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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. They’ve long done things differently in Austin, Texas, and the take on hardcore pioneered by one of the city’s sons, Big Boys, in the early 80s was no exception. Where peers Scratch Acid, The Dicks, and MDC pursued hardcore or art-punk angularity, Big Boys were mixing furious hardcore with loose-limbed funk and tight pop, all the while penning lyrics that struck a blend between punk ideology, angsty alienation, and goofy humor. It was delivered via 7”s, EPs, a split LP, compilations, three studio albums, and the live DIY shows that were audience participation-fueled free-for-alls. The idea was for fans to leave feeling like they were part of the band. Originally released on the Wasted Talent label and reissued last year by Modern Classics Recordings, 1981’s debut album Where’s My Towel was inspired by the group’s growing dissatisfaction with their part in the release of Live At Raul’s. Returning with Lullabies Help The Brain Grow two years later, they were still striking out at situations around them. The opening track, “We Got Your Money” is a sort of rally cry to the misunderstandings of their scene and to the fraternity boys and girls that came to gawk or cause trouble: “And to all you frat boys/We got your money in our hands!” they shouted gleefully. Song titles including “We’re Not In It To Lose,” “Fight Back,” and “Assault” proved that the gloves were off. Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam – the fourth person to occupy the stool for vocalist Randy “Biscuit” Turner, guitarist Tim Kerr, and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like “Lesson” and double-funky jams like “Funk Off” (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on “Sound On Sound,” they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock,” the nascent version of the world-conquering skate punk of the late 1980s and 1990s. Now, Light In The Attic’s Modern Classics Recordings imprint is bringing their pioneering music to a new audience. Following the 2013 re-release of Where’s My Towel / Industry Standard, 2014 saw reissues of both Lullabies Help The Brain Grow and the following year’s No Matter How Long The Line Is At The Cafeteria, There’s Always A Seat, which brought the band’s story to a close. Famously, the Big Boys would end shows with the foursome shouting, “OK y’all, go start your own band.” Their message was inclusion – and action. Start a band, write a zine, participate. So what are you waiting for? Listen to this record. Label: Touch and Go Barcode: 0036172107131 -
Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Active for five years in the early 1980s, the Big Boys mixed furious hardcore with loose-limbed funk and tight pop structures, all the while penning lyrics that struck a blend between punk ideology, angsty alienation and clever humor. They were, in the memory of Minor Threat frontman Ian MacKaye, “Enormous men, decorated jump suits, a horn section, 200 friends onstage singing and dancing.” They were Big Boys by name and by nature – and they had a big effect on US punk culture. When the prevailing trend was for playing hard and fast, this Austin, Texas four-piece played loose and funky. Their cult recordings struck a blend between punk ideology and clever humor, just as the band both railed against and celebrated the hardcore community that bore them. Released at the time of their split in 1985 and now reissued by Modern Classics Recordings, the group’s final album, No Matter How Long the Line Is At the Cafeteria, There’s Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on Common Beat, a sound rarely heard outside of hip-hop at the time. Songs like “Which Way To Go” and “Narrow View” echo their boredom and anger with the changing hardcore scene, while “I Do Care” and “What’s The Word” illustrate the band’s positive outlook for things to come. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock”, the nascent version of the world-conquering skate punk of the late ‘80s and ’90s. Now, Light In The Attic imprint Modern Classics Recordings is bringing the music of these pioneers to a new audience. Following the 2013 re-release of debut Where’s My Towel / Industry Standard, 2014 saw reissues of second album Lullabies Help The Brain Grow alongside this final record. Just as the album flirts between expressions of boredom and anger and funk jams that declare “Life is just a party” (”What’s The Word"), Big Boys were a mess of contradictions. On stage, openness was key and they became famous for encouraging the audience to get involved: “We’re the band, you’re the band,” they would say. But as a four-piece, their relationships began to fray as is not uncommon with many bands on long tours. After five short years and many recordings, the Big Boys went separate ways. “We never really decided to ‘break up’, it just happened,” said Kerr. “We had been on a two month tour, and it got to be exactly like being in a station wagon with mom and dad with your brother and sisters… lots of tension and everything.” Along with an appearance in the documentary American Hardcore and these new reissues, the band’s legacy continues in current bands, like Fidlar, Wavves, and The Orwells, and in the mark they made on Austin, Texas, which, in tribute to the band, adopted the name of their song, “Fun Fun Fun” for an annual arts/music festival. Keep Austin weird? Big Boys made Austin weird. Label: Touch and Go Barcode: 0036172107230
