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Formed in 1976 in Edinburgh, Scotland, John Peel favourites The Rezillos were viewed as a punk act simply because they emerged at a specific time in the history of rock. But there was so much more to The Rezillos and their music. Branding themselves a “new wave beat group”, The Rezillos’ music lacked the nihilism and social commentary of many of their counterparts, replacing this with an irreverent glam rock image and a love of science fiction, B-movie, comic book and campy girl group iconography that set them apart from their musical peers. Initially performing mainly ‘50s and ‘60s rock ‘n’ roll covers at their live shows, Rezillos guitarist and future Human League band member – Jo Callis – began penning their own original songs, and soon after came the release of their highly acclaimed debut LP, Can’t Stand The Rezillos released in 1978. The album includes the UK top twenty hit "Top Of The Pops", as well as several cover versions of 1960s songs: "Glad All Over" (Dave Clark Five), "Somebody's Gonna Get Their Head Kicked In Tonight" (Fleetwood Mac), and "I Like It" (Gerry and the Pacemakers). It was produced by the acclaimed Bob Clearmountain in collaboration with Tony Bongiovi. Label: Survival Research
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In this book Mr. Stuart expresses great indignation at the state of our nation, sharing with us his laconic thoughts on an array of topical issues, including the monarchy, government, religion and hereditary privilege, among many others for your consideration. His ire may be fierce and his passion strong but it is tempered with witticisms and progressive thoughts to make a most enjoyable and discursive read. If the power isn't in your hands, then whose is it in? Discuss, debate, cooperate, organise and rise up. The revolution will be televised. Don't forget to smile. Reviews: Suspect Device - "This is a collection of essays, put together to make a coherent rant against the capitalist system and the way the rich and privileged control our lives for their own gain. It does read like a series of fanzine columns on a central theme, but then I like fanzine columns, and I’m down with any anti-capitalist rant. In the intro Ray says “You probably won’t agree with some of the arguments and observations…” And I didn’t, but for the most part what you’ll read here is a common sense argument for improving the lives of the many, not just the few, and a call for more collectivism, more co-operation and less fawning over those who’ll have you believe they are better than us because of the families they were born into or the schools they attended. Because of the way it is written, it’s an easy read and not without humour, and it is hard to disagree with paragraphs like “We need to grab the attention of our overlords by chucking a few more statues of Victorian racists into the harbour, hurling a few cobblestones though plate glass, choosing our own pronouns (that really seems to hack them off) and then stop supplying them with our labour until they agree to reform.” Of course it’s not that simplistic, and this book doesn’t pretend it is, but that gives you an idea of where Ray is coming from. Give it a read and see how much you actually do agree with Ray’s point of view. If you need any further persuading, the forward is written by James Domestic." Publisher : Earth Island Books Language : English Paperback : 170 pages. ISBN : 978-1-7393638-7-1 Dimensions : 13.00 x 1.20 x 20.00 cm
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This is the second release of Jonny Kinkaid through our label, after the 1st sold-out single. Eight new revolutionary tracks of the fuzzed folk punk troubadour from Bristol. With some special guests. This time is Ruth Cochrane on bass, accordion and piano, of the Blue Aeroplanes and Tim Rippington. Tim has also make the production and mixing. Mastering by Jez Butler. This is the personal project of Jon Kent, who's playing music in UK pop underground bands for almost forty years now (The Groove Farm, Beatnik Filmstars in the past and Arrest! Charlie Tipper now). Limited edition of 250 copies on transparent natural vinyl. Label: Old Bad Habits
