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Hyperactive Ramones-influenced cartoon punk rock from Los Angeles, 1979. One debut LP that made the history in the genre. Frantically fast and short versions of Black Sabbath's 'Paranoid', " the Monkees' "She," and Barry McGuire's "Eve of Destruction" along with a few unforgettable hits like 'You Make Me Ape (You Big Gorilla)' and 'Give It Back'. A must for all California Punk completists! Label: Survival Research Records Barcode: 0634438056720 -
This early singles compilation was originally only released in Japan in 1984. The Puke N Vomit full-length builds on the '80s, Japanese-only version and compiles all the band's first four, self-released records: the "Complete Disorder" EP (1981), "Distortion To Deafness" 7" (1981), "Perdition" EP (1982), and the "Mental Disorder" EP (1983). Another Disorder album loaded with classic, raw, pissed-off, belligerent, '80s, UK punk. Label: Puke N Vomit Records -
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The Varukers was one of the first groups of the UK 82 movement - the second generation of punk rock that took the spirit of '77 and merged it with the incessant beat of NWOBHM - responsible for creating UK hardcore. Heavily inspired by Discharge, The Varukers released three 7"s in the early '80s before this, their first and most definitive album, came out in 1983 on the legendary Riot City Records (Vice Squad, Abrasive Wheels, Chaos U.K.). Back in print on LP thanks to Radiation Reissues, "Bloodsuckers" is one of the definitive pieces of early UK hardcore, full of Sabbath-inspired guitar work, pounding rhythms and aggressive, anarchistic lyrical content. Label: Audio Platter Barcode: 0803341524392
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Live at the Deaf Club is a live album released by the Dead Kennedys in 2004 and had a limited edition re-release 2013 in the UK on Let Them Eat Vinyl. The actual performance took place at the San Francisco Deaf Club on March 3, 1979. The performance was unique in that this was the last time their rhythm guitarist 6025 performed with them. It also includes original drummer Ted, later replaced in February 1981 by D.H. Peligro. Also, the song "Gaslight" and their covers of "Back in the U.S.S.R." and "Have I the Right" are not found on any other DK album (The Deaf Club recordings of "Short Songs" and "Straight A's" are featured on the compilation album Give Me Convenience Or Give Me Death and the hard-to-find Can You Hear Me? Music From The Deaf Club along with "Police Truck"). "Back in Rhodesia" is an early version of "When Ya Get Drafted" with a different chorus than the final version. "Kill the Poor" is also a "disco" version minus the introduction. SIDE A 1. Introduction By DJ Johnny Walker 2. Kill The Poor (Disco Version) 3. Back In Rhodesia 4. Man With The Dogs 5. Gaslight 6. California UberAlles 7. Ill In The Head SIDE B 8. Straight A's 9. Short Songs 10. Holiday In Cambodia 11. Police Truck 12. Forward To Death 13. Have I The Right? 14. Back In The U.S.S.R. 15. Viva Las Vegas Label: Audio Platter Barcode: 0803341588226 https://youtu.be/cUYAMxZ9bMg
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A live document recorded in Toronto – Larry's Hideaway – Canada 1983. Featuring the “Warning” Line up of Cal – Vocals, Garry – Drums, Rainy – Bass and Pooch Guitar. Killer track list and remastered by Jon Mitchell at Outhouse studios. SIDE A: 1. Warning 3:03 / 2. Hear Nothing See Nothing Say Nothing 1:22 / 3. The Nightmare Continues 1:44 / 4. Where There Is A Will There Is A Way 1:53 / 5. Never Again 2:03 / 6. Anger Burning 2:23 / 7. The Blood Runs Red 1:25 SIDE B: 8. Born To Die In The Gutter 2:30 / 9. Protest And Survive 2:43 / 10. In Defence Of Our Future 2:12 / 11. State Violence State Control 2:57 / 12. The Price Of Silence 2:16 / 13. The More I See 1:56 / 14. Decontrol 3:37 Label: Audio Platter Barcode: 0803341567207
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Understand? is the fourth album by Chicago punk legends band Naked Raygun, released in 1989 through Caroline Records. After the visceral energy of their debut, 'Throb Throb', and the subtle refinement displayed on 'Jettison', the Chicago hardcore label rejecters did little to aid their claim with the brawny, scrappy 'Understand?' Packed with an onslaught of riffs, pummelling d-beat blasts and gang vocals galore, while rife with unkempt cynicism and aggression on the anthemic anti-social title-track or the snapshot of 'The Sniper Song,' Naked Raygun would only further cement their status as punk all timers on this seminal fourth record. Label: Audio PLatter Barcode: 0803341523876
