• Originally released in 1980, now back on vinyl with a gatefold sleeve, this classic album by The Fall contains live recordings with the odd studio track and a home recording thrown in for good measure. The tracklist includes 'Fiery Jack', 'Muzorewi's Daughter', 'In My Area', 'Spectre Vs. Rector', 'Cary Grant's Wedding' and more. (Let Them Eat Vinyl Records)
  • The Fix was one of the earliest hardcore bands in the Midwest and one of the first to release a record for Touch And Go. Blazing away with the Necros and the Meatmen, The Fix is part of the foundation of what would become Touch And Go. This collection of recordings will be released on both CD and vinyl and includes both early Touch And Go singles, the track from the "Process Of Elimination" track, a few demo tracks from the "Jans Room" sessions and live tracks from a 1981 tour. (Touch & Go Records)
  • The Front were formed on Miami Beach in 1980. They were managed by Warren Tepper, son of famous songwriter Sid Tepper (“Red Roses For A Blue Lady”, “Blue Hawaii”, “G.I. Blues”). Warren was walking his dog along the beach and heard us recording demos from a beach house, so he walked in introducing himself and asking if we had a demo he could play to his father: we did, and the next day he became the band’s manager. I started out playing bass and sang lead vocals. Shortly after, guitarist Randy Rush asked me if I would drop the bass and become the frontman, while informing me of two soon to be Front members. The lineup was me on lead vocals and synth, Randy on lead guitar, Steve Myers on bass and vocals, Flynn Picardal on guitars, synth and vocals and Larry K Hill on drums and vocals. Upon meeting the guys, some rules were laid down by Steve: cut off the fat you don’t need; no drum solos; no extravagant soloing. We also made a promise: never will this band play a cover tune. We never did. As a result, we developed our own unique sound. To the Miamians we were weird, but also tight and catchy: people soon remembered our songs’ hooks. We all wrote and the band was very prolific. In 1981 we did our first 7’ Ep “The Front First Strike” at Sync Studios on our diy label FOAM Records. The B side “Immigration Report” hit #1 on WVUM and went on to heavy rotation on college radios across the US. The band played everywhere there was a stage, eventually becoming the opening act for bands such as U2, Psychedelic Furs, The Go-Go’s, Ultravox, Bow Wow Wow and many others. In 1982 we released our 2nd single “Aluminum Room”, which garnered the band a Billboard Single Pick. Many major labels were courting us… Nevertheless, by that time the band members were fragmenting personally and artistically: on 7/25/1983 we played our last gig at a club called The Blitz in Hialeah, FL with a surprise appearance by Joey Ramone. A few years back, The New Times listed The Front at #5 of the “Greatest 20 Florida Punk Bands Of All Time” list. Not getting signed has its rewards, so put your headphones on and listen to a band that was on the cusp of international fame 40 years ago but just being heard today. I hope you’ll enjoy! Gregory McLaughlin (Rave Up records)
  • Blue Sunshine is the only studio album by the British supergroup the Glove, released in 1983 by Wonderland Records/Polydor. This album mainly served as a diversion for Robert Smith and Steven Severin when both of them were under heavy stress in their respective bands the Cure and Siouxsie and the Banshees. Since Smith was prohibited from singing in another band by his record company, he and Severin recruited Zoo dancer Jeanette Landray (a former girlfriend of Banshees drummer Budgie) to sing the majority of the tracks on the original release; Smith only sang on "Mr. Alphabet Says" and "Perfect Murder". Other musicians involved in this project were Andy Anderson (who later joined the Cure), Martin McCarrick (who later joined the Banshees), Ginny Hewes and Anne Stephenson. Severin wrote the lyrics to all of the songs except "Like an Animal", "Sex-Eye-Make-Up", "Perfect Murder", which were written by Smith, and "Punish Me with Kisses", on which the two collaborated. Two singles were taken from the album, "Like an Animal", and "Punish Me with Kisses". (Polydor/Wonderland/2016)