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Out of stockTHE RESTARTS best material at a glance! Raw and punchy punk rock with brain and humor from the London based Trio. Includes the "Frustration" 7" EP - "Just Gets Worse" 7" EP their amazing "Job Club" Demo and "State Rape" Split LP. All remastered. Label: Active Distribution
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Commercial Album is an album released by art rock group the Residents in 1980. It is commonly considered a follow-up to their 1978 album Duck Stab/Buster & Glen, in that it retains the former album's pop-oriented song structures. The album contains 40 songs, each lasting exactly one minute - a deliberate allusion to Top 40 mainstream radio. The album's liner notes state that, to form a complete pop song, tracks from the album should be played three times in a row. The album features a number of guest musicians, notably drummer Chris Cutler and guitarist Fred Frith of the recently disbanded Henry Cow. The credits mention Frith as an "Extra-Hard Working Guest Musician." Frith told author Cole Gagne that he recorded parts for around 25 tracks and was later told by a band member that he appeared on at least 15 of the released cuts, but that he could only identify himself on three tracks where he played bass. Other guests are credited under pseudonyms, such as Andy Partridge of XTC (as "Sandy Sandwich") and Lene Lovich (as "Mud's Sis"); Brian Eno and David Byrne appear on the album uncredited. As a promotional stunt, the Residents purchased 40 one-minute advertising slots on San Francisco's most popular Top 40 radio station at the time, KFRC, such that the station played each track on the album over the course of three days. This prompted an editorial in Billboard magazine questioning whether the act was art or advertising. Issued with a folded 12" glossy printed inlay featuring the song lyrics on the inner. Label: La La Records/Unofficial
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Out of stockMandatory live show in New York city from the heyday of Paul Westerberg band. Tracklist A1 Gary's Got A Boner 2:18 A2 Run It 1:21 A3 Color Me Impressed 2:10 A4 Lazy, White & Stupid 2:21 A5 Takin' A Ride 2:19 A6 I Will Dare 3:19 A7 Unsatisfied 3:31 B1 Johnny's Gonna Die 4:24 B2 Favorite Thing 2:18 B3 20th Century Boy 3:06 B4 Go! 2:31 B5 I'll Be There 2:27 B6 Kids Don't Follow 2:32 B7 Black Diamond 2:53 B8 Kansas City Star 4:13 (Mind Control/Unofficial Release)
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Unsuitable for Airplay: The Lost KFAI Concert is one of the earliest soundboard recordings of The Replacements. It features the original lineup of Paul, Bob, Tommy and Chris as was captured by Twin/Tone’s mobile unit on January 23, 1981, at the 7th St Entry in Minneapolis, MN. The concert took place as the band was in the midst of working on their debut album Sorry Ma, Forgot to Take Out the Trash and the show’s twenty-seven song setlist is packed with evolving versions of classic songs that would appear on that album. There's also several songs that never made it. Highlights include choice covers of The Heartbreakers’ “I Wanna Be Loved”, Slade’s “My Town”, The Kinks’ “All Day And All of the Night”, and Dave Edmunds’ “Trouble Boys”, among others. Recorded live at 7th St Entry, Minneapolis, MN on Jan 23rd 1981. Recorded by the Stark-Mudge Mobile Unit. Label: Twin/Tone Records, Rhino Records Barcode: 603497842308
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Out of stockThe Pleasure Is All Yours: The Pleased to Meet Me Outtakes & Alternates is a collection of material from The Replacements sessions for their critically acclaimed fifth studio album Pleased to Meet Me. Recorded at Ardent Studios in Memphis over a three month period in 1987 - with legendary producer Jim Dickinson - Please To Meet Me was the only album recorded by the band as a trio, after original guitarist Bob Stinson acrimoniously left the band. This Record Store Day exclusive release features an entire LP of outtakes and alternates which have never been released on vinyl before. Tracks include outtakes of Birthday Gal, Beer for Breakfast, plus, alternate versions of Alex Chilton and Can't Hardly Wait amongst others. All audio has been remastered by Justin Perkins. Limited Edition pressing. Tracklist: Side A: 01 Birthday Gal 02 Learn How to Fail 03 Run for the Country 04 Can't Hardly Wait (Alternate Version) 05 All He Wants to Do Is Fish Side B: 01 Alex Chilton (Alternate Version) 02 I Can Help (Studio Outtake) 03 Lift Your Skirt 04 Till We're Nude 05 Beer for Breakfast 06 Trouble on the Way 07 I Don't Know (Out Take) (Rhino/Sire/2021)
