Legends of Punk: The Resurrection
View Full Version : Legends of Punk: The Resurrection
07-05-2004, 01:14 PM
Ok, here it is. I know it took longer than I said but deal with it cause I really don't give a fuck.
Alright, I will post my Oi Legends up in the next post and I request that nobody reply to this thread until each and every legend category is up. Then we can discuss it.
And another thing, if someone has posted one of their articles please wait til the others are posted as well before you start to post yours.
07-05-2004, 01:21 PM
Legends of Oi
Shark and Lealand attend the same comprehensive School, and form a band, inspired by the Sex Pistols, Clash, Buzz****s, e.t.c.
1979 Spike joins the band as vocalist/guitarist, the band go into the studio and record their first demo, mainly cover songs, Pretty Vacant-Sex Pistols, Wasted Life-Stiff Little Fingers, Times Up-Buzz****s, Belson was a Gas-Sex Pistols, I Don't Give a ****-The Partisans, No Time-The Partisans. The band play a few small local gigs in the Wales area, mainly covers
1980 Louise joins the band as Bass Player, and the band lock themselves up in the rehearsal studio.
1981 The band go in the studio and make their second demo, all their own material, Police Story, Killing Machine, Don't Blame Us, No U Turns I don't Give a ****, Arms Race. The demo is sent into Sounds, Blitz, Chron Gen, Abrasive Wheels and the Ejected demos were also reviewed, the Partisans get the title for the best demo.....
No Future receive demo same week, the band is contacted immediately and sign contract, Police Story is released and receives rave reviews, and enters the indie charts at no 5. The fall arrives and the Partisans are asked to appear on Carry On Oi, they do 2 tracks, Arms Race and No U Turns, Infa Riot are in the studio at the same time and help out on the backing vocals.
November the band play in Sheffield with Blitz, Infa Riot, and the Business
1982 17 Years of Hell is released and enters the indie charts, the production is weak and the band are disappointed, they play the 100 Club in London and go down well, then play the Lyceum with Blitz, Peter and The Test Tube Babies, and Red Alert. Lealand leaves the band and moves to London but is obliged by contract to record an album for No Future, The Partisans record their first album, unrehearsed and unprepared, the production and songs could have been much better. Lealand returns to London, Shark and Spike follow, Louise stays in Wales, so the band continue with out her, and employ Dave Parsons on Bass.
1983 By now the band have been on numerous compilation albums, but are without a label, Lol Pryor (Business manager) signs the band to his label and Blind Ambition is released, does not get too much push, or publicity, but is played on prime time radio, between a Michael Jackson record and a Paul Mcartney record, there were many who thought it was the best single the band had done. Colin from CONFLICT is in recording studio and asks the band if they wanna play in Brixton with them, the band respect the offer and agree, the band find go down extremely well in front of a anarcho audience. Shortly afterwards the partisans and Dave split ways, Dave later joins Transvision Vamp and Bush.
1984 The band are playing better than ever and are comfortable being a trio, the music verges more and more towards the Clash, most of the other bands of their era have turned into hard rock bands or split up. The Partisans remain punk if not a touch poppy, and go into the studio to record The Time Was Right, but the record label want to rush release an album, the band don't have enough songs, so a live side is included, the album is a catastrophe, the wrong mixes are released, the vocals are lost on "The Time Was Right" and the newer version of "I Never Needed You", its the bands fault, they had been smoking hash in the studio, and had become sloppy at the mixing desk. The album doesn't sell too well, due to many things, not much publicity, not much of a market anymore....
1985 The band never split up, it just seemed to fizzle out, lack of interest from its members.
1999 Lealand has been unemployed for a good few years and the state decide to rehabilitate him, he chooses a web design course as his line of interest, and during his lessons enters the word "Partisans" in alta vistas search box. Shocked and stunned he finds Captain Oi Records have released "a best of" and a reissue of "The Time Was Right", he contacts the company and it turns out that the Partisans are very much are alive and kicking, or at least as far as reissues are concerned, he decides to do a web page about the band, and not before long it has over a thousand visitors in 2 months, mail after mail indicates that the Partisans are missed and very much alive in New York, in Paris, in Seattle, in Japan, in ....The band is asked to reform and play the hits festival, there was no band to talk of, Lealand contacts Shark in Singapore, but due to other duties Shark cant make it, Spike thinks its ridiculous to get back together, but would like to think about it.