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Industry Standard (usually extended to Where's My Towel/Industry Standard) is debut studio LP. It was released in 1981 on vinyl through Wasted Talent Records, operated by members of the Judy's. The album's title and many of its themes were inspired by a growing dissatisfaction with elements of the Austin, Texas punk rock scene from which the Big Boys had spawned. Label: Touch and Go Barcode: 0036172107032
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Copenhagen punk rock/power pop band BIG MESS is a pile of hooks and energy. Taking their cues from the timeless masters of melody, loud guitars and high BPMs, their music packs an infectious punch. CLEANING UP WITH is the band’s fourth full length and its first collaboration with UK-based label Specialist Subject. The album shows Big Mess at their most accomplished yet, and shows total dedication to reaching the ultimate in hit making. Imagine a singles compilation by your favourite band and you get the idea. Songwriting is key for Big Mess – as much Brill Building sparkle as hardcore punk economy, with no room for duds. Lyrically, the songs are heartfelt and occasionally stupid, with the dangers and difficulties of existence and the joys of rocking holding equal importance. Having been a band for nearly a decade, Big Mess’ playing is instinctive, effortless and relentless topped with vocals that combine a hooky sense of melody and rhythm with the right amount of desperation. This time the band adds a refreshingly shameless amount of backing vocals and harmonies that only add to the effective singalong quality. Label: Specialist Subject
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Since their inception in 2012, BIG|BRAVE have explored terrains of experimental rock with a clear focus on the key principles; space, volume, and raw emotion. The same principles are the starting point for the new album and in the process of revisiting their early intentions, BIG | BRAVE have boldly evolved, emerging with a thrilling new body of work that is all at once refreshingly new, explosively heavy, dynamically loud, beautifully minimal, carefully repetitive, and totally and utterly cathartic. . Label: Southern Lord Records
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Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of BIG | BRAVE’s precise, rhythmical sound. On their new album VITAL, the recording features the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band comments, “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.” Lyrically, VITAL explores the weight of race and gender, endurance and navigating other people’s behaviors, observation and protest. The band further commented “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while exploring individual worth within this reality.” On VITAL, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey in sonic exploration”. Label: Southern Lord Records
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Originally released in 1993, "pussy whipped" is BIKINI KILL's debut full-length. Out-of-print for several years, the album is being reissued on vinyl on the bands own Bikini Kill Records. Vinyl includes a digital download card. (Bikini Kill Records)
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REISSUED!!! BIKINI KILL's final studio album originally released in 1996 on Kill Rock Stars. Bikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. KATHLEEN HANNA sang, TOBI VAIL played drums, BILLY KARREN (aka BILLY BOREDOM) played guitar and KATHI WILCOX played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances. (Bikini Kill Records)
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Bikini Kill Records is excited to announce our second reissue - the newly expanded Yeah Yeah Yeah Yeah LP featuring seven previously unreleased tracks. It will be released on April 15th, 2014. The first 500 copies ordered will receive a free, limited edition poster. Side A of Yeah Yeah Yeah Yeah was originally released in 1993 as the BK side of their split record with the UK’s Huggy Bear, to kick off their legendary co-headlining tour of the UK in March of that year. Those tracks were recorded in their Washingon DC basement practice space on a 4 track reel to reel in 1992 by Tim Green (Nation of Ulysses, The Fucking Champs). Side B features seven songs either recorded live at shows during that era or at Bikini Kill practices. The LP also includes new photos and liner notes from David Feck (Comet Gain), Erin Smith (Bratmobile), and from the band themselves. The LP was mastered by TJ Lipple and Bob Weston (Bikini Kill Records)
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Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as an LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers. The album includes the song 'If the Moon Turns Green' from the same session but not included on the original LP. Pure Virgin vinyl 180 gram - Classic Jazz LPs - Collector's Edition - Newly remastered - Deluxe inner sleeves - One pressing limited edition (WaxTime – 772031)