  • Out of stock
    Color Vinyl
    The Hives’ 1997 debut “Barely Legal”made available on vinyl again. After being out of print for years, we celebrate the 20th anniversary of the landmark album by releasing it on heavy quality black vinyl. The Hives’ debut shot thru the punk community like a runaway locomotive, with faster-than-fast blistering punk that had the punks cheering and raising bottles and cans, but left most of the mainstream going “oh...wel...uhm what?” Bronzen Vinyl, 180 Gram. (Burning Heart Records/2017) https://vimeo.com/73582300
  • "Η κυκλοφορία του “Self Preservation Instinct Zero” από τους The Hydes εν έτη 2019, αποτελεί ορόσημο για τα εγχώρια rock ‘n’ roll δρώμενα, μιας και οι εκ Θεσσαλονίκης ορμώμενοι garage punkers, έχουν αφήσει ανεξίτηλο το στίγμα τους στην εν λόγω σκηνή, για να κυκλοφορήσουν φέτος το ντεμπούτο τους album, 26 χρόνια από τη δημιουργία τους. Επιλεκτικές δισκογραφικές δουλειές, το 1997 με 2 7ίντσα (“Hard Lovin” και “Out Tonite”), άκρως επιτυχημένες συμμετοχές σε compilations και fanzines, ενώ οι ζωντανές τους εμφανίσεις ακριβοθώρητες κι αυτές, δημιουργούσαν πάντοτε αίσθηση, κυρίως στις αρχές της περασμένης δεκαετίας, προκειμένου να δημιουργήσουν ένα νέο κύμα στο είδος, που ζυμώθηκε από τις μελωδίες τους και την βιωματική, ποιητική, ιδιόμορφη στιχουργική τους, χτίζοντας έτσι το μύθο των The Hydes, ως σημείο αναφοράς. Το “Self Preservation Instinct Zero”, περιλαμβάνει 13 πρωτότυπες συνθέσεις, οι οποίες ηχογραφήθηκαν την περίοδο 2002-2006 στο δικό τους studio, το “House Of Kicks” (το οποίο αποτελεί “αξία” για τα rock ‘n’ roll πεπραγμένα της πόλης) και αποδεικνύεται ότι όσα χρόνια κι αν περάσουν, το ατόφιο rock ‘n’ roll ακούγεται φρέσκο, επίκαιρο και συναρπαστικό. Οι The Hydes έχουν το μοναδικό χάρισμα να συνδυάζουν το βαθυστόχαστο με το ανέμελο, να περιβάλλουν την αυτοκαστροφικότητα μιας αδυσώπητης πραγματικότητας μ’ ένα μανδύα αισιοδοξίας, να περιγράφουν τις σκληρές βιωματικές τους εν-τυπώσεις, σε μινόρε, garage γκρούβες. Πώς οι Stooges της πρώτης φάσης τους, συνδυάζονται με την νωχελική, ψυχεδελική γοητεία των Velvet Underground, για να φτάσουμε στο proto punk των Radio Birdman, είναι από τους γρίφους που μπορείς ν’ αφήσεις κι άλυτους, για να σε παρασύρουν κατά τη διάρκεια της ακρόασης σ’ ένα ταξίδι αντιφάσεων, ως περιγράφησαν παραπάνω. Φωνητικά που ταξιδεύουν (με εξαιρετικές διφωνίες), blues “ηχοχρώματα” που σαγηνεύουν (άλλοτε με τον ηλεκτρισμό τους και άλλοτε με την έμφυτη μελαγχολία τους), punk φόρμες διανθισμένες με “πιασάρικες” μελωδίες και επίσης στιχουργική, που μιλάει “απευθείας” στο “είναι” μας. Ένα album που δεν αφήνει κανένα δευτερόλεπτο της ακρόασης να πάει χαμένο, λες και τα δεκατρία tracks που περιλαμβάνει, έρχονται να καλύψουν το κενό των δεκατριών ετών που άφησαν πίσω τους οι The Hydes, με τον πλέον επάξιο τρόπο. Οι θιασώτες του είδους θα το λατρέψουν (χαλάλι η υπομονή!), οι υπόλοιποι θα το εκτιμήσουν δεόντως." https://rockway.gr/posts/23080-the-hydes-self-preservation-instinct-zero/ (Rumble Skunk Records)
  • Out of stock
    Fight the Good Fight, the third studio album from Los Angeles ska-punk band The Interrupters, is available now via Hellcat Records. Fight the Good Fight was produced by longtime collaborator, Rancid frontman, and Grammy Award-winning producer Tim Armstrong with the band at Ship-Rec Recorders in Los Angeles. The album was mixed by Grammy-award winning mixer Tom Lord-Alge (Blink-182, Fall Out Boy, Weezer). The follow-up to 2015’s Say It Out Loud, Fight the Good Fight finds The Interrupters delivering their two-tone-inspired, powerfully melodic, punk-fueled sound with more vitality than ever before. With Armstrong and Alge at the helm, Aimee and the Bivona brothers channeled the raw energy of their lives shows by recording almost entirely to tape. “There’s a certain feeling you get from that process that you can’t really get digitally,” says guitarist Kevin. “There’s no overthinking anything—everyone’s got to be fully present and committed. It was definitely high-pressure, but also really fun.” (Hellcat Records)