2000 The Partisans reform, this time in Gothenburg, Sweden, Lealand finds a drummer and bass player and enters the rehearsal room. All new songs are sent to Spike in Cardiff, and he does his bit infront of a tape recorder in the shower. Spike comes over to Gothenburg in September and they play their first live gig in Sweden in front of a hysterical audience.
2001 The Partisans play the Holidays in The Sun festivals in England and release their first single in over 17 years. The "Hysteria Ep" is released on the Partisans own label, and tko release it in America under the name of "So Neat".
Recommended listening-Police Story, I never Needed You, Reality TV, Bastards in Blue, 17 Yeas In Hell, and Power the Greed
Taken from tha Partisans Official webpage
07-05-2004, 01:27 PM
The Cockney Rejects
The ****ney Rejects formed in Londons East End in 1979. Their first recording was the "Flares and Slippers" E.P. released on the independent label Small Wonder. The initial band line-up on this E.P. was....
Jeff "Stinky" Turner - Vocals
Mick Geggus - Guitar
Vince Riordan - Bass
Andy Scott - Drums
Following the success of the E.P. the band were quickly signed to EMI Records. The first single for EMI "I'm Not A Fool" was released in December '79 reaching number 65 in the national charts. Years later the song would be used on national television in a Levis advert! The second EMI single released barely two months later, "Bad Man" also reached number 65 in February 1980.
The band broke into the top thirty with their third single "The Greatest ****ney Rip Off" which peaked at number 21 and spent 7 weeks in the national charts. This was followed by a top forty placing for the next single, the West Ham inspired anthem "I'm Forever Blowing Bubbles" which reached number 35. Amazingly the band would have another two minor hits that year with "We Can Do Anything" reaching number 65 in July and "We Are The Firm" reaching number 54 in October.
The bands first album the cheekily titled "Greatest Hits Volume 1" quickly followed by the next album "Greatest Hits Volume 2" saw the band attracting a massive skinhead and punk following all over Britain and Europe. There was a line-up change by the time the 2nd album was recorded with drummer Nigel Woolf replacing Andy Scott. It was a song on this album "Oi,Oi,Oi" that gave a name to the new form of street punk evolving at the time that became known as "Oi Music".
The punk scene suddenly had a whole host of ****ney Rejects inspired bands popping up around the country. There was another change in drummer by the time of the bands third album with Keith "Sticks" Warrington joining the band.
The album "Greaest Hits Vol 3 - Live and Loud" was actually recorded live in the studio in front of a rowdy invited audience.
The Rejects had always been influenced by rock music and the fourth album "The Power and the Glory" was a crossover album which was much more rock influenced, with a more rocky sound and much better production. The songwriting and musicianship on the album was top notch but not all previous fans of the band accepted it.
The Rejects headed further into rock music territory with the "Wild Ones" album which was produced by Pete Way, bass player of rock band UFO and released in 1982. Other albums included the relatively low key release "Quiet Storm". The band disbanded in 1985 but returned briefly in 1990 to release the album "Lethal".
A few years ago the band decided to reform with a view to return to live work and also to recording again.
The new line-up featured current Red Alert guitarist Tony Van Frater on bass and ex Red Alert member Les Cobb (aka Nobby) on drums. A re-recorded "Best Of" was released before the band recorded a brand new album entitled "Out of the Gutter" on the Captain Oi label. The band has recently played live in England, Wales, Spain, Germany, Norway and Japan. Further dates in England, Spain, Germany and Belguim are booked and the band are well and truly back.
Recommended Listening-Someone Like You, Join The Rejects, Oi Oi Oi, and Fighting IN The Street
And I don't feel like going and coding every time the word cock comes upin this bio.
Taken from the Cockney Rejects Officail WebPage.