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Biohazard released their third studio album State of the World Address in 1994. Their breakout from the underground into mainstream culture yielded an album where their musical style hasn't changed that much from the predecessors. Right from the streets of Brooklyn it contains some heavy stuff, but melodies also playing an important role in the music. The high class production and the anger the band members expressing in the songs shows the versatility of the group. Billy and Evan seamlessly trade lines, resulting in some sweet call/release choruses. The lyrics, the riffs, the changes, the dimensions are flawless and showing a band at the top of their possibilities. 180 gram audiophile vinyl Including insert Label: Music On Vinyl Barcode: 8719262008182
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44-track double CD package from legendary US hardcore crossover act Biohazard, featuring two full albums from the band’s years with Roadrunner Records. • CD 1 features their second studio album ‘Urban Discipline’, originally released in 1992, with bonus tracks. • CD 2 features their live album ‘No Holds Barred – Live In Europe’, originally released in 1997. Formed in 1987 in Brooklyn, New York, Biohazard are recognised as one of the first acts to blend hardcore punk, metal and hip hop. The band signed with Roadrunner in 1992 and released their classic ‘Urban Discipline’ and toured with bands as diverse as House Of Pain, Kyuss, Sick Of It All and Fishbone. The band eventually signed to Warners and collaborated with the likes of Cypress Hill, hardcore rappers Onyx and Pitch Shifter, and toured as part of the OzzFest in 1996. Despite a couple of periods of inactivity, Biohazard recently announced the reformation of their classic line up for live touring in 2023, including the Bloodstock Festival in the UK. A contemporary New York Times live review described the Biohazard live experience of the mid 90s: “The entire dance floor on Saturday was a typhoon of slamming bodies, colorful tattoos and airborne leaflets for future concerts by local bands. Audience members dove off the stage four at a time as Biohazard flailed at its guitars. Billy Graziadei, the singer and guitarist, yelled rhythmically, as if he were punching lyrics out of his diaphragm. He kept perfect time with Danny Schuler’s rapid drumbeat. Evan Seinfeld, the bassist, and Bobby Hambel, the guitarist, growled back-up vocals during each song’s chorus, joined at the microphone by whatever members of the audience happened to be onstage.” Track Listing: DISC ONE Urban Discipline 1 Chamber Spins Three 2 Punishment 3 Shades of Grey 4 Business 5 Black And White And Red All Over 6 Man With A Promise 7 Disease 8 Urban Discipline 9 Loss 10 Wrongside Of The Tracks 11 Mistaken Identity 12 We’re Only Gonna Die (From Our Own Arrogance) 13 Tears Of Blood 14 Hold My Own 15 Business (demo) 16 Urban Discipline (demo) 17 Loss (demo) 18 Black And White And Red All Over (demo) DISC TWO No Holds Barred – Live In Europe 1 Shades of Grey (live) 2 What Makes Us Tick (live) 3 Authority (live) 4 Urban Discipline (live) 5 Modern Democracy (live) 6 Love Denied (live) 7 Business (live) 8 Tales From The Hard Side (live) 9 Better Days (live) 10 Victory (live) 11 Survival Of The Fittest (live) 12 Blue Blood (live) 13 Black And White And Red All Over (live) 14 Victory (Reprise) (live) 15 How It Is (live) 16 After Forever (live) 17 Tears of Blood (live) 18 German Lesson #7 (live) 19 Chamber Spins Three (live) 20 Wrong Side Of The Tracks (live) 21 Waiting To Die (live) 22 These Eyes (Have Seen) (live) 23 Punishment (live) 24 Hold My Own (live) 25 Shades of Grey (live)* 26 Punishment (live)* *Bonus live versions taken from the ‘Urban Discipline’ 1993 digipack release Label: Dissonance Productions, Cherry Red, Warner Music UK Ltd. Barcode: 5013929022362
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30th Anniversary Double LP. Black Vinyl housed in gatefold sleeve. Includes an exclusive fold out poster, individually foil-stamp numbered on back of gatefold. Tracks D1-D4 are bonus tracks that did not appear on the original album. In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year. This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer Track List Side A 1 Chamber Spins Three 3:40 2 Punishment 4:45 3 Shades Of Grey 3:26 4 Business 4:04 5 Black And White And Red All Over 4:10 Side B 1 Man With A Promise 3:20 2 Disease 4:01 3 Urban Discipline 5:33 4 Loss 5:19 Side C 1 Wrong Side Of the Tracks 3:37 2 Mistaken Identity 4:32 3 We’re Only Gonna Die (From Our Own Arrogance) 2:17 4 Tears Of Blood 4:52 5 Hold My Own 2:51 Side D 1 Business (demo) 4:13 2 Urban Discipline (demo) 5:14 3 Loss (demo) 5:12 4 Black And White And Red All Over (demo) 4:36 Label: Run Out Groove, Roadrunner Records Barcode: 0081227880170
