• UZI | cadena de odio | LP

    15.00 incl. tax
    Debut full length by these energetic and most inspiring Bogotá tupa-tupa hardcore punks. (Adult Crash Records) https://uzipunkbogota.bandcamp.com/album/silla-el-ctrica-va-punk-colombia-2018
  • V2 | at the edge of chaos | LP

    16.00 12.00 incl. tax
    Compilation of the three singles and unreleased studio recordings from V2 who were one of Manchester’s first punk bands. Comes with double sided insert with history and rare photos.. V2 formed in March 1977 evolving from the early Manchester punk scene based around the legendary Electric Circus venue. Of the four Manchester punk bands around at the time – The Fall, Buzzcocks, V2 and Warsaw – V2 were the ones who fell to earth: ‘as subtle as flying buzz-bombs’ and destined for the same early grave. V2 gigs were chaotic, but this was where they really made their mark. Audiences were treated to a white-faced, black-eyed, bad-skinned young band wearing Frankenstein boots, who attacked the crowd with guitars hacked into cricket bats, bombed them with flour bags and once, set them on fire with cheap flash-bombs thrown by a drunken ‘helper’. You either loved ’em or you fuckin’ hated em! Faced with a constant lack of money/motivation and bad management the band fell to bits. Underachievement has given the band a cult status that some ‘more successful bands’ can only dream of… This LP is limited to 500 copies and compiles both of their classic singles ‘Man In The Box’ and ‘Speed Freak’, their withdrawn third single ‘Is Anyone Out There?’ and various studio recordings that never saw the light of day, packed in a full colour cover with insert detailing the band’s history written by Mark Standley and containing many rare photos. (Overground Records)
  • Another polish new wave-cold wave monument from middle of 80s. Recorded in 1986, but unreleased until 2002, and in 2013 first time puting on vinyl. Not exactly in Joy Division-Cure-Wipers style, but dark, and gloomy. (Noise Annoys Records)
  • Classic 80's Japanese hc / punk comp (1984) featuring Lip Cream, GISM, Zouo, Cobra, Mobs, and Laughin' Nose! Sourced from the official cd reissue and mastered for vinyl for best sound. Comes with a double sided insert. "Unofficial repress of this excellent Japanese hardcore compilation from 1984. The list of artists should be enough to convince you this is worth your while, but I’ll confirm this comp’s excellence. Also, except for G.I.S.M., every band gets a heavy, professional recording, which is a big plus. On the a-side, Laughin’ Nose and Cobra both offer UK-influenced punk, and Mobs deliver two tracks that combine the best elements of their first and second EPs, which makes sense as this compilation came out between those two records. Lip Cream delivers a huge helping of classic Japanese hardcore with bonkers riffing and G.I.S.M. and Zouo close things out on a weirder tip. While I wish G.I.S.M.’s recording here wasn’t so murky, “Nervous Corps” is a classic with its moshable riff repeating underneath a chaotic sound collage of war sounds. Zouo’s tracks are also rad, particularly the creepy-sounding “Frustration.” Fortunately, this version doesn’t have terrible cover art, and the vinyl sounds phenomenal."

    Tracklist Hide Credits

    A1 Laughin' Nose I Can't Trust A Woman
    Music By – Charmin*, Pon (2)Words By – Holli Roberts
    A2 Laughin' Nose Scene Death
    Music By – Charmin*Words By – Holli Roberts
    A3 Mobs Charisma
    Music By, Words By – Mobs
    A4 Mobs No More Hero
    Music By, Words By – Mobs (2)
    A5 Cobra 1984
    Music By, Words By – Yōsukō*
    A6 Cobra Inside Out
    Music By, Words By – Yōsukō*
    B1 Lip Cream* Pental
    Music By, Words By – Lip Cream*
    B2 Lip Cream* Dazed Confused
    Music By, Words By – Lip Cream*
    B3 GISM* Still Alive
    Music By – Randy*Words By – Sakevi
    B4 GISM* Nervous Corpse
    Music By – Kannon (2)Words By – Sakevi
    B5 Zouo You Like It That Way
    Music By, Words By – Zouo
    B6 Zouo Frustration
    Music By, Words By – Zouo
    (Unofficial Release)