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Out of stock5CD set, in card LP replica sleeves. Collects "Sorry Ma, Forgot To Take Out The Trash" (1981) ; "Hootenanny" (1983) ; "Let It Be" (1984) ; "Tim" (1985) and "Pleased To Meet Me" (1987). (Parlophone/2012)
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Sale!For the very first time, London Records reissue the 1986 debut album - and only studio album – by Redskins, Neither Washington Nor Moscow, on vinyl and 4CD Boxset. The reissue comes complete with new sleeve notes by Redskins bassist Martin Hewes, and the CD boxset includes a 68-page booklet with liner notes from Hewes and Redskins drummer Paul Hookham (who replaced original drummer Nick King in 1985) and renowned contemporaries including Billy Bragg and Paul Morley. Redskins were formed in York in 1982 by Chris Dean (vocals / guitar), Martin Hewes (bass / backing vocals) and Nick King (drums), with the ambition to “sing like The Supremes and walk like The Clash”. Dean and Hewes were members of the Socialist Workers Party and politics guided the music created by Redskins, their soulful songs brimming with righteous passion. Six tracks on Neither Washington Nor Moscow were released as singles, including the band’s only Top 40 “Bring It Down! (This Insane Thing)” and the prophetic “Kick Over The Statues”. Redskins split in late 1986, leaving a legacy and influence that stretches far beyond their short recording career. CD Info and Tracklist: 4 discs- 67 tracks. The reissue comes complete with new sleeve notes by Redskins bassist Martin Hewes, and the boxset will include a 68-page booklet with liner notes from Hewes and Redskins drummer Paul Hookham (who replaced original drummer Nick King in 1985) and renowned contemporaries including Billy Bragg and Paul Morley. Plus photos, lyrics and essays. A1 The Power Is Yours A2 Kick Over the Statues! A3 Go Get Organized! A4 It Can Be Done! A5 Keep On Keepin’ On! A6 (Burn It Up) Bring It Down! (This Insane Thing) A7 Hold On! A8 Turnin’ Loose (This Furious Flames) A9 Take No Heroes! A10 The Crack A11 Let’s Make It Work! A12 Lean On Me! A13 Lean On Me! (Reprise - ‘The Return Of The Modern Soul Classic’ A14 16 Tons (Coal Not Dole) A15 Reds Strike The Blues (Take 4) A16 99 And A Half Won’t Do (with Reprise) A17 You Want It? They Got It! A18 A Plateful Of Hateful A19 Take Your Gods And Bury Them (‘Take No Heroes’ - Alternative Version) B1 Bring It Down! (This Insane Thing) - 12” Version B2 Keep On Keepin’ On! (Die On Your Feet 12” Mix) Produced by Ted de Bono, Mixed by Redskins B3 The Power Is Yours (MGM Mix by Stephen Street) B4 Keep On Keepin' On (Original March ’84 - 12” Mix) B5 It Can Be Done! 7” Version (Additional Recording and Mix by Stephen Street Alternate Mix) B6 You Want It? They Got It! (Alternate Jammin’ Magazine Mix) B7 Bring It Down! (This Insane Thing) (7” More FX Mix) B8 Keep On Keepin’ On! (Live in ’85 from the ‘Kick Over Apartheid Tour’) B9 Let’s Make It Work! (Live in ’85 from the ‘Kick Over Apartheid Tour’) B10 Bring It Down! (Live in ’85 from the ‘Kick Over Apartheid Tour’) B11 Kick Over The Statues! (Live in ’85 from the ‘Kick Over Apartheid Tour’) B12 Tracks Of My Tears (Live in ’85 from the ‘Kick Over Apartheid Tour’) with Billy Bragg B13 Back In The USSR (Live in ’85 from the ‘Kick Over Apartheid Tour’) w/ Billy Bragg + Jerry Dammers B14 Skinhead Moonstomp (Live in ’85 from the ‘Kick Over Apartheid Tour’) with Jerry Dammers B15 Keep On Keepin’ On! (Live in ’85 from the ‘Kick Over Apartheid Tour’) - Speech Version with Bruce George, South African Activist C1 The Power is Yours (Live At The Town And Country Club, 22nd Apr, 1986) C2 Kick Over the Statues! (Live At The Town And Country Club, 22nd April, 1986) C3 Hold On! (Live At The Town And Country Club, 22nd April, 1986) C4 The Crack (Live At The Town And Country Club, 22nd April, 1986) C5 99 And A Half Won’t Do (Live At The Town And Country Club, 22nd April, 1986) C6 Let’s Make It Work! (Live At The Town And Country Club, 22nd April, 