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Female rock group Birtha formed in Los Angeles in 1967, a talented quartet with guitarist Michelle Pinizzotto, keyboardist Sherry Hagler, drummer Olivia Favela, and bassist Rosemary Butler, who opened for The Stones while in The Ladybirds; Pinizzotto had been in The Daisy Chain. After gigging the west coast, Gabriel Mekler signed them to ABC Dunhill in 1972 for this hard-rocking debut LP, a gritty original with plenty of balls, plus an emotive ballad from Pinizzotto, but despite extensive touring in support of its release, opening for The Kinks in Britain, the LP remained unjustly overlooked, making it now ripe for rediscovery. Gatefold. Label: Survival Research Barcode: 0637913420368
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"In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This first volume contains the first two Peel sessions the band recorded for the BBC, on September 1980 and April 1981." Tracklist A1 Cry A2 Yard A3 Figure Of Fun A4 King Ink B1 Release The Bats B2 Roland Around In That Stuff B3 (Sometimes) Pleasure Heads Must Burn B4 Burn Side A Recorded 1980/09/10 Side B Recorded 1981/04/21 (Junkyard Records/Unofficial Release)
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"In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This second volume contains the last two Peel sessions the band recorded for the BBC, December 1981 and November 1982." Tracklist A1 Big Jesus Trash Can A2 She´s Hit A3 Bully Bones A4 Six Inch Gold Blade B1 Pleasure Avalanche B2 Deep In The Woods B3 Sonny´s Burning B4 Marry Me (Lie! Lie!) Side A Recorded 1981/12/02 Side B Recorded 1982/11/15 (Junkyard Records/Unofficial Release)
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Packed shows, sold out tours, both their six-track debut 12" and debut full-length "Pressure" get re-press after re-press... does BISHOPS GREEN really need any further introduction? I don't think so either, but we at REBELLION RECORDS sure as hell are damn proud to present you guys the brand new sophomore album by Canada's leading street punk band entitled "A CHANCE TO CHANGE"! With this album the band found a bridge between their raw and powerful debut EP, the passionate and resistful "Pressure" LP and their wild and rowdy live shows capturing it all on "A Chance To Change". So what are you still waiting for?! Label: Pirates Press Records
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Grey vinyl. If the pandemic made you realize that you missed one thing about your connection with punk, there's a decent chance that Bishops Green had something to do with that. This band hits hard and reaches people on a very deep level. Making new fans daily, they continue to connect with scores of people very deeply, even not being able to tour. Yet the true magic in this band is really seeing them live. As the world returns to normal and gigs materialize, more and more people are gonna realize how important this band is to the social fabric of punk rock. The passion they’ve instilled in fans, and the fervor from within are both equally strong and together are the reason why this band has so much impact to deliver! This album and these songs absolutely set the tone, brilliantly, but there is so much more to come as well. Absolutely no lack of excitement in this maple-leaf-adorned corner of the punk rock world - in fact, quite the opposite! There are seemingly black skies adrift right now, but somehow these songs make you feel like there's a golden future on the horizon! We can all at least sing loud, and hope... TRACK LISTING: A Side 1. Last Minute Warning 2. Empty Streets 3. What For B Side 4. Ravens Cry 5. Your Paradox 6. No Tomorrow 7. Another Morning (Pirates Press Records)
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The Vancouver based streetpunk band, BISHOPS GREEN was formed in Spring of 2011. Bishops Green’s music is raw and energetic, with a style firmly embedded in the historic roots of Streetpunk and Oi!. The five long-time friends have been playing in bands together since the ’90s, and this history combined with the group's diverse influences, enables the creation of a catchy sing-along sound that will make sure any audience member feels like they are part of the show! Energetic and charismatic front-man Greg Huff is known to many fans of streetpunk and Oi!, as he has been the heart-beat of numerous bands since the late 80’s, including GLORY STOMPERS, SUBWAY THUGS, THE LANCASTERS and most recently ALTERNATE ACTION. Their melodic style of old-school punk draw creative influences from European groups like BLITZ, THE CLASH, STIFF LITTLE FINGERS, COCK SPARRER, THE PARTISANS and LEATHERFACE; to hardcore acts from the U.S. like THE AUTHORITIES, NAKED RAYGUN, and MINOR THREAT. Following a very impressive and critically acclaimed debut 12” MLP in 2013, this full-length album picks up right where that left off. At the core, the songs on "Pressure" are similar, but with a noticeable growth and maturation to them. The lyrics continue to be bold and ask questions of our society, while extolling the traditions and pride of punk rock culture and accountability to each other through unity. (Pirates Press Records)