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If the Misfits were one of the greatest punk bands then Walk Among Us released in 1982 is perhaps one of the greatest records in punk history. While Static Age and Earth AD showcased a band searching for an identity like a vampire for its next victim, Walk Among Us is almost sheer perfection. With a solidified lineup, fully grown-out devillocks (the Misfits trademark long spike of hair in the front) and the stabilizing presence of the somewhat pedestrian but agile arthur googy on drums, uber-misfit Glenn Danzig was finally able to match his zombie-elvis to a worthy musical foil. From the manic opening of 20 Eyes to the monster football chorus of Braineaters, there is nothing less than a sublime moment on this album from start to finish. Astro Zombies or I Turned into a Martian sound like songs to raise the dead by. a special bonus is perhaps the tenderest love song to decapitation (Skulls) in recent memory. Label: Miss999/Unofficial
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The first solo album by the then former Adolescents guitar player Rikk Agnew, produced by Thom Wilson and originally released in 1982. Agnew played guitar, bass, drums, keyboards and even sang on this Orange County, CA punk classic that features one of the best punk rock songs ever written, "O.C. Life." This is for you, Fullerton. It was produced by Agnew, and co-produced by the then-Adolescents producer Thom Wilson. Agnew played all the instruments on the album. The band D.I., which Agnew joined in 1983, included cover versions of the songs "O.C. Life", and "Falling Out" from this album for their debut album, Ancient Artifacts, which was released in 1985. Label: Frontier Records Barcode: 018663100920
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Acid Eaters is the thirteenth studio album by American punk rock band Ramones. Released in 1993, towards the end of the Ramones' career, the album is the band's first and only album entirely composed of covers. Acid Eaters forms a musical tribute to the Ramones' favorite artists of the 1960s and highlights the influences the Ramones took from garage rock bands like the Seeds and the Amboy Dukes, as well as from popular bands such as the Beach Boys, the Who and the Rolling Stones (all of whom are covered on this album). (Myebika Records/Unofficial Release)
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. They’ve long done things differently in Austin, Texas, and the take on hardcore pioneered by one of the city’s sons, Big Boys, in the early 80s was no exception. Where peers Scratch Acid, The Dicks, and MDC pursued hardcore or art-punk angularity, Big Boys were mixing furious hardcore with loose-limbed funk and tight pop, all the while penning lyrics that struck a blend between punk ideology, angsty alienation, and goofy humor. It was delivered via 7”s, EPs, a split LP, compilations, three studio albums, and the live DIY shows that were audience participation-fueled free-for-alls. The idea was for fans to leave feeling like they were part of the band. Originally released on the Wasted Talent label and reissued last year by Modern Classics Recordings, 1981’s debut album Where’s My Towel was inspired by the group’s growing dissatisfaction with their part in the release of Live At Raul’s. Returning with Lullabies Help The Brain Grow two years later, they were still striking out at situations around them. The opening track, “We Got Your Money” is a sort of rally cry to the misunderstandings of their scene and to the fraternity boys and girls that came to gawk or cause trouble: “And to all you frat boys/We got your money in our hands!” they shouted gleefully. Song titles including “We’re Not In It To Lose,” “Fight Back,” and “Assault” proved that the gloves were off. Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam – the fourth person to occupy the stool for vocalist Randy “Biscuit” Turner, guitarist Tim Kerr, and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like “Lesson” and double-funky jams like “Funk Off” (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on “Sound On Sound,” they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock,” the nascent version of the world-conquering skate punk of the late 1980s and 1990s. Now, Light In The Attic’s Modern Classics Recordings imprint is bringing their pioneering music to a new audience. Following the 2013 re-release of Where’s My Towel / Industry Standard, 2014 saw reissues of both Lullabies Help The Brain Grow and the following year’s No Matter How Long The Line Is At The Cafeteria, There’s Always A Seat, which brought the band’s story to a close. Famously, the Big Boys would end shows with the foursome shouting, “OK y’all, go start your own band.” Their message was inclusion – and action. Start a band, write a zine, participate. So what are you waiting for? Listen to this record. Label: Touch and Go Barcode: 0036172107131
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Active for five years in the early 1980s, the Big Boys mixed furious hardcore with loose-limbed funk and tight pop structures, all the while penning lyrics that struck a blend between punk ideology, angsty alienation and clever humor. They were, in the memory of Minor Threat frontman Ian MacKaye, “Enormous men, decorated jump suits, a horn section, 200 friends onstage singing and dancing.” They were Big Boys by name and by nature – and they had a big effect on US punk culture. When the prevailing trend was for playing hard and fast, this Austin, Texas four-piece played loose and funky. Their cult recordings struck a blend between punk ideology and clever humor, just as the band both railed against and celebrated the hardcore community that bore them. Released at the time of their split in 1985 and now reissued by Modern Classics Recordings, the group’s final album, No Matter How Long the Line Is At the Cafeteria, There’s Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on Common Beat, a sound rarely heard outside of hip-hop at the time. Songs like “Which Way To Go” and “Narrow View” echo their boredom and anger with the changing hardcore scene, while “I Do Care” and “What’s The Word” illustrate the band’s positive outlook for things to come. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock”, the nascent version of the world-conquering skate punk of the late ‘80s and ’90s. Now, Light In The Attic imprint Modern Classics Recordings is bringing the music of these pioneers to a new audience. Following the 2013 re-release of debut Where’s My Towel / Industry Standard, 2014 saw reissues of second album Lullabies Help The Brain Grow alongside this final record. Just as the album flirts between expressions of boredom and anger and funk jams that declare “Life is just a party” (”What’s The Word"), Big Boys were a mess of contradictions. On stage, openness was key and they became famous for encouraging the audience to get involved: “We’re the band, you’re the band,” they would say. But as a four-piece, their relationships began to fray as is not uncommon with many bands on long tours. After five short years and many recordings, the Big Boys went separate ways. “We never really decided to ‘break up’, it just happened,” said Kerr. “We had been on a two month tour, and it got to be exactly like being in a station wagon with mom and dad with your brother and sisters… lots of tension and everything.” Along with an appearance in the documentary American Hardcore and these new reissues, the band’s legacy continues in current bands, like Fidlar, Wavves, and The Orwells, and in the mark they made on Austin, Texas, which, in tribute to the band, adopted the name of their song, “Fun Fun Fun” for an annual arts/music festival. Keep Austin weird? Big Boys made Austin weird. Label: Touch and Go Barcode: 0036172107230
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Industry Standard (usually extended to Where's My Towel/Industry Standard) is debut studio LP. It was released in 1981 on vinyl through Wasted Talent Records, operated by members of the Judy's. The album's title and many of its themes were inspired by a growing dissatisfaction with elements of the Austin, Texas punk rock scene from which the Big Boys had spawned. Label: Touch and Go Barcode: 0036172107032
