• Years before the births of the Ramones, The Clash or the New York Dolls, a band of punk savages reared their ugly heads from the streets of Michigan. Fronted by a wild-eyed, bare-chested maniac named Jim Osterberg - now known to the world as Iggy Pop - they grew from bluesy roots to lead the charge into a new era of punk rock. Containing primary interviews with all the band members and Iggy himself, as well as other key characters, this biography provides a collection of exclusive and captivating eye-witness accounts of this most important of rock bands. The influence of The Stooges on the world of punk and rock 'n' roll is immeasurable. The band's three albums - The Stooges, Fun House and Raw Power - are bona fide classics. The fact that the band only existed for a few short years at the end of the '60s and start of the '70s makes their achievements all the more impressive. Of course, lead singer Iggy Pop went on to have huge success as a solo artist, working with the likes of David Bowie and Green Day, but here, for the first time, The Stooges story is told in-depth, through original interviews with the band members.Just after the turn of the new millennium, Iggy reformed The Stooges with all of the key members present, including brothers Ron and Scott 'Rock Action' Asheton. The Stooges have gone from strength to strength since the reunion, headlining festivals around the world. Their contribution to rock music history is without question and this book is an important document of those times and their lives. Format Paperback | 288 pages Dimensions 129 x 198 x 20mm | 198g Publication date 01 Oct 2016 Publisher John Blake Publishing Ltd Imprint Music Press Books Publication City/Country London, United Kingdom Language English
  • Back in stock
    Writing about punk, especially hardcore seems to be a topic that has been passed over by most music writers. You see tons of books about the early days of punk and bands like the Ramones, Clash, Sex Pistols etc..(if you believed what those books said or VH1, punk ended they day Sid Vicous died), but very rarely do groups like Black Flag, Dead Kennedys, Minor Threat, and the hundreds others that followed in their wake get any coverage from a mainstream media. American Hardcore sets out to fill the missing piece of history that was the hardcore scene. This is an oral history of the scene as told by the author, who was a D.C. promoter and played in a band called No Trend, and interviews done by the author with the people created hardcore. He talks with some of the biggest names in the scene including: Milo Aukermen, Brian Baker, Jello Biafra, Dez Cadena, Glenn Danzig, Greg Ginn, Greg Graffin, Jack Grisham, Brett Gurewitz, Ian Mackaye, Mike Ness, Henry Rollins, Mike Watt, and many more both of larger and smaller bands spread throughout country. This personal accounts and the telling of many private and unknown stories gives the book a very intimate feel and by the end, I felt as if I understood some of the frequent contributors better and was better able to understand some of their more personal lyrics and songs. The book is divided into four parts, each with its own chapters. The first part takes a look at why hardcore happened, what were the major influences within and around the scene that prompted it to react the way it did. It discusses topics such as violence at shows, the (rightful) hatred and distrust of the police, racism and sexism in scene or more specifically why it was predominately white and male. It also talks about some of the homosexual people that helped create hardcore. The book also talks about things like straight edge, anti-fashion, people coming from middle class suburbs and stuff like that. The second part is definetly the best part. This part was about the bands and the scenes from all over the country. The best thing is that this book isn't all about the west coast or the east coast, the author attempted and made a really good effort to cover every scene from every area around the country. Some scenes and bands get more attention than others; Black Flag, Misfits, and Bad Brains each got their own chapters, and California was divided into 3 chapters, while others barely get a paragraph. When he does do the chapters on the scenes, the author starts with the bigger bands from that scene and then moves down to the smaller groups. Which is cool that he names the smaller groups along with larger ones, it does get tedious after awhile when you have never heard of some of these bands and just want to skip to the next chapter. Also this is my pet peeve through out the book, when he talks about scenes in different towns he always mentions shows his band played, especially if they were with big bands. While that's cool and I would give my left nut to see the Dead Kennedys play in their prime, let alone open for them, it got really annoying after awhile. The third part tends to drag on bit as it talks about the formation of labels, artwork, the d.i.y ethic, and media portray in movies and TV. I did learn some interesting