Watch with Norwegian renegade punks Casino Steel and Geir Waade as producers. Steel and Waade had just arrived back in Norway after spending formative years as card carrying members of the London punk explosion. Between them they had played with London SS (early Clash), The Hollywood Brats, The Boys and Wreckless Eric's band (source: The ModPopPunk Archives). Four songs = great record!!

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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 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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THE REVIEW - England's Glory 7'' 1980

The Review formed around 1978 in Clevedon and played alot of Youth Club gigs. Became three piece Mike, Martin & Taff. It followed a small tour across Belgium and then they produced their only record called 'England's Glory'. Taff joined Disorder, Martin the Tea House Camp and Mike Eagle formed Unity Station. The Review was a band that was like the other mod revival bands of the day, but a cheaply recorded one, although the band were still very punchy. This record actually has All The Madman printed labels on the disc, as opposed to the plain white labels of the previous Madmen release. If you hear this record, listen carefully to the intro of the B-side, sounds very much like the first few bars of Londons Calling by The Clash!

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