  •   An excellent job of including some really good previously uncompiled tracks. Perhaps the other Bodysnatchers track from the 7" would have made a better opening track? Pretty much top-notch except for the Z-Cars, Vacant Lot & Wrong Kind Of Stone Age. Today I kick off with rare punk stuff from down under and the Bloodstains comps have become a monster of their own and I think all releases are somewhere in the network available. The reason for this post is again the excellent rip and the complete artwork and finally, of course, the gifted music on it. Everyone's heard the classics by Razar, Victims, Rocks, Leftovers, News and Fun Things....all great bands, but they're on dozens of other compilations so it makes no sense including them here. Instead you'll get a taste of some killer Australian punk (previously uncompiled tracks) you might have missed. Mystery (Bodysnatchers, 1979, from only 7") Dance With The Fuhrer (Skunks, 1982, from only 7") Threats (Young Identities, 1980, from 2.7" [New Trends EP]) Police (Proles, 1979, from only 7") SS Brigade (Public Execution, 1982, from only 7") Alcoholic (Press, 1979, from only 7" and only LP) Fun (Thought Criminals, 1978, from 1.7") Run Amok (Wrong Kind Of Stone Age, 1984, from only 7") Multinationals (Vacant Lot, 1981, from only 7") Second Glance (Sputniks, 1979, from only 7") Guns & Guitars (Just Urbain, 1979, from 1.7") Standing By The Window (Tactics, 1979, from 1.7") Pyramid Party (Quick & The Dead, 1981, from only 7") Is There Someone Out There? (Z-Cars, 1980, from only 7") When I Watch TV (Section Urbane, 1983, from only 7") Who Wants To March? (Rejex, 1980, from only 7") Do The Manic (Chosen Few, 1978, from only 7")
  • Out of stock
    This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite!Ska, Soul, Rocksteady and Funk in Jamaica. Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae. The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub. 100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and LennieHibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more. 100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash. This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.

    Tracklist

    A1 Willie Williams* Armagideon Time 2:32
    A2 Toots & The Maytals Night And Day 2:49
    A3 The Marvels Rock Steady 2:32
    A4 The Upsetters Popcorn 2:32
    A5 Bunny Clarke Be Thankful 2:32
    B1 Tommy McCook Green Mango 3:41
    B2 Brentford All-Stars* Greedy G 3:38
    B3 Lennie Hibbert Real Hot 2:27
    B4 Horace Andy My Soul 2:30
    B5 Johnny Osbourne We Need Love 3:37
    C1 Bunny Brown I Love The Way You Love 2:31
    C2 Jackie Mittoo Stereo Freeze 3:06
    C3 Phyllis Dillon Woman Of The Ghetto 3:22
    C4 Cedric Brooks* Give Rasta Glory 4:22
    C5 Alton Ellis Son Of Man 2:40
    D1 Sound Dimension Granny Scratch Scratch 3:57
    D2 Lloyd Robinson Cuss Cuss 6:24
    D3 Sound Dimension Drum Song 4:23
    D4 Ken Boothe Is It Because I'm Black? 3:51
    (Soul Jazz Records/2015)
  • December 2019 marks the 40 year anniversary of an important record in our lives, AK79. Within the grooves of this historical landmark compilation lies a connection to our musical whakapapa as New Zealanders and music lovers. A defining record, having captured a raw snapshot of the punk subculture in Auckland during the late 70s, this much-loved compilation is a living, breathing statement of what came before today. To mark this very special occassion, Flying Nun Records pays tribute to those ragged and rambunctious years by presenting AK79 40th Anniversary Edition Reissue, due in-stores throughout New Zealand on December 13th. Presented in a myriad of forms; on limited edition red vinyl, standard black vinyl and CD, we can celebrate this iconic cornerstone of alternative kiwi rock history with this special anniversary edition. Featuring new liner notes written by Ripper Records’ Bryan Staff, the 2019 reissue will feature all songs ever featured on any version of AK79 for a complete look at its recorded history. About AK79 Raw, unfiltered, shambolic madness. The vision to capture the Auckland scene began with Bryan Staff (Head of Ripper Records and Radio DJ at the time) who saw reason to capture the music coming out of the local punk venues of the time such as Windsor Castle and Zwines. Originally released by Ripper Records in December 1979, bands that featured on the original pressing included The Swingers, The Scavengers, The Primmers, Proud Scum, Toy Love and The Terrorways. The musical movement captured on record was an abrasive, empowered response to the overindulgent progressive rock and glam era of the 70s. The initial pressing, with its iconic black and white cover designed by Terence Hogan was limited to 500 copies, to be later reissued on vinyl and cassette through CBS. During the 40 years since AK79’s first release, the record took on a life