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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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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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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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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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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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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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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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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TOPPER - Once A Punk, Always A Punk 7'' 2000

From Stockholm comes this combo and this is their debut 7inch on MNW Records. They describe their sound as '77 punk style and the two cuts here are excellent Clash punk with singalongs in a good late 70s Britpunk tradition. "Once A Punk, Always A Punk" became a national success and climbed into the singles chart at number 23, not bad for a punk song. In Autumn 2000 the band was planning to take a first full-length, but their record company MNW went bankrupt shortly before the scheduled recording session. Luckily they get a new contract with Corruption Records and in 2006 finally the debut album with ten songs was released. Topper play at a very high level with brilliant compositions and if you like these two goodies you must buy the record. This 7inch was limited to 2000 copies. In 2009 the 2nd album 'Punk Don't Death (Just Get Through It)' came out and is again full with classic old school punkrock, very solid with strong melodies that crash in immediately. TOP!!

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RATTUS - WC Räjähtää 1982

In the early hour I welcome the weekend with fast hardcore from Finland and we put on the debut album by Rattus on Poko Records. Formed in the spring of 1978 by Jake and Vellu who started to play mostly English punk bands songs just for fun (Sex Pistols, The Damned, Clash,etc.). A few weeks later they asked Jake's brother Tomppa to join the band and so he did. The name Rattus was taken from the first album of the Stranglers, "Rattus Norvegicus". Rattus is latin meaning a rat,a very big rat. In the early days the band did shows only in their hometown and near of it. Fourteen heart attacks in less than twenty minutes, must I have say more? They made numerous albums, singles & represented on countless compilations and they're still touring, for example 2020 at the Rebellion Festival in Blackpool, UK., definitely worth a trip. - Now quickly to bed, in eight hours I'm back on my bike, good night Europe!

- 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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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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STHLM UNITED - Då Vi Var Punx 2004

Fuck, no package today... that gives me the opportunity to snip new files. Now a very interesting combo from Stockholm and this is their only album which they released on their own. Sthlm United were 19 (vocals), DP (bass/guitars/vocals), Manne (drums) and their sound is definitely influenced by 80's UK bands. Outstanding cover versions of G.B.H and the Clash are in addition to seven varied own pieces. Musically, they move between decent mid-tempo numbers and a bit ska, the songs are almost too long with nearly three minutes, but never become boring. There's not much information about the band and the addresses in the booklet are apparently already history. Anyway, this is a solid CD with nine Swedish detonators.

- Great Thx to Fredrik -

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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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RATSIA - s/t LP 1979

Ratsia was originally formed in 1977 by Jyri (vocals/guitar), Juha (guitar), Rudi (bass, vocals) and Pasi (drums) and they were mostly playing Stooges & Ramones songs, but soon they started writing songs of their own, sung in English. The language was then switched to Finnish. Ratsia took part in the Finnish rock championship competition in 1979 and won in the "New Wave" genre! They were featured on the Hilse compilation with a song called 'Ihohygieniaa', a cover version of Breakdown by the Buzzcocks and many more. In the same year followed the band's debut album, released in fall with great melodic mid-tempo tunes (pretty the Clash cover of 48 Hours). Fourteen smasher all in all and if you really want to find something to complain about the album, you could say that it sounds too clean and February was way too warm. The band broke up in fall 1981.

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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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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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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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