  • Out of stock
    Fronted by singer-songwriter Aimee Allen, this Los Angeles ska band began working with Tim Armstrong on his Tim Timebomb series of singles. Steeped in ska, reggae and punk, Allen and The Interrupters bring a sly sense of humor to their music and lyrics on songs like "White Noise" and "Liberty." Track A7 & B6 are bonus tracks. Printed innersleeve with lyrics (Hellcat Records)
  • All Mod Cons from 1978 is where everything really came together for the Jam. The songs and the writing matured by leaps and bounds compared to This is the Modern World. Weller has some of his best work on this album including the beautiful ballad English Rose, the stumbling anger of the title track, and the chilling Down in a Tube Station at Midnight with it's rapid fire drums and funky walking bass lending a real sense of urgency to the story being unfolded by Weller. His social commentary here is biting and pissed off and though the music spread out in more directions with Weller building off his various influences (especially r&b), the spirit of the album is punk, through and through. a wonderful album that gets stronger with every listen and it remains one of the great original punk albums as well as one of the great British albums of all time. (Polydor/2006)
  • THE JAM | in the city | LP

    20.00 incl. tax
    In the year of punk, the Jam exploded onto the music scene with this seminal debut album. The raw, unfettered aggression of the band's approach was well in keeping with the spirit of the times, but the heart of their songs and sound lay in the mod movement of the mid-'60s (early Who, Creation, etc.). Singer / guitarist Paul Weller comes off like a cross between Joe Strummer and the young Pete Townshend, bashing unreservedly through Slow Down, one of the r&b tunes that inspired the original mods. Weller extols the virtues of frenzied dancing and nonconformist youth culture (Non-stop Dancing, Away From the Numbers) over the raging three-chord attack of bassist Bruce Foxton and drummer Rick Buckler. The pure punk insouciance of his words and delivery is a perfect match for the raging but hooky 'arrangements,' which basically consisted of the band walking into the studio and blazing through their live set. Rickenbacker guitars never sounded so thick, and skinny ties never seemed less geeky. (Polydor – PD-1-6110)
  • As is so often the case for overnight successes, the Jam rush-recorded their sophomore effort during a hurried schedule to capitalize on the debut. This, combined with Paul Weller's various personal distractions and temporary lack of interest, led to less than satisfying results, especially in comparison to 'In the City'. 'This is the Modern World' can be faulted for borrowed who licks, pale rewrites of the debut, somewhat cliched sloganeering, and unfinished ideas, but there were still some moments of inspiration, especially in more introspective Weller songs like 'Life from a Window' and 'I Need You (For Someone)' - both songs feature personal sentiments that the debut was clearly missing. 'This is the Modern World' is a flawed album by Jam standards, but it would certainly have received praise had it been released by another band. (Polydor/Hauppauge Pressing/1991)
  • Goat is the second full-length studio album by The Jesus Lizard, released in 1991. It is their most acclaimed album, with many critics[when?] calling it one of the best albums of the 1990s. The album was produced by Steve Albini. Its cover art, by bassist David Wm. Sims, at first glance resembles a flame, but is actually a topless woman with a close-up image of nails projected onto her body. The rear of the album, and several panels of the enclosed CD booklet include similar pictures of the same naked woman, with different images projected onto her body. It was ranked as the 38th best album of the 1990s by the online magazine Pitchfork. (Touch and Go!)