of its own. Those original 500 pressings became a rare and coveted collectors item, and somewhat of an “urban myth” on the vinyl market. So the story goes, when the original master recordings of AK79 were discarded in 1982, it only created further demand for this enigmatic record. Responding to the call, an expanded version of AK79 arose, released on CD by Simon Grigg and Roger Shepherd as a joint release by Propeller Records and Flying Nun Records in 1993. This time there were some late additions, including tracks from The Suburban Reptiles, The Spelling Mistakes, The Features and The Marching Girls, along with additional tracks from the original bands on the first pressing. This particular reissue was remastered and mixed by Grigg, and came bundled with additional liner notes by Grigg, Staff and The Terrorways’ own Kerry Buchanan. In November 2008, a bootlegged 2 LP version would come to life for a very special reunion gig in Auckland which involved The Scavengers, The Spelling Mistakes and the first performances from The Terrorways and Proud Scum since 1980 in a rare event. At the time, it was sold at the show with unreleased tracks and a 20-page booklet. Six years later, the AK79 compilation was honoured in its many forms with the IMNZ Classic Record award, presented at the Taite Music Prize ceremony. 40 years on, the spirit of the AK79 still packs a punch and the feeling captured in these recordings are as relevant as ever. (Flying Nun Records) https://flyingnun.bandcamp.com/album/ak-79
  • Back from the Grave, Volume 5 is the fifth installment in the Back from the Grave series of garage rock compilations assembled by Tim Warren of Crypt Records. It was released in 1985. In keeping with all of the entries in the series, and as indicated in the subheading that reads "16 Crazed Bone Crunchin' Mid-60s Garage Punkers", this collection consists of songs which display the rawer and more aggressive side of the genre and are often characterized by the use of fuzztone-distorted guitars and rough vocals. (Crypt Records)
  • Back before the flood of compilations there was 'Killed By Death', 'Feel Lucky Punk', 'Back To Front', a couple of other compilations, and 'Bloodstains Across...'. Then everyone got into the act. Now, nearly 20 volumes later, the series seems to have covered almost any place that had a punk scene back in the 1970s. On this comp you can hear The Viletones, No Fun, The Red Squares, Active Dog, Private School, The Braineaters, The Forgotten Rebels, The Bureaucrats, Modernettes, The Sturgeons, The Hot Nasties, Silicone Injection, The Presence, Pink Steals,Curtains, The Rage, Culture Shock and NJF. (Fan Club)
  • I dedicate my bloody nightmares the right soundtrack with this compilaion of rare Finnish punk singles (1977-1979) and nothing is more unpleasant to them. With twenty-three essential punk rock blasts I arm myself for the fight against the everyday demons, throw the razor-sharp 7Inches at them and cut their heads off, nobody can hide... I find all of you and after almost forty-five minutes, I'm the winner, Yeah! You think tomorrow will be better for you? Never, because I have the best weapon: Punkrock!! - No matter what you do, it will always end the same. I Really Hate Ya / I Want Ya Back (Briard, 1977, 1.7") Olen Tyoton / Ma Vaan Pogoon (Pelle Miljoona & N.U.S., 1978, 1.7") Nipa (Eppu Normaali, 1978, 2.7") Ei Taa Lama Paahan Kay / Hairikko Oon (Problems?, 1978, 1.7") Kaljupainen Gangsteri / Vihaan John Travolta (Karanteeni, 1978, 1.7") Suomi 60 / Kasvot (Hellhound, 1978, 1.7") Mari Pogoaa / Mikkiteline (Ypo-Viis, 1979, 1.7") Lontoon Skidit / Kassapaat (Ratsia, 1979, 1.7") Mihin Jai Punk? / Uhoan Voimaa (Vaavi, 1979, 1.7") Kirjoitan Seinaan / Olet Sokea (Sensuuri, 1979, 1.7") Neuroottiset Pohkeet / Selittaja (Sehr Schnell, 1979, 3.7") Mua Potkitaan Paahan / Velton Nimeen (Loose Prick, 1979, 1.7")
  • Few copies resurfaced of this classic comp featuring Paralisis Permanente, Kaka Deluxe, Espasmodicos, Kangrena, Decibelios. The cream of the crop of Spanish punk rock 1977-1982. 17 essential punk rock blasts from Spain! Enciendes Tu Motor (Espasmodicos, 1982, from only 7") Un Dia En Texas (Paralisis Permanente, 1982, from 2.7" [Quiero Ser Santa EP]) La Pluma Electrica (Kaka De Luxe, 1978, from only 7") Inkisicion (Vulpe SS, 1983, from only 7") Guernika (TNT, 1983, from 2.7") Y Ahora Que? (La Polla Records, 1982, from 1.7" [Y Ahora Que? EP]) Agonia (Kangrena, 1983, from only 7") Purdey (Siniestro Total, 1982, from 1.7") Miedo (PVP, 1982, from 1.7") Felices Dias en Auschwitz (Interterror, 1983, from only 7") Mi Degeneracion (Eskorbuto, 1983, from 1.7") Johnny Mofeta (Ultimo Resorte, 1982, from only 7") Luftwaffe (KGB, 1983, from only 7") La Policia (La Uvi, 1982, from only 7") Botas y Tirantes (Decibelios, 1983, from 2.7") Las Malvinas (Codigo Neurotico, 1983, from only 7") La Oracion (Desechables, 1983, from 1.7")  