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Puke n Vomit Records presents a reissue of Pure Hell sole full-length album, recorded in 1978 but not released until 2006. In 1974, on the streets of Philadelphia, a band unlike any other was formed. They called themselves Pretty Poison. They had a sound so ahead of its time that the music industry was not yet ready for it. They coupled the punk sound of the New York bands of the time with a harder, faster heavy metal edge unheard before. Their unique sound was a result of Kenny Gordon's berserk choreography and Preston Morris's needling guitar riffs, while Steel and Spider added synchronized barrage with no nonsense execution to the arsenal. Inspired by the famous fuel-altered dragster, they changed their name to Pure Hell in 1975. Soon after, they moved to New York City where they played with bands like the New York Dolls, Sid Vicious, Wayne County and the Electric Chairs, The Dead Boys, The Stimulators, Richard Hell, The Germs, The Nuns, The Cramps and more. In 1978 Pure Hell headlined a tour of the UK, with bands like the UK Subs, Wilko Johnson, Vermilion & the Aces and more opening for them. While in the UK, their only original record was released. It was a single released by their manager Curtis Knight on his label, Golden Sphinx Records. The songs on the single were "These Boots Were Made for Walking" and "No Rules." The single charted in the top 40 charts in the UK. During the same year, a full length album was recorded but was never released. It did not surface again for 28 years. Label: Puke n Vomit Records
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Tracks A1 and A2 7' "White Riot" 7' (18 March, 1977) Tracks A3 and A4 7' "Capital Radio" 7' (9 April, 1977) Tracks A5 and A6 7' "Remote Control" 7' (13 May. 1977) Tracks A7 and A8 7' "Complete Control" 7' (23 September, 1977) Tracks A9 and B1 7' "Clash City Rockers" 7' (17 February, 1978) Tracks B2 and B3 7' "(White Man) in Hammersmiths Palais" (16 June, 1978) Tracks B4 and B5 7' "Tommy Gun" 7' (24 November, 1978) Tracks B6 and B7 7' " English Civil War" (23 February, 1979) Label: Zero Thought Records
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Tracks A1 and A4 "The Cost Of Living" 7' (11 May, 1979) Tracks A5 and A6 "London Calling/Armageddon Calling" 7' (7 December, 1979) Trackk B1 "Bankrobber" 7' (8 August, 1980) Tracks B2 and B3 "The Call Up" 7' (21 November, 1980) Tracks B4 and B5 "Hitsville UK" 7' (12 December, 1980) Track B6 "Magnificent Seven" 7' (24 April, 1981) A1 I Fought The Law A2 Groovy Times A3 Gates Of The West A4 Capital Radio Two A5 London Calling A6 Armageddon Time B1 Bankrobber B2 The Call Up B3 Stop The World B4 Hitsville UK. B5 Police On My Back B6 The Magnificent Seven Label: Zero Thought Records
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Tracks A1 "Radio Clash" 7' (2 November, 1981) Tracks A2 and A3 "Know Your Rights" 7' (23 April, 1982) Trackk A4 and A5 "Rock The Casbah" 7' (11 June, 1982) Tracks A7 and A8 "Live At The Shea Stadium" 7' (2014) Tracks B1 and B2 "Should I Stay Or Should I Go" 7' (17 September, 1982) Tracks B3 and B4 "Should I Stay Or Should I Go" US Press bonus songs 7' (10 June, 1982) Tracks B5 and B6 "This is England" 7'' (30 September, 1985 Side 1 1. "This Is Radio Clash" (4:12) 2. "Know Your Rights" (3:35) 3. "First Night Back In London" (3:00) 4. "Rock The Casbah" (3:38) 5. "Long Time Jerk" (5:07) 6. "London Calling" (live) (3:31) Side 2 1. "Should I Stay Or Should I Go" (3:09) 2. "Straight To Hell" (3:44) 3. "Inoculated City" (2:31) 4. "Cool Confusion" (3:15) 5. "This Is England" (3:35) 6. "Do It Now" (3:08) 7. "Career Opportunities" (live) (2:09) Label: Zero Thought Records
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Frontman MJ Howells and his drumming brother Peter Purrfect formed glam-rock band Rockslide in Manchester in the mid-1970s with bassist Wispa Cundall and guitarist Vic Long but changed direction after seeing the Sex Pistols; Long was replaced by guitarist Gus Gangrene and after shifting to London, their new identity was pure punk. Debut EP Temptations Of A White Collar Worker sold 14,000 copies in short shrift, paving the way for the dynamite LP Further Temptations, the sole long-player they managed before splitting in the mid-1980s. Brash, bold, defiant and non-conformist, Further Temptations kicks ass! TRACKLIST Side A 1 Persecution Complex 2 Bone Idol 3 Movement 4 Be My Baby 5 Corgi Crap 6 Sad So Sad 7 The Change 8 Lookalikes 9 The Underdog Side B 10 No More Time 11 City Drones 12 Just Want To Be Myself 13 Lift Off The Bans Bonus Tracks - Single Versions 14 Lookalikes 15 Corgi Crap 16 Just Want To Be Myself 17 Bone Idol Label: Radiation Records Barcode: 8055515233148