things in this section though. For instance Belushi was the person responsible for getting FEAR to play on SNL, one more reason he is a god, and if you look during the second performance at the end Ian Mackaye grabs the mic and yells "New York Sucks!" The fourth and final section is about the demise of hardcore and why after 86 or so it became irrelevant, at least in this author's eyes, as most of the good bands quit or started new projects that were labeled "post hardcore" or "emo". A really interesting part at the end has many of the big names from the scene discussing punk/hardcore and its relevance today, and how today's scene differs from then. While some comments sounded elitist, I will give them credit that being punk during the time period 80-86 was a lot more dangerous than it is now, I have never been beaten down for the way I looked, or had cops shut down a show with tear gas and billy clubs, in some ways I feel lucky for that. He also includes a discography at the end for almost every band that recorded something, but he limits it to stuff that was only recorded in-between those magic years, or stuff that was done after 86 that the author feels was relevant. Which to me is really heavy-handed, take Bad Religion for instance, under their discography it stops after the "Back To the Known" EP, I would have included "Suffer" which was done in 87 (I think). Same with Social Distortion, with them it seems like they must have quit after "Mommy's Little Monster". Overall this book offers a very intimate and personal account of hardcore punk between the years 1980-1986. Although at times the author and contributors sound heavy handed as we started this so we are more hardcore and what not, it still is a really enjoyable read, I couldn't put it down and finished it in about a week. If for nothing else the some of the pictures are worth the price of the book alone. Some great live shots and just pictures of people hanging out and being part of the scene are cool, along with the, at times, arty pictures at the beginning of each chapter. (My favorite is called "America" and is a picture of an old worn out chair sitting in front of a busted TV set in a vacant lot). I think that anyone who is a fan of older punk bands should check this out, it gives some great background on your favorite bands and introduces you to some that time has passed over. I know I have been trying to track down some of these bands after reading about them to listen to them.
    • Paperback | 410 pages
    • 178 x 254 x 24.64mm | 824g
    • English
       
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    THE CLASH | Book

    21.00 incl. tax
    The Clash: trendsetters, icons, revolutionaries. They were the pioneers of British punk rock and their story is steeped in mythology. Many people have an opinion about what made them who they were - this book gives the chance to read the full story, from the band themselves. This is the first official book to be created by the band. With unprecedented access to the Clash archive, this landmark publication brings together previously unseen material - including tour posters, artwork, and photos of the band at home, on stage, in the studio and on the road - with each member telling it like it was, in their own words. Format Paperback | 320 pages Dimensions 129 x 198 x 23mm | 352g Publisher ATLANTIC BOOKS Publication City/Country London, United Kingdom Language English
  • From their beginnings as teenagers experimenting in a San Fernando Valley garage dubbed "The Hell Hole" to headlining major music festivals around the world, Do What You Wanttells the whole story of Bad Religion's 40-year career in irreverent style. Do What You Want: The Bad Religion Story reveals the ups and downs of the band's forty-year career. From their beginnings as teenagers jamming in a San Fernando Valley garage dubbed "The Hell Hole" to headlining major music festivals around the world, Do What You Want tells the whole story in irreverent style. While Do What You Want tracks down nearly all of Bad Religion's members past and present, the chief storytellers are the four voices that define Bad Religion: Greg Graffin, a Wisconsin kid who sang in the choir and became an L.A. punk rock icon while he was still a teenager; Brett Gurewitz, a high school dropout who founded the independent punk label Epitaph Records and went on to become a record mogul; Jay Bentley, a surfer and skater who gained recognition as much for his bass skills as for his onstage antics; and Brian Baker, a founding member of Minor Threat who joined the band in 1994 and brings a fresh perspective as an intimate outsider. With a unique blend of melodic hardcore and thought-provoking lyrics, Bad Religion paved the way for the punk rock explosion of the 1990s, opening the door for bands like NOFX, The Offspring, Rancid, Green Day, and Blink-182 to reach wider audiences. They showed the world what punk could be, and they continue to spread their message one song, one show, one tour at a time -- with no signs of stopping.