  • Out of stock
    If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

    TRACKLIST:
    Bill Case - I'm Your Hero - https://youtu.be/aKdtTRvFgyk
    32nd Turn Off - Used To Be a Tiger - https://youtu.be/Zh7hwlWf2II
    Boots - You Better Run - https://youtu.be/Or90TkM3tBU
    Leather Head - Give Me Your Money Please
    Big T - Tea For Two
    Phil Canning - Sell Out
    Things Fall Apart - Bye Bye My Rose - https://youtu.be/S_KqpAsuPho
    -------------
    Redhead - We Ran And We Ran
    Giggles - Just Another Saturday Night - https://youtu.be/Own9EnH9Lmw
    Westland Sreamboat - Born Under A Bad Sign
    Brother Susan - Flash
    Scruff - Get Out Of My Way - https://youtu.be/ZlUYsQW_zlc
    π r ² - Jerk Rhythm
    The Knuckle Dusters - The Yob (You Better Run Records/2020)
  • Released on tape in 1983, re-released for the first time on vinyl with bonus songs. Includes unreleased songs by Necrophilia, Herpes Distress (pre-Distress) and Solunski Front (these songs do not appear on Solunski Front "Ne govori" LP). Original cover artwork. Transferred from original master tapes. Limited to 200 copies. (Rest in Punk Records)
  • apanese compilation with Outo, Squad, S.O.B., and Poison Arts. Taken from the beta master version used for the live japanse TV broadcast in 1988. "Another month goes by and we get another Japanese hardcore bootleg from some obscure corner of the world. This one is interesting as it goes a little further than the typical “press the officially reissued CD to vinyl” theme. Complete Death was a VHS release featuring live sets by several legendary Japanese hardcore bands at one of the most exciting times for the scene. No doubt you’ve seen the amazing Death Side footage, which I believe comes from this show. The video stuff is amazing—pro-shot with good lighting and multiple cameras—but the audio sounds great too. This LP collects the audio from Sqwad, Outo, S.O.B., and Poison Arts. While it’s not a studio recording, the audio quality is top-notch and well worth hearing if you’re a fan. The only one I wasn’t familiar with was Sqwad. They were a band featuring ex-members of Ghoul, whose song “Oi!” they do here, and their two originals also sound like a Burning Spirits-ified Ghoul. Outo, S.O.B., and Poison Arts are all at the top of their game, and Outo in particular delivers a ripping set of tracks. This is well worth your time if you’re a Japanese hardcore head, and here’s hoping we see a second volume with the Tetsu Arrey, Death Side, Final Bombs, and Systematic Death tracks also on the original video." Sorry State (Unofficial Release) Sqwad (Ghoul) - https://youtu.be/Wwkx7ieWOiQ?t=77 Outo - https://youtu.be/Wwkx7ieWOiQ?t=3681 S.O.B. - https://youtu.be/Wwkx7ieWOiQ?t=2508 Poison Art's - https://youtu.be/Wwkx7ieWOiQ?t=662
  • Maxi 12" / 4 Tracks - 4 bands with DOUCHE FROIDE, LITOVSK, BARREN? & ALARM, from the last wave of the Anarcho-Post-punk french scene! What else? (Symphony Of Destruction Records) https://symphonyofdestruction.bandcamp.com/album/s-t-maxi-12
  • Great collection of rock steady and early reggae from the Joe Gibbs vaults. Track Listing: Side One: 1. Pioneers - I'm Moving On 2. Pioneers - Miss Tourist 3. Hugh Malcolm - Come Brothers 4. Mellotones - Feel Good 5. Ansel  Collins - Secret Weapon 6. Stranger Cole - What Moma No Wants She Get Side Two: 1. Pioneers - Catch The Beat 2. Hugh Malcolm - Good Time Rock 3. Crashers - Hurry Come Up 4. Versatiles - Just Can't Win 5. Stranger Cole & Gladstone Anderson - Seeing Is Knowing 6. Creations - Holding Out (Studio 16 Records)  
  • Out of stock
    The new vinyl pressing of the 1982 DC punk sampler "Flex Your Head" is now available. This is one of the must own compilations out there if your into the '80s D.C. hardcore. You'll find most of the important D.C. bands of that time on this compilation. Most play fast thrashy hardcore, sometimes too simple, but always honest & angry. Tracks from TEEN IDLES, STATE OF ALERT, GOVERNMENT ISSUE, MINOR THREAT, UNTOUCHABLES, IRON CROSS, YOUTH BRIGADE, DEADLINE, RED C, ARTIFICIAL PEACE and VOID. We're not responsible for damage incurred while slam dancing in your bedroom when listening to this. (Dischord Records)