07-05-2004, 01:34 PM
The Angelic Upstarts
The Angelic Upstarts formed in South Shields, North-East England 1977. Influenced by bands such as The Clash and The Sex Pistols, The Angelic Upstarts are a meeting of working class ideology and musical aspiration.
Mensi was always liable to provoke reaction, his lyrics making much of his working class roots, and lashing out at police and politicians. The original line up consisted of Mensi (vocals), Mond (guitar), Steve Forsten (bass) and Decca Wade (drums). The Angelic Upstarts launched their punk crusade with the independently released single 'The Murder of Liddle Towers' in 1978. The band paid for the recording and pressing of 500 singles which they released themselves and sold at gigs and local record shops. The single was then picked up by Small Wonder Records who released it nationally. It's attack on police brutality earned them an early patron in Sham 69's Jimmy Pursey, who chased a similar constituency of disaffected working-class fans.
The band then signed to Warner Brothers, Pursey producing the L.P. "Teenage Warning" (1979).
The band's wholehearted delivery coupled with their denunciation of racism - a particularly admirable stance at a time when other "skinhead bands", were flirting with right wing elements - made the album a classic. With the UK hit singles, 'I'm An Upstart' and 'Teenage Warning' (both 1979), they focused on the plight of the working class. The band went on to release a number of successful albums and minor hit singles before splitting in 1983. Angel Dust (The Collected Highs,1983) was a useful compilation of their best early work.
The band have reformed and split a few times over the years and some of the ex members include... bass players, Ronnie Wooden, Glyn Warren, Tony Feedback, Ronnie Rocker and Max Splodge who also had a stint playing drums. Other drummers have included Sticks (who later joined The ****ney Rejects), Paul Thompson (ex Roxy Music) and Chris White. Decca Wade rejoined the band for a few years before leaving again. Brian Hayes originally joined the band as second guitarist until Mond left leaving Brian as the only guitarist.
The band had two full-length live releases 'Anthems Against Scum' and 'Live From The Justice League'. More recently, Mensi revamped the Upstarts with an all star line-up and this line-up recorded the first new Angelic Upstarts studio album in years, entitled "Sons of Spartacus". Bringing the Upstarts to a mostly new generation of fans, still playing in tune with the anti-fascist cause.
Recommended listenings-I'm An Upstart, Teenage Warning, Last Night Another Soldier, I Won't Pay For Liberty, and Never Return To Hell
Taken from Angelic Upstarts Officail Webpage
07-05-2004, 01:41 PM
Flogging molly is a folk punk band with quite a lot of Irish influence. It?s band members consist of Dave king who does the vocals and acoustic guitar, Bridget Regan who plays the violin and tin whistle, Dennis Casey on the electric guitar, Matt Hensley on the accordion, Nathen Maxwell who plays bass, Bob Schmidt with the mandolin and banjo, and finally George Schwindt on the drums. Flogging molly started in 1997 in Los Angelis, not the place you?d expect for an Irish punk band to hail from. They formed in an Irish pub named Molly Malone?s, right in the middle of the city. They got their name from the name of the pub and how their music flogged into the pub. They say drinking has a lot to be said for the band, considering Dave King, originally from Dublin, met the other band members in a bar. Flogging Molly incorporates all their instruments in near perfection. Many times the less conventional instruments in punk, like the violin and tin whistle, get featured, yet they still make room for great guitar parts and solos, both electric and acoustic. They have been compared with Irish bands such as The Pogues and black 47, but have their own unique style. Their first album release was in 2000 with the album swagger. Before that they had released a self produced live disc. Their most recent release was the album Drunken Lullabies. They are now currently touring in the Vans Warped Tour. They have been known to put on a very great and energy filled live show and really get fans into the show.
Some songs to check out are What?s Left of the Flag, The Devils Dance Floor, salty dog, Drunken Lullabies, The Kilburn High Road, and The Rare Ould Times.