    • Hardback | 336 pages
    • 18 Aug 2020
    • Hachette Books
    • English
       
  • ROSENFELD | demo 1991 | LP

    20.00 incl. tax
    Solid black vinyl (180 grams) with blue silkscreened print on B-side limited to 300 copies. 2nd pressing with different colors on the cover, OBI strip and silkscreened art on the LP. Osaka Power thrashin’ inferno! Often wrongly credited as Demo 1993 this is the 1991 studio Demo by Osaka’s Speed/Thrash legends ROSENFELD, prior to their full length “Pigs of the empire”. What you get here is a piece of history in Japanese Metal, just to give you an idea of the cult status around this band, their frontman Hisayoshi sung on AION’s monolithic “Deathrash Bound” album! Also important to mention is that in 35 years of existence this is their first ever vinyl release, not even a single track of theirs has been pressed on vinyl up to now. A good reason for giving it a top quality F.O.A.D. treatment… taken from the band’s mastertape and delivered on 180 gram vinyl for the best sonic impact, you know what to expect. Fast, powerful and extremely intense, ROSENFELD’s style is a splendid burst of memorable riffs, hyper-tight drumming and high pitched screams that can easily compete with some ’80s international titans of the Thrash gotha. Comes with OBI strip and a full colored booklet with loads of rare photos and flyers! (F.O.A.D. Records)
  • Diehard swirl blue vinyl (180 grams) with white silkscreened print on B-side limited to 200 copies. 2nd pressing with different colors on the cover, OBI strip and silkscreened art on the LP. Osaka Power thrashin’ inferno! Often wrongly credited as Demo 1993 this is the 1991 studio Demo by Osaka’s Speed/Thrash legends ROSENFELD, prior to their full length “Pigs of the empire”. What you get here is a piece of history in Japanese Metal, just to give you an idea of the cult status around this band, their frontman Hisayoshi sung on AION’s monolithic “Deathrash Bound” album! Also important to mention is that in 35 years of existence this is their first ever vinyl release, not even a single track of theirs has been pressed on vinyl up to now. A good reason for giving it a top quality F.O.A.D. treatment… taken from the band’s mastertape and delivered on 180 gram vinyl for the best sonic impact, you know what to expect. Fast, powerful and extremely intense, ROSENFELD’s style is a splendid burst of memorable riffs, hyper-tight drumming and high pitched screams that can easily compete with some ’80s international titans of the Thrash gotha. Comes with OBI strip and a full colored booklet with loads of rare photos and flyers! (F.O.A.D. Records)
  • This is a Pre-Order. Releasedate is the 22.june 2021. The 2009 debut album from the chain gang led by Ian Svenonius (Nation of Ulysses, The Make-Up, Weird War) is a masterpiece of primitivism. From dazzling set pieces of R&B and rock'n'roll, the band forms highly melodic songs full of call-and-response chants ("What Is A Dollar"), or invites you to take a walk through the cemetery ("Cemetry Map"), which sounds so spooky as if voodoo master Dr. John had thought it up. Sometimes Svenonius just grabs a wooden guitar to make fun of conspiracy theories like in "Deathbed Confessions": "I faked the moon landing, I saved Hitler's brain. Yeah, it's in Argentina but it controls the USA." Calvin Johnson produced the album at his Dub Narcotic studio and also did a bit of background vocals. The beat lurches and sways as confidently and surely as an old sea dog's gait in a breeze of doppelkorn. The somewhat odd album title is explained by the always conceptually thinking singer as follows: "Everywhere freedom goes, it leaves a path of destruction. Fast food, bad architecture, materialism, unbridled greed, destroyed environment, imperial conquests, class struggle; combined, these phenomena are seemingly synonymous with freedom." When big words often hide only capitalist greed and imperialist war, Svenonius & Co. prefer to slip into the role of dissidents. "Ian Svenonius is an inadvertent pioneer. His career has been a studied attempt to advance the history of punk rock, using influences as tools to build with rather than styles to flaunt and discard." - The Wire (Sounds Of Subterrania}