1986) C7 Unioinize / Pickin’ The Blues (Peel Session, 9th Oct, 1982) C8 Reds Strike the Blues (Peel Session, 9th Oct, 1982) C9 Kick Over the Statues! (Peel Session, 9th Oct ’82) C10 The Peasant Army (Peel Session, 9th Oct ’82) C11 Young And Proud (Peel Session, 8th Aug ’83) C12 Hold On! (Peel Session, 8th Aug ’83) C13 99 And A Half Won’t Do (Peel Session, 8th Aug ’83) C14 Take No Heroes! (Peel Session, 8th Aug ’83) C15 A Plateful Of Hateful (Kid Jensen Session, 16th Jan ’84) C16 It Can Be Done! (Kid Jensen Session, 16th Jan ’84) C17 Keep On Keepin’ On! (Kid Jensen Session, 16th Jan ’84) D1 Lev Bronstein (CNT 7”, 1982) D2 The Peasant Army (CNT 7”, 1982) D3 Lean on Me (Original CNT 7” Single) D4 Unionize (CNT 7”, 1983) D5 Move / Let My Words Be Bullets (Live in Munich, 1986) D6 Don’t Talk To Me About Whether (Live In Munster, 1986) D7 Levi Stubbs Tears (Live in Munich, 1986) D8 The Most Obvious Sensible Thing (Unissued Session, 1986) D9 Lean On Me (Northern Mix, CNT 12”, 1983) D10 Unionize (Break Mix, CNT 12”, 1983) D11 Stickies (Demo, 1981) as ‘No Swastikas’ D12 Strike (Demo, 1981) as ‘No Swastikas’ D13 Unnamed (Demo, 1981) as ‘No Swastikas’ D14 Anglo-Irish Summit Tapes: Interview with Redskins, 1986 D15 I Can’t Stand The Boss (Live Bootleg, ICA, London, 1986) w/ introduction from Martin Hewes D16 Names Were Named (Live Bootleg, SWAPO Festival, Italy, 1986) (London Records)
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Out of stockFor the very first time, London Records reissue the 1986 debut album - and only studio album – by Redskins, Neither Washington Nor Moscow, on vinyl and 4CD Boxset. The reissue comes complete with new sleeve notes by Redskins bassist Martin Hewes, and the CD boxset includes a 68-page booklet with liner notes from Hewes and Redskins drummer Paul Hookham (who replaced original drummer Nick King in 1985) and renowned contemporaries including Billy Bragg and Paul Morley. Redskins were formed in York in 1982 by Chris Dean (vocals / guitar), Martin Hewes (bass / backing vocals) and Nick King (drums), with the ambition to “sing like The Supremes and walk like The Clash”. Dean and Hewes were members of the Socialist Workers Party and politics guided the music created by Redskins, their soulful songs brimming with righteous passion. Six tracks on Neither Washington Nor Moscow were released as singles, including the band’s only Top 40 “Bring It Down! (This Insane Thing)” and the prophetic “Kick Over The Statues”. Redskins split in late 1986, leaving a legacy and influence that stretches far beyond their short recording career. (London Records)
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Out of stockThe second full-length album of Danish Fifties/Psych Pop duo The Raveonettes was released in 2005. On Pretty In Black, Sune Rose Wagner and Sharin Foo abandoned the strict recording rules the band laid upon themselves on their preceding efforts. Instead, the group further expand on their signature sound of Fifties inspired Rockabilly Noise Pop with the eerie feel of a thriller movie soundtrack. Special appearances on this album are made by Maureen Tucker of Velvet Underground on drums, Martin Rev on drum machine and Ronnie Spector, also known as Veronica Bennett of the fabulous Ronettes on backup vocals. Non-numbered, black vinyl edition. Comes with 4-paged insert with lyrics and credits. 180 gram audiophile vinyl 4-page insert Hype-sticker Guest appearances by Maureen Tucker (Velvet Underground), Ronnie Spector (The Ronettes) and Martin Rev (Suicide) Limited 15th-anniversary edition of 1500 individually numbered copies on crystal clear (transparent) vinyl (Music on Vinyl/Columbia/2013)
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Out of stockDanish indie rock duo The Raveonettes first met in Copenhagen in 2001, after which they quickly began recording their first EP Whip It On. Their first full album Chain Gang of Love followed in 2003, and it quickly gained recognition as lead single “That Great Love Sound” was featured on the soundtrack of FIFA 2004. Upon release, Pitchfork complimented the album for its high-quality production, tightly controlled melodies and called the album a glorious buzz. Mixing raw garage rock with catchy, sweet lyrics, Chain Gang of Love demonstrates The Raveonettes' knack for crafting compelling songs. Chain Gang of Love is available as a limited edition of 1500 individually numbered copies on translucent red vinyl. 180 gram audiophile vinyl Critically acclaimed 2003 debut album Featuring the singles “Remember”, “Heartbreak Stroll” and “That Great Love Sound” as featured on the OST of FIFA 2004 Limited edition of 1500 individually numbered copies on translucent red vinyl (Music on Vinyl)