  • Repress of 1996 international Punk complilation, released on Reverendo Moon Records Tracklist: Sods - R.A.F. 1:38 Mad - The Hell 2:50 Eppu Normaali - Poliisi Ramputataas 1:50 Kids - I Don't Care 2:50 Predator - Punk Man 3:30 Rancid X - Intoxication 2:40 F.U.2 - Star In The Street 3:15 Widows - Wall Of Berlin 1:38 Hitler SS -No Solution 2:40 Sexy Angels - Devil 2:40 Johnny Concrete - Johnny, Johnny 3:15 Ratsia - Iluinen Rakkaus 1:53 Razors - Low Down Kids 2:15 Mentally Ill - Tumor Boy 1:50 Rotters - Amputee 3:45 Paraf - Marodna Pjesma 1:54 Vacants - Television Viewer 2:36 Bugs - NRP 2:25 (Reverendo Moon Records)
  • Out of stock
    From the amazingly rich vaults of John Peel's BBC 1 Radio session recordings, comes one of the best punk rock compilations we've heard in a long while. Focusing on the less known side of the huge Peel Sessions catalog, Killed By John Peel comes stuffed to the rafters with mind blowing and little known gems from the opening track with French Synth Punk pioneers Metal Urbain and the incendiary recording of their hit E-202 to the closing with the kick ass Power Pop Punk hit She's Alarming by the Wasps, each and every single track on this monster of a record presents a band at their prime giving it all at the legendary BBC Radio 1 studios. Absolutely essential!
    SIDE JOHN 1. Metal Urbain - E-202 2. Outcasts - Gangland Warfare 3. King – Antipope 4. Rudi - Yummy Yummy 5. Idiot Dancers - Jealousy 6. The Cortinas - Further Education 7. Alternative TV - Going Round In Circles
    SIDE PEEL 8. Skids - Open Sound 1978 9. Scars - She's Alive 10. The Lurkers - Countdown 11. The Flys - Energy Boy 12. Funboy Five - Haircut Bob Dylan -66 13. Pragvec - Bits 14. The Wasps - She's Alarming (Vatican Radio Records)
     
  • One of the best comps documenting the nardcore scene in early 80's. Showing that central California is more than something you pass while driving to San Francisco, this collection showcases the classic and often duplicated "nardcore" sound. Features RKL, ILL REPUTE, SCARED STRAIGHT, RAT PACK, HABEAS CORPUS, AGRESSION, FALSE CONFESSION, DR. KNOW, STALAG 13, A.F.U., ROTTERS. comes with poster, folded lyric-sheet, flyer and a couple stickers. This is a real skate-hardcore-punk classic! Comes with poster, folded lyric-sheet, flyer and a couple stickers. (It’s Alive Records) https://youtu.be/A2qZsHGEPeI
  • NE! Records in cooperation with ŠKUC Ropot has finally made it possible. After many months of delays, you can get the two best compilation album with ex-Yu punk from the period of 1978-82. On "Novi punk val" you will find the bands that created punk in ex-Yu, and on the LP "Lepo je .." punk band from Slovenia who came after the first punk wave. These two compilations are made as a double album with an original design adapted to gate-fold sleeve. In addition to the audio content as usual there is much else to see and read included in the release: this release is enriched by 68 pages, divided into 3 very exclusive and extensive booklets. In the largest 48-page booklet "Tovar'ši jest vam ne verjamem '78 -'82" (''Comrades, I do not believe you '78 -'82''), you can find interviews, lyrics, lots of pictures, and much much more …. Two smaller booklet that complements the rest of the material and together they form the complete picture of those years. Along with this release you also get a copy of the LTD 4-songs EP ''Novo vrijeme'' ("New time") by the band Buldožer made in 300 copies. The EP is included to give some musical and cultural backround to the ex-Yu punk scene, as Buldožer where not a ''traditional'' punk band but served as an important source of inspirations to punk bands of the time. You can find everything here: the beginning and the end of a short and wonderful musical period! 380 copies made (270 black and 110 red ) but only 250 available, so hurry up to get a copy! All tracks are remastered. (NE! Records)
  • 40th Anniversary Edition, 180g vinyl, Gatefold 2LP. First released in 1972 on Elektra Records, the compilation is among the only ‘various artists' titles to consistently wind up on published lists of ‘all-time top albums'. Nuggets spawned more than 200 like-minded collections under such titles as Pebbles and Back From The Grave, and is a consistent compilation favourite and has carved out a genre of its own.