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This is the 6 tack mini LP release from this amazing new Canadian band from Vancouver, Canada. Fronted by Greg Huff and supported by others formerly of bands including ALTERNATE ACTION, THE LANCASTERS, SUBWAY THUGS and GLORY STOMPERS, this is the perfect next step in the evolution of those bands. The sound is still raw yet melodic and catchy, but done with so much more skill and precision than all the aforementioned bands. Fans of catchy singalong street-punk rock 'n' roll and bands like THE BUSINESS and COCK SPARRER can buy this record without hesitation. Colored (yellow) vinyl comes with updated cover artwork and includes a digital download card. Label: Pirates Press Records
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Smashing up from the Bay Area underground, Black Cobra is ready to take the heavy music world by storm! Formed in 2002 by Rafa Martinez (Acid King, -16-) and Jason Landrian (ex-Cavity) this duo has been laying waste to audiences, taking on all comers, and leaving the remains to rot in their wake. Their sound is a crushing mix of High On Fire-tinged stoner metal and Buzzov*en’s Southern-fried sludge, with a heaping dash of Melvins-style drone to wash it all down. The two piece is the product of years of work between Jason and Rafa. Both originally from Miami, Florida, work started on Black Cobra while home visiting parents over the holidays. This lead to the trading of a series riffs through the mail and visits to each others residences in NY and LA for sporadic practices. The year 2004 saw the release of a raging 3 song demo maxing out at a whopping 6 minutes in length. The year 2006 saw the release of the 11 song goliath that is Bestial followed by relentless touring in America and Europe. In 2007, the band relocated to San Francisco and released their second album Feather & Stone taking the band to Japan for the first time and again touring Europe and America extensively. Live they are a beast like no other. Like their namesake, Black Cobra is at once hypnotic and whip-crack fast. Their two-man assault sinks its fangs into you before you even know what’s hit you. They are a touring machine, having hit the streets with everyone from High on Fire, The Sword, and Saviours to Torche and Genghis Tron. Booked by Tone Deaf Booking (Kylesa, Weedeater, Slough Feg), they don’t plan on slowing down yet. After releasing their two incredibly well-received full lengths on At A Loss Recordings, Black Cobra has taken their rightful place atop the metal throne as the latest signing to the true home of all things heavy – SOUTHERN LORD! Their first Southern Lord release, Chronomega, finds them treading in familiar territory; working with the sound that won them raves from fans and critics alike, while refining it to its sharpest point. No longer just another blunt object, Black Cobra’s music is now a razor-sharp weapon and a true force to be reckoned with. Produced by Billy Anderson (Melvins, Neurosis, Sleep, High on Fire), Chronomega is one of the heaviest records of ’09 or, for that matter, any year! It is a raging slab of pure, unadulterated heaviness. Label: Southern Lord Records
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That΄s right, the sought after Ready To Rot EP is finally seeing the light of the day with the original artwork and additional foldout insert with band΄s history, photos, lyrics and flyers. Excellent mid 80s punk from the UK. The band played with Subhumans, Flux Of Pink Indians, Cult Maniax,... This is their only record, originally released in 1982 on Illuminated records and now reissued on No Plan. (No Plane Records)
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Complete and unreleased "Damaged" recording session w/Dez Cadena. "According to Black Flag's engineer and live sound man Spot, a nearly complete version of Damaged was recorded at Golden Age Studios with Dez Cadena doing vocal duties. This session is where the tracks for the Six Pack EP came from. No official version of the remainder of this recording session has ever been released, although unlicensed copies have circulated in tape trading circles for years. A comparison of the unreleased Dez Cadena sessions with the released LP suggests that the vocal cadence and presentation of the Cadena sessions were used as a reference by the band prior to recording the final album." Wikipedia (TV Party Records/Fanclub Pressing)
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Black Flag was unable to legally record and release records for three years. During this time the band had a radically different, avant-metal sound.In 1982, Black Flag was still a five piece, but they had pulled drumming powerhouse Chuck Biscuits behind the kit. In order to get Biscuits tour ready, the band snuck into Total Access studios and recorded and mixed a demo, all in one night. Black Flag in their prime. Historical release. This CD is almost part of a “forgotten” history, as there are not many quality recordings of Henry Rollins’s gang at this time, Black Flag as a five piece with Chuck Biscuits on drums before he joined forces with Glenn Danzig. Extensive liner notes. (Fan Club/Unofficial)
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The only recordings with Chuck Biscuits on drums. Tracks A1 and A2 were never officially released, other tracks are unreleased versions. Great quality boot. Label: Suicida Discos/Unofficial