  • Back in stock
    Originally released a mere eight months after their groundbreaking 1978 self-titled debut LP (RAD 8002LP), The Kids' second album is a pure masterpiece of straightforward punk rock. A little less raw than their previous material, but still far from the new wave sounds the band started experimenting with on their following records, Naughty Kids remains one of the best examples of non-UK '70s punk and definitely a mandatory addition to the collection of any Killed by Death fanatic! This reissue also includes five bonus tracks recorded live in 1978. (Radiation Records) https://thekids.bandcamp.com/album/the-kids
  • Originally released a mere eight months after their groundbreaking 1978 self-titled debut LP (RAD 8002LP), The Kids' second album is a pure masterpiece of straightforward punk rock. A little less raw than their previous material, but still far from the new wave sounds the band started experimenting with on their following records, Naughty Kids remains one of the best examples of non-UK '70s punk and definitely a mandatory addition to the collection of any Killed by Death fanatic! This reissue also includes five bonus tracks recorded live in 1978 (RED VINYL LIMITED TO 150) (Radiation Records) https://thekids.bandcamp.com/album/the-kids
  • Release from Cassette Store Day 2017. Limited edition of 349 hand-numbered copies. Includes two bonus songs: Track B6 - B-side of the 'No Monarchy' 7" (Fontana 6022-003 - 1978) Track B7 - Previously unissued 1977 studio track Hailing from Antwerp, Belgium, The Kids formed in 1976 to prove to the world that punk was more than just a London vs New York fashion contest. Originally released on the Philips label in 1978, and highly acclaimed as one of the best punk records EVER. This is pure and quintessential punk rock. (Radiation Records) https://thekids.bandcamp.com/album/the-kids
  • Hailing from Antwerp, Belgium, The Kids formed in 1976 to prove to the world that punk was more than just a London vs New York fashion contest. Originally released on the Philips label in 1978, and highly acclaimed as one of the best punk records EVER. This is pure and quintessential punk rock. Track 13 - B-side of the 'No Monarchy' 7" (Fontana 6022-003 - 1978) Track 14 - Previously unissued 1977 studio track (Radiation Records) https://thekids.bandcamp.com/album/the-kids
  • 3η κοπή σε Oxblood βινύλιο. 200 κόπιες. H βόλτα κρατάει… Κοντά εννιά χρόνια μετά από το προηγούμενο full length album τους, οι The Last Drive επανέρχονται ορμητικά με τον νέο δίσκο τους, που φέρει το όνομά τους. Σκοπός τους, για άλλη μια φορά, να ταράξουν τα νερά της εγχώριας ροκ σκηνής, και όχι μόνο. Αφού πέρασαν το μεσοδιάστημα με συναυλίες εντός και εκτός συνόρων, επιχειρούν μια αβίαστη, ανοιχτή περιπλάνηση στα μονοπάτια του rock n roll και της ψυχεδέλειας• χάνουν και ξαναβρίσκουν τους εαυτούς και τις επιρροές τους, απελευθερωμένοι από στεγανά. Οκτώ δικές τους συνθέσεις με συνολική διάρκεια 45 λεπτών, ικανές να χωρέσουν τις σκέψεις και τα συναισθήματα όλων μας σε μια εποχή που δοκιμάζει όρια και βεβαιότητες. Ανάμεσά τους κομμάτια που δεν έχουν παρουσιαστεί, αλλά και highlights από τις ζωντανές εμφανίσεις όπως το Always the Sun και το White Knuckles, η πρώτη εκδοχή του οποίου ακούστηκε στο ντοκιμαντέρ Fascism Inc. O δίσκος αφιερώνεται στo Drive Tribe, την κοινότητα των φίλων που στηρίζουν όλα αυτά τα χρόνια το γκρουπ, και στη μνήμη του αγαπημένου Fred Cole των Dead Moon, που χάθηκε πρόσφατα. Κυκλοφορεί από τις Labyrinth of thoughts records & The Lab records. (Labyrinth of Thoughts Records / The Lab Records)
  • Out of stock
    The Last Resort's debut album is an unrelenting piece of UK Oi!, absolutely essential to any fan of the genre. Originally released in 1982, the album reveals influences of a.o. Sham 69 and The Cockney Rejects, but not without a strong personality of its own). (Puke N Vomit Records)
  • Out of stock
    Regular soft-cover version. "Kansai" is a region in Japan that lies in the southern-central territory of Japan's main island Honshu and includes the prefectures of Mie, Nara, Wakayama, Kyoto, Osaka, Hyogo and Shiga. The metropolitan area of Osaka, Kobe and Kyoto (Keihanshin region) is the second-most populated in Japan after the Greater Tokyo Area. This book, previously published only in Japanese and now finally translated into English, is an incredible journey through the depths of the Kansai Hardcore hell run by none other than Ishiya of DEATH SIDE and FORWARD fame. Teaming up with him in the interviews is Shintani from RAPES, whose career stretches from the early days of the Punk/Metal scene to the present. Packed with interviews, tons of interesting anecdotes and spiced up with rare pictures, this is the definitive work about that legendary scene, a true-to-the-bone, authentic Hardcore report.. Bands included: ZOUO, S.O.B., OUTO, RAPES, WARHEAD, NIGHTMARE, MOBS, Charmy & Pon (LAUGHIN’ NOSE, NASHI) and more! Expanded version with an extra chapter all dedicated to the many Japanese Hardcore/Punk/Metal releases on F.O.A.D. Records with artwork and info. All written in English! 172 pages, full color. (F.O.A.D. Records)