  • Imagine a world where The Saints held onto the raw-throated, full-throttle rock’n’roll of their mighty first three albums. Where Radio Birdman are rightly held up as one of the all-time great bands. Where the Wipers never left the driving punk rock of ‘Is This Real?’ behind for the post-kraut-psych-whatever of the (admittedly still totally ragin’) ‘Youth Of America’, and simply kickstarted a revolution. That’s the sort of reality where Jackson Reid Briggs & The Heaters would be best appreciated. Where driving rhythms, crunching power chords and the sound of a man howling ‘YOU’RE GONNA GET EATEN ALIVE’ are the adrenaline-pumping soundtrack to the everyday. Where an album like ‘Waiting In A Corner’ is heralded as a goddamn classic upon arrival, and worshipped as a vital instrument in setting souls on fire and lifting spirits everywhere. Where… aww, you get the idea. Because Melbourne-based Briggs and his thrillingly rambunctious collective have made one of those albums - their fifth - where all you can do is play it over and over, thrilling to the ordered chaos of songs like ‘Too Many Years’ while swooning to the anthemic likes of ‘If You Only Knew’. There are some types of music that Australia just does better. Garage? Punk? Yeah, something like that. ‘Waiting In A Corner’ is the latest example, and holy fuck, it’s an instant wonder. If only rock’n’roll could always be this good. Will Fitzpatrick (Drunken Sailor Records)
  • All caught up with last August’s blast of herky-jerky darkness from Knowso? Don’t get too comfy, now - nine months later, they’re back with another eight hits of visceral smarts and discombobulating fury. Sounding, as ever, like Big Black firing pellets of snot at their Cleveland forebears Devo, ‘Rare Auld Trip/Psychological Garden’ finds them picking up where they left off with ‘Specialtronics Green Vision’. This being the best part of a year on from that excellent debut, though, they sound wiser, snarkier and more pissed off than ever before - good news all round, then. Opener ‘Boredom In The Valley’ reintroduces their signature tricks but feels more focused; a sub-two minute blast of staggered beats powered by the gnarliest-sounding bass this side of Bob Weston, and a disaffected vocal styling that you’d be tempted to call nihilist if you couldn’t sense the number of fucks given beneath the impassive facade. They pick up the pace with ‘Staring At The Spiral’, which almost sounds like the Buzzcocks unravelling at the seams while a Vogon watches on, before crashing into the smash’n’grab antics of ‘The Plants’ - one of the record’s clear highlights and a frantic, dizzying trip. Along the way are enough bon mots and smartarse quips too make you wonder if they’re taking this as seriously as they should. Let’s not spoil the highlights in advance, but if you’re already on board with Knowso, you’ll know they’re simultaneously utterly hilarious and unquestionably, deadly serious. ‘I could never be friends with a fucker such as you,’ they snarl disgustedly on another of the record’s instant classics, but by this point you’ll already have given your heart over to this most delirious of post-punk/noise-rock hybrids. As the closing cacophony of voices on ‘4th Wonder’ will no doubt drive into your brain with overwhelming force, ‘Rare Auld Trip/Psychological Garden’ (you pays your money and you takes your choice with the title, presumably) is not to be missed. Will Fitzpatrick (Drunken Sailor Records)
  • This is a Pre-Order. Releasedate is the 29.june 2021. If you think carefully about why Turbonegro, Guitar Wolf, The Dirtbombs, or even the entire Crypt Band catalog are of such authoritative relevance, it can all be traced back to two simple facts. Fact one. They understood their style of playing rock’n’roll. This realization sounds succinct at first, after all, any band would claim this. Only in reality most of them fail miserably. First copying others and then copying themselves is no innovation and just adds another copy to the meter records, no “most authentic” or original equipment helps, because it fails because of the songs. Fact two, and maybe this is the most underestimated factor, is the lack of humor. Without humor, you can’t play good rock’n’roll. Why am I writing this? I have seen the light, THE 50 KAITENZ from Osaka play 60s Punk as I wish it and that in a perfection that makes me dizzy. Alone the transitions from the chorus to the verse are so cleverly placed that you slap your thighs with joy, without being able to speak a single word of Japanese, you catch yourself intoning the songs loudly at an inappropriate room volume and even start to play the obligatory air guitar with pleasure. THE 50 KAITENZ, of course, don’t play pure 60s punk. Similar to Turbonegro, they have devoured 70 years of rock’n’roll history and, not to use the more appropriate word, use it shamelessly for their purposes. Punk, country, garage or beat – everything is scrutinized, distilled, stirred, shaken and stirred again to be unleashed on your auditory canals in irreverent perfection. I’m thrilled by all the tongue-in-cheek quotes, because what comes out of it is probably the most independent thing I’ve heard in the last few years in this hard-working field. (Sounds Of Subterrania}