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Out of stockOriginally released on the legendary ‘Lookout!’ record label in 1993, ‘Love Songs For The Retarded’ is the first Queers‘ album with the Joe/Hugh/B-Face line-up, and one of the true milestones of 90’s punk rock. Recorded at the Sonic Iguana studios by Mass Giorgini and produced by Ben Weasel. Limited ‘color in color’ yellow/green vinyl reissue, with double sided lyrics insert included. Due to some shortage of material at the pressing plant, all copies are actually ‘color in colour’ yellow/green rather than orange/black as previously announced! One time press of 500 copies! (Hey Suburbia Records)
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Out of stockDon't Back Down is the sixth studio album by the American punk rock band the Queers, released in August 1996 by Lookout! Records. Probably The Queers best album. If you like Ramones, surf and pop punk then this is perfect record for your ears. Official reissue on Hey Suburbia Records. (Hey Suburbia Records)
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Out of stockAnother repress of this nice one originally released in 2000. True skinhead-rock’n’roll from the streets of Montréal. But … what should we do with the drunken skinhead ? Label: Mad Butcher Records
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The Proletariat are a punk rock band from Southeastern Massachusetts, whose heyday was during the 1980s, when they were active in the early Boston hardcore scene, sharing the bill with many of the best punk and hardcore punk acts of the time, despite their recorded output having a decidedly non-hardcore aesthetic; the Proletariat show more strongly the musical influences of early British post-punk bands such as Wire and the Gang of Four in their fractured guitar sound and Marxist-themed lyrics. Indifference is their second studio album from 1985. The record was named after its opening song, which was inspired by the photography of David Henry of the homeless in Boston, Massachusetts. One of Henry's photos serves as the album's front cover. In 1984, the Proletariat returned to Radiobeat Studios to record another album with Dufour and Giordano, assisted by Josiah McElheny. An early version of "An Uneasy Peace", a song composed for the upcoming album, brought the band international attention via its inclusion on the P.E.A.C.E. compilation, a hardcore punk collection released on Dave Dictor's R Radical Records label that included more well known bands like the Dead Kennedys, Crass, and MDC. On June 30, 1984, the Proletariat performed what would be their final show with their original lineup at Chet's Last Call in Boston, sharing the bill with the Volcano Suns and fellow Radiobeat labelmates Sorry. Later that year, before their second album was completed, Brown quit the band, as did McKnight who was studying engineering at Bristol Community College. The two would be replaced by female singer Laurel Ann Bowman and drummer Steve Welch; both of whom performed on recordings of two songs for the new album. This lineup was short-lived, and the Proletariat disbanded shortly after performing a pair of shows on July 1, 1985 with Italian band Raw Power and the local act Rash of Stabbings, at the Living Room rock club in Providence, Rhode Island. The band's new recordings were released as the album Indifference and its lead single titled "Marketplace" on Homestead Records in 1985. Both the album and single showed another side of the band, including layered melodies and featuring a guest appearance by Roger Miller of Mission of Burma playing piano on an updated version of "An Uneasy Peace", as well as Laurel Bowman's soft-toned voice in sharp contrast with Brown's staccato pronouncements. Label: Restless Empire REcords