07-05-2004, 01:43 PM
The Pogues are a UK folk punk band with a very strong Irish influence. They defied description, but were labeled many different things by both fans and critics. One of the most memorable ones being ?a hybrid between the Sex Pistols and the Chieftans," was penned by Island Records for the liner notes of the Essential Pogues release. No matter what you label them they are arguably one of the greatest UK bands of the last 20 years.
The Pogues formed in 1982 with Shane MacGowan, who was inspired by the clash, as its leader. He originally played in the band called the nipple erectors, which was later shortened to the nips. When in a London tube station he met Stacey playing a tin whistle. The two began working together, and took on former Nip Jim Fearnley to play guitar. The group named themselves Pogue Mahone, which is a Gaelic term meaning ?kiss my ass?. They played traditional Irish tunes in puns and streets, and eventually added Jeremy Finer (banjo, guitar), Andrew David Ranken (drums) and Cait O'Riordan (bass) to make it a full band. As the sextet developed they added some of MacGowan?s original work to their songs. They developed the reputation of a drunken and exciting live act. They shortened their name to The Pogues and released an independent single ?Dark Streets of London? in early 1984. They supported The Clash on their summer tour. The fall of the same year they released their debut album, Red Roses for Me.
Red Roses for Me was a hit and established The Pogues as one of Britain?s most vital bands. In 1985 they added guitarist Phillip Chevron and recorded Rum Sodomy and the Lash and the album was a success. After that the group went on a recording hiatus for almost a year. After that the group released some more EPs and album and had some lineup changes.
Although The Pogues were peaking in popularity, Shane MacGowan's relentless drug use was crippling the band. Neither 89?s hit singles ?Yeah Yeah Yeah Yeah Yeah? and ?Peace and Love? were affected by him, but he still missed the prestigious opening dates in 1988 for Bob Dylan. Spider Stacey and Jeremy Finer began singing most of the groups? material. Although it got good reviews, 1990s Hells Ditch wasn?t a great album and they weren?t able to support the album because of Shane?s behavior. He was asked to leave the band in 1991. He returned with a new band, the popes, three years later. For later tours The Clash?s Joe Strummer filled in as lead vocalist. Stacey became the lead vocalist for their last two albums in 1993 and 1995, which got good reviews, but were ignored. In 1996 The Pogues disbanded after being in the music industry for 14 years.
Suggested listening: The Body of an American, If I Should Fall From Grace With God, The Sick Bed Of Cuchalain, and The Irish Rover.
07-05-2004, 01:50 PM
The influential, long-lived punk metal band G.B.H. rose to prominance in England during the early '80s when hardcore punk began inching toward heavy metal. Originally formed in 1979 in Birmingham, England, G.B.H. initially called itself Charged G.B.H. to differentiate itself from another band called G.B.H. The leather-clad, hair-spiked foursome began recording for the Clay label in the early '80s, releasing some singles before unleashing its influential debut album, City Baby Attacked By Rats, in 1982. City Baby's Revenge followed two years later in 1984, by which time the band had become one of the leading punk metal bands of the era. G.B.H. continued recording and releasing albums throughout the '80s, though its influence progressively waned as a new wave of bands such as Slayer emerged and pushed punk metal toward what became known as speed metal and, in turn, thrash. Despite its waning influence, G.B.H. soldiered on, recording new albums throughout the '90s and into the next millenium. By this point the band was often cited by both metal and punk bands as a huge influence, and a renewed interest in G.B.H.'s early recordings resulted.
From... www.allmusic.com sorry for the ****ty bio
Colin (Jock) Blyth-Guitar
Suggest songs -
Crush Em, Slut, Diplomatic Immunity, Necrophilia, Punk Rock Ambulance, Race Against Time, Sick Boy, Knife Edge, Punk Junkies, Hellhole, Big Women, Alcohol, Drug Party in 536, City Baby
Official Site- www.punkjunkies.com
07-05-2004, 01:54 PM
The Varukers were formed in 1979, the original line up was Rat (vox) Bruce Riddel (guitar) Garry Moloney (bass) and Tom Lowe (second guitar) and some guy called Garry on drums. Around about 1980 the drummer quit and Tom went onto bass and Garry took up drums, the band started to play gigs and attracted the attention of inferno records, in 1982 shortly after the release of I Dont Want To Be A Victim EP 7"Single garry left and joined discharge. Brian Rowe was his replacement, not long after that Tom dropped out and was replaced by George. This line-up released Blood suckers on riot city records and then George left-he was replaced by Broken Bric, the brian dropped out! Andy Baker took up drums and Damien took up guitar. The Bric left! (bloody hell!) He was replaced by Tony.