  • Dance with Me is the first full-length album by the American hardcore punk band T.S.O.L. (True Sounds of Liberty), released in 1981 though Frontier Records. Hot-stamped gold foil cover with printed inner lyric sleeve. Official reissue. (DINK Records/2019)
  • Bikini Kill Records is excited to announce our second reissue - the newly expanded Yeah Yeah Yeah Yeah LP featuring seven previously unreleased tracks. It will be released on April 15th, 2014. The first 500 copies ordered will receive a free, limited edition poster. Side A of Yeah Yeah Yeah Yeah was originally released in 1993 as the BK side of their split record with the UK’s Huggy Bear, to kick off their legendary co-headlining tour of the UK in March of that year. Those tracks were recorded in their Washingon DC basement practice space on a 4 track reel to reel in 1992 by Tim Green (Nation of Ulysses, The Fucking Champs). Side B features seven songs either recorded live at shows during that era or at Bikini Kill practices. The LP also includes new photos and liner notes from David Feck (Comet Gain), Erin Smith (Bratmobile), and from the band themselves. The LP was mastered by TJ Lipple and Bob Weston (Bikini Kill Records)
  • The Aggrolites delivered a third album that completely busted the myth that surrounds this often difficult time in a band's career. In 2007 they released this phenomenal record, containing what many consider their best ever track Free Time. This explosive album just built upon a momentum and trajectory that just continued to build steam and take them to new heights. Some of the real burners on this record still remain in the bands' live set, but for whatever reason, this one never made it's way onto vinyl... until now. Using what could be unearthed of the original design, Pirates Press Records is proud to give this fantastic album new legs, and to give fans and collectors alike something very special to commemorate this period of the band's history. MARKETING AND SELLING POINTS First time ever pressed on vinyl Free Time has been streamed more than 2.8 million times on Spotify! (Pirate Press Records/Hellcat Records)
  • This is a remastered, vinyl re-issue of The Bouncing Souls' iconic second LP originally released in 1995. Considered by many fans to be their best record, all of the songs are still played live (some more than others) and are fan favorites. The album was their first produced by Thom Wilson and was originally manufactured and distributed by BYO Records, bringing the band a more national and international presence than they had previously. A Bouncing Souls classic that stands the test of time. (Chunkshaah Records)
  • Released in 1985, Green River’s “Come On Down" was a record existing in its sonic universe--out of step with its own time. Was it glam? Was it punk? Was it metal? Was it cool? We now know it was one of the building blocks of what Mark Arm would coin as "grunge", but in 1985 this record was a silent groundbreaker. It was not only the raw, sludgy, slower guitar sound that makes this band important in its place in rock history, but the members of Green River would go on to lead some of the biggest names in the genre: Mudhoney and Mother Love Bone, the latter of which also contained the roots of Pearl Jam. In 1986 they signed with Sub Pop Records and one could argue loudly that without Green River in 1984, there might be no Sub Pop Records today. Originally released on the forward-thinking Homestead Records in 1985, "Come On Down" is now being reissued for the first time on Jackpot Records. It has been mastered from the original master tapes by original producer and recording engineer Chris Hanzsek (Soundgarden, Melvins) as well as a tape transfer by Jack Endino (Nirvana, Soundgarden). The record will also include the iconic original cover artwork and a printed inner sleeve with the lyrics and a photo of the original master tape box. We're proud to announce that this record will also include a rare, unreleased bonus track. Come drink in the sludge that kick started it all. • One of the first Grunge records ever released • Sourced from the original 1985 Master Tapes • Includes unreleased bonus track • Mark Arm & Steve Turner from Mudhoney • Jeff Ament & Stone Gossard from Pearl Jam • Limited Edition colored vinyl • Features studio master tape box image with lyrics (Jackpot Records)