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The Proletariat are a punk rock band from Southeastern Massachusetts, whose heyday was during the 1980s, when they were active in the early Boston hardcore scene, sharing the bill with many of the best punk and hardcore punk acts of the time, despite their recorded output having a decidedly non-hardcore aesthetic; the Proletariat show more strongly the musical influences of early British post-punk bands such as Wire and the Gang of Four in their fractured guitar sound and Marxist-themed lyrics. Indifference is their second studio album from 1985. The record was named after its opening song, which was inspired by the photography of David Henry of the homeless in Boston, Massachusetts. One of Henry's photos serves as the album's front cover. In 1984, the Proletariat returned to Radiobeat Studios to record another album with Dufour and Giordano, assisted by Josiah McElheny. An early version of "An Uneasy Peace", a song composed for the upcoming album, brought the band international attention via its inclusion on the P.E.A.C.E. compilation, a hardcore punk collection released on Dave Dictor's R Radical Records label that included more well known bands like the Dead Kennedys, Crass, and MDC. On June 30, 1984, the Proletariat performed what would be their final show with their original lineup at Chet's Last Call in Boston, sharing the bill with the Volcano Suns and fellow Radiobeat labelmates Sorry. Later that year, before their second album was completed, Brown quit the band, as did McKnight who was studying engineering at Bristol Community College. The two would be replaced by female singer Laurel Ann Bowman and drummer Steve Welch; both of whom performed on recordings of two songs for the new album. This lineup was short-lived, and the Proletariat disbanded shortly after performing a pair of shows on July 1, 1985 with Italian band Raw Power and the local act Rash of Stabbings, at the Living Room rock club in Providence, Rhode Island. The band's new recordings were released as the album Indifference and its lead single titled "Marketplace" on Homestead Records in 1985. Both the album and single showed another side of the band, including layered melodies and featuring a guest appearance by Roger Miller of Mission of Burma playing piano on an updated version of "An Uneasy Peace", as well as Laurel Bowman's soft-toned voice in sharp contrast with Brown's staccato pronouncements. Label: Restless Empire REcords
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Out of stockThere is something about a rock'n'roll band that appeals. I think it's the feeling that with a little effort we could all be up there, guitars in hand. It is this do it yourself" ethic that ensures that the popularity of guitar-based groups endures, and that even when the hot light of publicity is shining elsewhere those bands will still be formed. At the moment the classic garage band sound is very much back in vogue, coming from US bands such as the White Stripes from Detroit and their ilk. These bands and their members have been playing for years with little publicity and would have carried on doing so regardless of success. This is a similar situation to the scene that formed around the Medway towns just outside London, in the early 80s which produced many bands-.-notably the Milkshakes with leader Billy Childish, but also the Prisoners, whose rough-hewn take on 60s psych and garage made them one of the great "lost" bands of the 1980s. This unique re-issue of their debut album A TASTE OF PINK with additional tracks shows the band development from their earliest home demo through to their move outside their local area onto a wider audience. The Prisoners formed in 1980 when Allan Crockford, Graham Day and Johnny Symons formed a band at school in Rochester. It was pretty basic stuff, Graham on guitar, Allan on bass and Johnny on drums, mixing punk and 60s influences, rehearsals at parents' homes and maybe the odd gig in between exams. 