  • Black leather, spikes and chains, The Lewd is, as Dirk Dirksen put it, "One of them kind of acts." Their 1982 album, "American Wino," is violent, ugly, perverse and frightening. The songs betray a bleak and ominous vision of American life seen through the eyes of youth without hope of a future. This is not the San Francisco sound of the '60s, but rather the belligerent sounds of these Seattle transplants' fight for survival on the gritty streets where the dejection of last generation's Utopian failures meets the stark realities of economic deprivation. This is fast, jarring and furious punk rock at its finest. Long languishing in obscurity due to its rarity, the reissue of this seminal LP makes it a compulsory component of any punk rock record collection. (Fan Club)  
  • The Lewd were one of the coolest and best West Coast (Seattle/SF) Punk/Hardcore bands of the late 70s /early 80s. Known for their sought after KBD 7' single 'Kill Yourself' (1979) and their classic LP 'American Wino' (1982) This collection of demos from 1979 to 1980 bridges the gap between their 70s punk days in Seattle and 80s Hardcore days in San Francisco. The LP contains their awesome 1979 Demo, unreleased songs from the 'American Wino' LP sessions and 1980 studio tracks from a session for Subterranean Records in SF. (Puke n Vomit Records)
  • Eleven Violet Dances features a selection of the best tracks from the early days of this pioneer post-punk / gothic rock band. Eleven songs taken from the band records released between 1982 and 1984 including the two frst singles originaly released on Andrew Eldritch of THE SISTERS OF MERCY very own Merciful Release which is not surprising as they grew up in the same scene and their sound is very close. THE MARCH VIOLETS formed in 1981 in leeds, uk, their music is cold and dark post punk driven by drum machine, mixed male and femal vocals and great melancholic guitar leads. This compilation includes Snake Dance & Crow Baby among others early gothic hits ! High quality vinyl repress housed in black inner sleeve, thick outer sleeve and including insert sheet with lyrics and pictures. (Restless Empire Records)  
  • Toots Hibbert and his Maytals recording at Studio One with Clement “Sir Coxsone” Dodd at the helm and the legendary Skatalites backing, what more could you possibly want? Never Grow Old is the first full length from the Maytals and Toots’ songwriting chops were fully formed right out of the gate, with most of the tunes being co-writes with Dodd. Bob was the king for a number of reasons but Toots may very well be The best male vocalist ever from the island of Jamaica. Real authentic ska from the source. (Slop'n'Mash Records)
  • Burning Sounds Records has reissued this standout recording on CD. Toots & The Maytals’ ska-heavy 1999 album features my favorite Maytals tune, “Pressure Drop” (I was introduced to Toots by The Clash’s cover of it on Black Market). The late Frederick “Toots” Hibbert and the band set a wicked pace from their opening cover of The Kinks’ “You Really Got Me,” with inspired playing and singing throughout. This recording is a high-water mark in the Maytals’ discography. Tracklist A1 You Really Got Me 3:05 A2 Broadway Jungle '98 3:42 A3 Pressure Drop 3:49 A4 Bound To Win 3:39 A5 Do You Believe 4:06 B1 The Right And The Wrong Way 3:55 B2 All Alone 3:49 B3 Peter, James & John 3:54 B4 God Bless You 4:27 B5 Broadway Jungle (Dub Version) 3:39 (Burning Sounds/2018)
  • In many ways The Mob were the archetypal anarcho punk band. Formed in Yeovil, Somerset in 1979 the band soon spent their time permanently on the road in a convoy of trucks before squatting in Brougham Road, Hackney – a street of houses that accommodated many punk and counter-culture types. Until their demise in 1983 they remained an integral part and a huge influence on the anarcho, traveller and free festival scenes. Their first release was the 1980 Crying Again single on their own All The Madmen label, followed later that year by the Ching cassette. 1981 saw another single the hugely popular and haunting Witch Hunt soon followed by their now legendary Crass single No Doves Fly Here, both taking anarcho punk into new musically unchartered waters. 1983 saw the release of their now legendary album Let The Tribe Increase, an album that saw them moving away from the constraints of the punk sound as they continued to push the musical boundaries. This trend continued in their epic single The Mirror Breaks. The Mob’s invlovement with the counterculture saw them playing gigs with archetypal hippies Here & Now and Androids of Mu as well as being actively involved in the Persons Unknown and Centro Iberico anarchist centres and the Black Sheep Housing Co-operative. Eventually The Mob dissolved with Joseph Porter joining Zounds before founding Blyth Power. Let The Tribe Increase includes the full album, both tracks from the Mirror Breaks 7″ and a previously unheard demo version of Stay, all professionally remastered. Packaged in a 12-page booklet it contains a band history and the events that surrounded the recording of the album by Kill Your Pet Puppy fanzine editor Alistair Livingston. (Overground Records)