  • D.R.I. is back with a five-song EP of manic thrash that only these imbeciles can muster, their first recorded output since 1995's "Full Speed Ahead." (Beer City Records)
  • Re-issue of this classic Death Metal album. Comes with insert and A2 poster. (Martyrdoom Productions)
  • Re-release on Nuclear Winter Records with new layout, comes with regular jewel case packaging. "The dead shall rise and this is their soundtrack..." (Nuclear Winter Records)
  • Latest album, voted album of the year for 2014 in many publications (including the legendary Voices From The Darkside). "Six years after the landmark “Graves Of The Archangels” LP, death metal lords DEAD CONGREGATION have finally unleash their seminal follow-up “Promulgation Of The Fall”. The soundtrack to total death, “Promulgation Of The Fall” will be recognized as a death metal pillar that will define the true essence of the genre and will stand as a defining milestone and a destined classic in the realm of true death metal. With a more ferocious, uncompromising, and musically skilled approach than its predecessor, “Promulgation Of The Fall” will easily be recognized as the glorious, unparalleled death metal triumph and masterpiece of the year." (Martyrdoom Productions)
  • Exclusive material, 14 minutes of DEATH METAL Somberness and Doom. (Nuclear Winter Records)
  • Re-issue of this classic Death Metal album. Comes in jewelcase with a 12-page booklet. (Martyrdoom Productions)
  • BLASTING THRASH!! official re-issue of ?Mondocane: project one? (1989), a late 80s hyper-thrashing combo formed by half early Necrodeath and half Schizo ?Main frame collapse? era members to deliver 10 whiplashes of rapid fire Thrash-core uniting the bands' peculiar style to a basic S.O.D. flavoured imprint. ?Mondocane? has been entirely restored and remastered at Toxic Basement Studios and restyled/repackaged in an elegant digipack sleeve with unreleased photos from the 1989 studio session. If you are a fan of these two bands' early outputs (above all Necrodeath's "Fragments of insanity" and Schizo's "Main frame collapse") and Ingo's corrosive vocal delivery then look no further. (F.O.A.D. Records)
  • The heathens of Cruciamentum assembled in 2009 with the intent of evoking the most abyssal of death metal violence, drawing on influences from dISEMBOWELMENT, Incantation, Immolation, Demigod, Rottrevore, etc. but moulding these influences into something uniquely their own. The ‘Convocation of Crawling Chaos’ demo was hewn from the purest veins of sulphurous death; three tracks demonstrating a focused and merciless intent. The demo was released in a number of pressings, attracting the attention of various labels, before a deal was struck with Nuclear Winter Records for a reissue, with new artwork from Alex Brown reflecting the swirling gates to the spheres of absurdity. Swamp green vinyl, pressed on 250 copies. (Nuclear Winter Records)
  • Special CD re-issue housed in an ultra deluxe hard cover digibook including 20 page booklet with lyrics and photos! The packaging of this edition is totally stunning and makes justice to such a classic album. The 2nd full length by Italy's Metal masters BULLDOZER! Originally released in 1986, here it finally comes in a new edition remastered directly from the studio reels provided by the band and re-packaged with unreleased photos and lyrics (scans of the original typed drafts). "Final separation" is a devastating follow-up to their cult debut "The day of wrath" and adds a strong Speed/Thrash Metal vibe to their well-tested Black Metal meets dirty R'n'R tinged aggrression! All in all, this is another good confirm of the goodness of the Bulldozer?s sound back in the 80s and it?s good to recommend it to the old school fans of this lethal black/speed combination. For all its length, the nastiness of the speed metal and the brutal influences of bands like Venom and Mot?rhead collide to create another high impact effort, in pure 80s style!! RIDE HARD... DIE FAST!! (F.O.A.D. Records)
  • 4 song debut release from EXCARNATED ENTITY shows the bands ominous first dank steps into their sonic Doom Death bog here on their firth breath on “Stillborn in Ash”. Featuring ex-Anhedonist member. NWR version comes with new artwork and completely remixed. (Nuclear Winter Records)