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Re-issue of Angelic Upstarts's eighth album, released in 1987 on vinyl! Formed in South Shields in 1977 they were called "one of the period's most politically charged and thought-provoking groups" espousing an anti-fascist and socialist working class philosophy. Label: Audio Platter Barcode: 803341524156
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Formed within the sound of the Charlton FC terraces, they soon became the success of the Oi music genre, that great sonic punk movement of the eighties. Oi was the perfect antidote to the grim blandness of new wave, and THE BLOOD were it’s major craftsmen. Originally known as Coming Blood, the band first made harmonious noises in 1982, and began their assualt on the establishment, or whoever needed their arses kicked. They soon graduated from the infamous Oi Chartbuster Albums and hit out on their own, looking for victims for their new brand of musical skullduggery. The essence of the band was frivolity, football style anthems and some very provocative lyrics. Their goal was to do everything to wind-up absolutely everyone, which they easily did with great humourous dexterity. With their landmark single, Meglomania, and album, False Gestures For A Devious Public, THE BLOOD shocked Britain with their quips and actions of spendidly good taste. This, their first album, is the recent reissue on Audio PLatter. Gatefold cover. Label: Audio Platter
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PNV Records reissue of the debut album by the Anti-Nowhere League, originally issued on WXYZ Records in 1982! Despite the obnoxious band’s reputation and the legal persecution that the group faced due to its obscene lyrics, the album remained No1 for many weeks in the independent charts and it became from its release day an instant UK Punk Rock Classic! Loaded with more piss and vinegar than one can almost handle in a single album, this is what most people think of when they think of classic Punk, the kind of Punk that frightened the squares, and parents and annoyed the authorities. The kind of album that throw on at a party and the house is sure to be destroyed by nights end. Label: Puke n Vomit
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Originally released in 1983 on UK punk label Razor Records and now available domestically for the first time in the USA. Take the ferocity and sloganeering of The Clash, and the call to arms of Stiff Little Fingers, and add the charm and rhythmic power of the Ramones, and you get this magical album. Loaded with witty and humorous songs about teenage frustrations, the complexities of relationships, and serious subjects as well, such as racial tensions, equality, and boredom. (Puke N Vomit Records)
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A facsimile of the original album release. 180g vinyl with a fancy inner sleeve. Originally released in 1979 this legendary album was the first from the revised line-up of Capt, Rat, Dave and Algy. Features the classic singles Love Song, Smash It Up and I Just Can't Be Happy Today. What more do you need to know! Essential! Label: Ace, Chiswick Records Barcode: 0029667433310
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Buzzcocks’ seminal third album, lovingly restored and re-mastered from its original ¼ tapes for the first time since its original release.
- Newly curated booklet featuring an essay from cultural commentator Jon Savage & previously unseen images
- Packaged in its original Malcolm Garrett designed sleeve
- Dispatched with ltd edition ‘Product’ carrier bag
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2018 Remastered version. Buzzcocks’ seminal second album, lovingly restored and re-mastered from its original ¼ tapes for the first time since its September 1978 release.
- Newly curated booklet featuring an essay from cultural commentator Jon Savage & previously unseen images
- Double-sided insert replicated from the original 1978 LP
- Packaged in its original Malcolm Garrett designed sleeve
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Killer Klowns from Outer Space is an Mini LP by American punk rock band The Dickies. It was released in 1988 by Enigma Records.It contains the song "Killer Klowns," the title song of the 1988 film Killer Klowns from Outer Space. South Californian artist Shag designed and executed the album cover artwork, the first of various collaborations with The Dickies. (Puke N Vomit)