1981 saw the band take things more seriously, and the band expanded to a four piece with the addition of Bruce Brand from the Milkshakes as a second guitarist, which brought with it a stronger R&B flavour. This arrangement didn't last long and the far more important discovery for the year was Graham's voice as a songwriter. Late in 1981 (Allan thinks November) the band recorded a home demo as a three piece. It's an interesting document which we present here for the first time. Obviously a little rough around the edges, the band is nonetheless a tight outfit with all the power you could want from a guitar trio. The songs include the previously unheard Talking Bout My Baby, which is strongly marked by one of Graham's biggest influences at that time, the Pretty Things. Two of the other songs, Don't Call My Name and Say Your Prayers, would be recorded again for A Taste Of Pink. The final song, Lilac Reflections, is a bit of a discovery, an early live favourite, still liked by Allan and Graham. This is the first time you will have ever heard it unless you were at the early gigs. These demos once again showed the touch of the Milkshakes as that band's Russell Wilkins helped in the recording - something that he did on and off throughout the Prisoners' career. The Prisoners became a four piece in early 1982 with the addition of Jamie Taylor on organ. James, like the others, was in the same year at Rochester Mathematical School - and was Johnny Symons' best mate. Originally he played a modern Casio keyboard, which was given a distinct sound by playing its organ sound - loud - through a valve amplifier. The organ and Graham's songs gave the Prisoners a distinctive sound, allowing them their own niche within the local scene. Throughout the first half of 1982 they played all the local venues, most notably the Medway Indian Club (MIC), where they would later record a live album with the Milkshakes. The Milkshakes were a discernable influence on the Prisoners' attitudes and it was their "get up and get on with it yourself" ethos that convinced the band that they could just go and record an album. So with money saved from their gigs - looked after by Allan's then girlfriend - and the spur of Jamie's impending exodus to university in Newcastle, the band recorded A Taste Of Pink. The album was recorded in two days at a studio in Herne Bay. The first day - a Sunday - saw the putting down of backing tracks and guide vocals recorded live to tape. The following Sunday the lead vocals and any lead instrumental parts were overdubbed. Due to the imminent birth of the engineer's daughter the whole thing was mixed down in an hour. It is this album that announced the band to the world outside the Medway. The album was pressed at Mayking Records in the Portobello Road, West London after Allan and Graham had made up the sleeve the previous night at Graham's kitchen table. They had scraped enough money together to press 500 copies - not that they could really have expected to sell many more. They only had two or three weeks to sell the album at gigs before James left and they all thought that would be that. Two things happened to change it all. Firstly, James lasted a mere three days at university before he returned and re-joined. Secondly, the album started to build a following for its blend of exuberant 60s influenced garage rock. It may well be a highly primitive recording, but from the opening blast of Better In Black to the undisguised snarl of Don't Call My Name a mere 30 odd minutes later, this is dirty, adrenaline-fuelled guitar music, short, sharp and aimed straight for the jugular. John Peel played Better In Black and Rough Trade ordered a couple of hundred copies. The Prisoners were starting to make a mark in the wider world. Those 200 copies sold out and Rough Trade ordered 500 more, a process that repeated itself for the next few years. When we were trawling the tape archive for this CD we discovered a track that for some reason hadn't made the final album. Allan thinks that the band may have thought it was too Jam-like at the time. Today, Baby Come Alive sounds like a great rush of energy and it makes a fine addition to the album. Due to the non-availability of the mixed master, this is a monitor mix with Graham's guide vocal. The next two tracks are both recorded live, but in recording studios. There's A Time (track 15) is a song that appeared as a French 45 on the Skydog label in 1983. This version is an out-take from the split album recorded with the Milkshakes at Oakwood Studio. The A Taste Of Pink track Pretend (track 14) is taken from a Belgium radio performance that also saw the band doing One Mint Julep and the Small