    While it's not the extended, long-form work of a single artist whose muse simply cannot be contained by a mere two sides of vinyl (the ostensible purpose of this column), the first NUGGETS compilation deserves applause and appreciation for what it did, because what it did was pretty special. Compiled by Lenny Kaye (Patti Smith Group guitarist and rock writer extraordinaire) and released in 1972, NUGGETS turned on listeners to the work of artists whose muses fit perfectly into that most rock 'n' roll of formats—the three (or so)-minute single. Though most of the collection's 27 tracks fall under the rough rubric of garage rock, there are many influences in play here, and many hits (both actual and would-be) that would have influence on artists for generations to come. There aren't many true pop hits on NUGGETS. Count Five's immortal "Psychotic Reaction" is the biggest of them all, having topped out at Number Five in 1966. The Electric Prunes' "I Had Too Much to Dream (Last Night)" and The Standells' "Dirty Water" both grazed the Top Ten, and there were a few other Top 40 tracks in the mix, but the real gems are the ones you'd probably never heard before hearing them on NUGGETS. Take The Nazz's "Open My Eyes." That's Todd Rundgren singing on that very Who-ish track "Open My Eyes," but even though it hit Number 112 on the national singles chart in 1968, you probably had never heard it unless you were listening to WMMR-FM in Philly, which played it a lot. Likewise, you might have been familiar with Van Morrison and Them's 1965 rendition of the blues "Baby, Please Don't Go," but folks outside Detroit likely had not been introduced to The Amboy Dukes' 1967 take on it (nor had they been introduced to the Duke's wild-man guitarist, Ted Nugent). If you'd stumbled across "A Public Execution" in 1965, you might've thought it was something off the last Bob Dylan record, but it was just Mouse (or Mouse and the Traps, as they're usually referred to) doing a great version of electric Dylan, mostly for audiences in Tyler, Texas. There are so many other great tracks—by the likes of The Seeds, The Shadows of Knight, the Knickerbockers and more—it's best to grab a copy (on Rhino vinyl, preferably) experience it for yourself, and thank Lenny Kaye, if you ever run into him. His archival instincts and flat-out love of rock 'n' roll helped NUGGETS influence a generation or three of rock bands over the last four-plus decades. These songs are still a wonder to hear. Drop the needle and turn them up. (Rhino Records)
  • Raw Records was one of the UK's first ever independent labels, having been formed in 1977 by Lee Wood. This was the second compilation they issued in early 1978 following up the ‘Raw Deal!’ album (Damgood 209). This reissue includes 4 bonus tracks including the ultra rare ‘Into the 80’s’ by The Now. 16 of the label's best tracks feature here alongside a comprehensive discography of one of the most important but vastly underrated indie labels of our time. Bands such as The Users, Killjoys, Lockjaw and The Unwanted later provided members for the likes of The Cure, Psychedelic Furs, UK Subs and Dexy's Midnight Runners whilst the scarcity of Raw's releases made them highly prized collectors' items. Two Soft Boys tracks from one of the rarest Raw singles fetaure here, unavailable elsewhere. Essential listening for any an Killeded by Death/Bloodstains Across.

    Tracklist

    A1 The Unwanted Withdrawal / 1984
    A2 The Users Sick Of You
    A3 The Killjoys Johnny Wont Get To Heaven
    A4 Some Chicken New Religion
    A5 The Gorillas It's My Life
    A6 The Soft Boys Wading Through A Ventilator
    A7 Lockjaw Journalist Jive
    A8 Acme Sewage Co. I Wish You Dead
    B1 The Killjoys Naive
    B2 The Hammersmith Gorillas* You Really Got Me
    B3 Downliners Sect Showbiz
    B4 Some Chicken Arabian Daze
    B5 Lockjaw The Young Ones
    B6 The Soft Boys Hear My Brane
    B7 The Unwanted I'm Not Me
    B8 The Now (4) Into The 80's
    (Damaged Goods Records)
  • Out of stock
    The Punk (which was often pronounced "paink" in many places) French in its infancy: a copy not really consistent with the original.
    Stammering, swarming with variable geometry, chaotic anarchy for real, bad intentions transformed into good; this is how punk rock (or at least what came closest to it) was, for the first time, adapted to our little hexagonal sauce. No network a minimum active - distributor of records or circuit of concerts - to diffuse it, hostility of previous generations (or worse, compassion, even paternalism ...), nothing and nobody to make the link between the few isolated small groups first inhabited by the passion of a supposed real rock (the desire to terrorize the neighborhood came soon after) and who, each in their corner, tried to challenge their small province or their big slumped city center. Which of course did not care ...
    It was not a movement, contrary to what later will be told in articles or idle books, it was just for some a sincere attempt, inevitably doomed to failure in a country like that one (that of Giscard or Mitterrand, which for us was the same) to bring together the nasty use of guitars with an unfathomable disgust of everything and a boredom that undermined as much as they fed the daily teenager . Or, for slightly older, post-adolescent.
    It was happening in Marmande, Reims, Lyon, Paris or elsewhere. But even when you thought you were in the eye of one of the cyclones (as far as I'm concerned, a small record shop " at the forefront " in Normandy where I was a salesman), we did not know everything, or almost everything that was going on elsewhere. We knew better the last 45T released in London by Stiff or Chiswick Records than those of Strychnine in Bordeaux or Sex in Pile in Lyon.
    That said, in a selfish way, we did not care a bit, since in our perimeter "eye cyclone" there was already enough to be satisfied: Little Bob Story in Le Havre (the group that before all the others brought rock in the provinces furthest away and the least well endowed), the Dogs in Rouen and the suite, with far more personal implications, Olivensteins, Gloires Locales or Nouveaux Riches ... In addition, as The Clash had given, in April 77, his first French concert in the area (the same season when the Stranglers and Ramones had occurred within 80kms), we had plenty of enough to satisfy ourselves without going to see very far. The area has been a beautiful hub for quite some time now since Dr. Feelgood not yet well known, Eddie & The Hot Rods and even The Snakes, the first group of a future Wire, had been there in the unfussy days of Pub-Rock. The local excitement was there, the formation of innumerable new groups followed naturally.
    Discover what was happening elsewhere, everywhere in this Hexagon so sadly rigid, so sadly French (because, even if we sang by default " in the language ", we renounced almost everything that could be linked to it, Gainsbourg, Ferré or Lavilliers: all old cons, all the same ...) is obviously one of the great interests of this compilation of French Punk Anthems which covers the years 1977 (Dogs, Gasoline) to 1982 (Coronados, Soggy) ... The only really exhilarating, because those who struggled in their local rehearsals did not yet seek to lock themselves in a perfectly defined trend; alternative rock , standardized punk or revival garage Sixties. They were doing their thing: free in their choices with fixed desires but open to the imagination, clumsy (but they would never have sought advice from others), sure of their words, their knowledge, their superiority over the cheesy, but also their appearance that said everything: Perfectos already grated for some, pointy boots with elastic and false tweed jacket for others, zipped clothes brought from Kings Road for the richest. Common denominators: narrow futes, badges and almost mandatory black color. And, like Electochoc, group of Marmande so symptomatic of the moment (1978), a repertoire rarely made up of songs of molly love ...
    To see what the original Paink look was all about, just look at the public photos of the two festivals (1976/1977) called European Punkfrom Mont-de-Marsan (where Strychnine appeared as a neighbor under the dodger). It is not the cousins of Johnny Rotten that we see, but an improbable Mexican army with a strong provincial accent, made of odds and ends (the hair still long or cut during the trip) and pitcher (the huge badges and zonard leather jackets, more Renaud than Clash). Of course, the music played by those in this small crowd played together: the shadow of the boogie was there, like the idea that rock to be violent had to be a hard minimum (which explains elsewhere the triumph at Mont-de-Marsan, second edition, of the ex Ducks Deluxe, Sean Tyla, not punk at all but fat everywhere).
    A heavy and suburban HLM trend that compiles FRENCH PUNK ANTHEMS 1977-1982 does not forget: Soggy, of Reims, (some of its members had previously played in groups called Antichrist or Hardfuckers, which already summarizes the point) being the perfect archetype of the genre: Marshall amps, cover of "I Wanna be your Dog" as a reminder, incessant galleys and article in Best that makes the happiness of the group and its relatives but which is strictly for nothing ...
    The province has produced heaps of this caliber, episodic regional celebrities who despite the eagerness to stand out never went very far but recorded, with the money earned in the gigs of MJC, their small self-produced 45T, missed for export but endearing because of its accidental side and its uncontrolled use of the recording studio. Even if the Punk rock had not jostled the data of the time, many of them would still have existed: They were driven by such a desire to rush into the heap that they would have anyway sought to play all the night before their tour truck lets them go one last time on any departmental road. But as, in addition, they had just discovered the first LP Ramones, their aggressiveness had multiplied.