Faces' Grow Your Own. The session ended with Johnny Symons pushing over the speaker stacks and the bands (the Prisoners shared the session with the Milkshakes) having to hand back their gig money to pay for the damage. Once James Taylor re-joined, the band continued playing gigs around Kent. They didn't play their first London gig until January 1983, at the Moonlight Club in Hampstead with the Barracudas. This was on the same night that BBC Radio Kent broadcast a session with the band recorded at the station's studios. From this session we have lifted the earliest version of a new song Somewhere, that would appear on the band's second album Wisermiserdemelza. January 1983 was also when the early version of Love Changes was performed at a gig at Quines in Canterbury. The night in question was nearly empty due to some atrocious snowy weather. 1983's live work and the small but dedicated crowd of people who had discovered A Taste Of Pink represented an upward curve for the band. This would be confirmed by signing to the Big Beat label and national TV appearances in the following year. It was an exciting time for an exciting band. By Dean Rudland" Label: Big Beat Records Barcode: 0029667001113
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Out of stock‘Going Through The Motions’ is the first full-length vinyl collection of The Prefects studio recordings. Although a few tunes don’t stray from the general sounds of their time, there’s innovation and humour here. Escort Girls may be the first recorded forerunner of American hardcore. The Bristol Road Leads To Dachau hints at Joy Division’s later The Atrocity Exhibition. Taking it a step farther than Alternative TV’s How Much Longer with its deliberate dirge, Going Through The Motions, mocks punk expectation against an almost psychedelic haze. Total Luck bears the early evidence of Lloyd’s lone-man confessional style, and Barbarella’s is a tongue-in-cheek tribute to their most-played local venue. Versions of The Modern Lovers’ She Cracked and the Prefects’ original 625 Lines were recorded live by Virgin on the final two nights of Manchester’s Electric Circus and later issued as a compilation with tracks by The Fall, The Buzzcocks, Joy Division and others. The Prefects refused release of their material, believing their first outing should be a studio recording, not a live track or two on a compilation. During the White Riot tour, members of Subway Sect, The Slits and The Prefects joined in on a live encore loosely based on Velvet Underground’s Sister Ray. Incredibly difficult to listen to, the song was bootlegged widely before eventually appearing on The Slits’ 1980 album of early demos in a 5’20” version called “No More Rock And Roll For You”. Twenty years later, Vic Godard of Subway Sect edited a minute from the recording and released it on his Twenty Odd Years compilation. Two decades later, The Prefects have edited more than a minute from it and retitled it White Riot Tour. In another twenty years, it is hoped that the prolonged rite of ritual shortening of this song will leave no trace of it at all. For the record, it’s Robert Lloyd going “wooo-ooo” in the background, in what he says was an attempt to mimic the organ part from Sister Ray, which, listeners may note, is no longer being played. This is the opening salvo in the telling of Robert Lloyd’s career, which will include King Rocker: A film about Robert Lloyd & The Nightingales, by comedian and writer Stewart Lee, director Michael Cumming and Fire Films’ James Nicholls. (Call of The Void Records)
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Out of stockPioneering Latino punk band The Plugz formed in Los Angeles in 1977 with frontman Tito Larriva, drummer Chalo Quintana and bassist Barry McBride. After debut album Electrify Me, sophomore set Better Luck saw McBride replaced by John Curry of The Flyboys; now with better mastery of their instruments, Larriva and Chalo steered the sound into new wave stylings, aided and abetted by guest horns, harmonica, and keyboards. Yet, the band was still a critical force pushing against societal inequalities, as heard on the caustic “American,” and El Clavo Y La Cruz” reminded that the core of the group was 100% Latino. A great LP! Label: Survival Research - SVVRCH081 Barcode: 0637913925306