    The Dogs, were of those, even if they did not come from a periphery with chimneys of factories but of a rather opulent place. Sincere, elegant and strident, they had the Kinks and Pretty Things as references and, like everyone else at that time, the Stooges and New York Dolls. They were the first to release their record independently, on a label created for the occasion by the record store of their city (Rouen ...). Which later became a bubbling activity area. Olivensteins, Local Glories, and New Riches emerged from the same cauldron. They were quite different from each other, but all had the common point of not copying too closely the trends of the moment (" I do not want catalogs, stuff worn out of fashionable stuff As local Glory sings). They sought rather to do the best possible with their originality (a synthesizer and a sax at Les Nouveaux Riches, an excellent singer - Gilles Tandy - at the other two). In the end, there was always the desire to want to shock by having fun with a second degree that everyone, even among their fans, did not necessarily understand.
    Cultivated because they spent a lot of time at the record store listening to everything, old garage bands Sixties or latest find of the Rough Trade label recorded in a puppy. They did their thing stupidly, instinctively even though he was rich in sometimes bizarre references (from Bob Dylan to Television via Count Five, The Fall or Louis Ferdinand Céline). The Olivensteins, then known for their "Euthanasia" and "Proud to do nothing" (reissued by Born Bad in 2011) had other ambitions than to be confined to rudimentary punk rock, football refrains or union rallies , which was beginning to be in the early 80s and that would later stupidly phagocyte the genre.
    The Paris scene of the time was also turbulent. Never too far from the Gibus Club where most things were born and finished and on a media floor below those most frequently mentioned in trendy parties and parties, Asphalt Jungle or Metal Urbain, others (but not that much in reality) were busy in their corner. Stooges fans like Guilty Razors actually sounded like Spiral Scratch's Buzzcocks .Ruth Elyeri, parallel project of a musician usually versed in the experimental tinkered (Thierry Muller) discovered on the first compile punk French "125 grams of 33t". The Warm Gun, more traditionally rock but excellent, made an EP that should logically hang the ears but appeared in a totally unfair indifference. There was also Gasoline, and its productions to the endists (a little Pistols nique adapted to the reality of the Capital), built around Alain Kan; figure of the Underground who had previously tried at Cabaret and Glam Rock. On the whole, a real tote as alive as disparate, in which JB Born Bad did well to add "Dégégée" of Marie-France, another unusual personality of the local nights.
    The Coronados, although appeared later (in 1982), are also present on PAINK ( FRENCH PUNK ANTHEMS 1977-1982). A logical choice and quite emblematic, since with their sound that came from the back of the garage, their stylish look and their wide influences, which included both the Sonics, Kevin Ayers, Dogs and Captain Beefheart, they summed up perfectly by themselves. intensity, excitement and diversity of the past five years in the margin. None of the groups present on this compilation having of course never known the real success.
  • Reissue of this killer 1985 Japanese punk compilation including Gai, Kuro and more! Brazil import limited to 188 copies. "Fan Club reissue of this 1985 Japanese punk / hardcore compilation with great sound and questionable graphic design, as is the way these days. While we’re all into Japanese hardcore here at Sorry State, none of us claimed to be too familiar with Pinch and Ouch. While I might have mp3s sitting on a hard drive somewhere, it’s not a compilation I’ve spent much time with. It does feature three bands I like—Gai, Kuro, and Aggressive Dogs—and three others I don’t know, and none of them are un-punk outliers you sometimes get on old compilations. All of the bands recorded their tracks for Pinch and Ouch in the same studio, so there’s a consistent sound and high fidelity throughout. While the production is cleaner than on Gai and Kuro’s other records (and, consequently, not quite as powerful), it’s interesting to hear them so clearly. It’s disorienting but fascinating, like finding a high-resolution photograph of a historical figure you’d only seen in paintings. I wouldn’t say any of the bands I already knew deliver their best material here (Gai’s songs are a little silly, including a cover of “Twinkle Twinkle Little Star,” and Kuro’s are powerfully played but too clean), but it’s all worth hearing. The three bands I didn’t know—No-Cut, Gedon, and Gess—aren’t undiscovered gems, but are interesting, all of them having a UK punk and oi! influence. The punkiness of Pinch and Ouch sets it apart from most Japanese punk compilations. While I wouldn’t start my journey into Japanese hardcore with Pinch and Ouch, it’s a solid comp that is a little more noteworthy because of its great recording quality." Sorry State (Unofficial Release) https://youtu.be/24BIowq_zyY https://youtu.be/uJBXweXHS3o https://youtu.be/kF9LOCQHE7s https://youtu.be/OZwhz9XEG4U https://youtu.be/fby9BcN2n6o https://youtu.be/RXd9r4K4og8 https://youtu.be/GjSkG-Ufo-k