It was now 1984 and the varukers toured Europe, but when they returned Tony and Damien left. These were replaced paul miles on guitar and Graham kerr on bass, after a few releases andy left. He was replaced by Warren, he played on the 1985 release one struggle one fight, and then they brought in a second guitarist, warren left and kevin frost joined them on drums. Then they split in 1988, they reformed about two years later with Biff on guitar, rat on vox, kev frost on drums, and brian on bass and released the 7inch nothings changed on weird records. Then Brian left the band and was replaced by Kierran-though not for long. The varukers then entered the studio and recorded the album how do you sleep, they toured a lot and then Kev left. He was replaced by ricardo on drums and another guitarist joined (shaun). So after all those changes the current line-up stands at Rat on vox, Biff on guitar, Taff on bass, Shaun on guitar and Ricardo on drums?wonder how long that?ll last.
Taken from www.smash-it-up.tk
Stop the killing, Dont Conform, No Masters No Slaves, all systems fail, will they ever learn, who pays?, Government to Blame
07-05-2004, 02:38 PM
Riot starting, bouncer bashing, cop baiting, hotel trashing, foul talking, noise making, chaos causing, venue wrecking, government hating, rule breaking, piss taking, unrelenting, punk rocking?. Clearly we?re not talking about Pepsi adverts here, or indeed the many so-called punk bands that would gleefully sell themselves to such corporate giants for a palm full of silver. Whoo-hoo! The taste of a generation! **** off! Let?s get one thing straight: The Exploited are not ?punkers? or any of the other cutesy, watered down, MTV friendly names you might want to call them.
But maybe we should put that into context since it means so many different things. It?s early 1980 and ?entertainment? on a Saturday night (or any other night of the week) consists of sitting around at home watching crap on TV or sitting around in a bus shelter drinking cider or sniffing glue. Unless, of course, you?re old enough to drink in the same pub as your dad. Oh the thrill of it all! Punk rock is all you have. It?s your lifeblood, the only thing that makes sense and the only thing to look forward to in a world with ?no future?. And it?s ****ing exciting! The next single, the next gig, the volume coursing through your veins to remind you that you?re alive. Punk rock is a dangerous business. The mere act of looking like a punk will earn you a night in casualty if you?re not careful, and getting to and from one of the few venues that will let punk bands play can literally be a matter of life and death. So, you can cop out and be a part time punk (flatten your hair down for school, work or more likely the dole queue) or follow whatever trend you?re told is ?in? this week. The other option, the only other option, is to give to punk rock what it has given to you?everything! If you?re going to be unemployed, then be unemployable! If you?re going to get beaten up, then go down fighting! If you?ve got something to say, then shout it! And most of all, if you?re going to be in an obnoxious punk rock band, then be in a really obnoxious punk band!
This was the route chosen by ex-squaddie Wattie Buchan (vocals), Big John Duncan (guitar), Dru Stix (drums) and Gary McCormack (bass). Right from the start (early 1980, if you were paying attention) there was no toning these Edinburgh punks down, no diluting their music for public consumption. The Exploited were punk rock.
Released just one year later on the Secret label, their debut album was as much a rallying battle cry as a record. It was called ?Punk?s Not Dead? and went on to become the number one independent album of 1981 (before most of the Indies were just majors in disguise), reaching number 20 in the national charts and selling 150,000 copies. Which kind of proved the point. If punk was dead, no one had told the Exploited?s rapidly growing ?barmy army?. And while admittedly, ?Punk?s Not Dead? wasn?t the greatest record ever made, as an opening gambit it was unbeatable and live, the band were nothing short of incredible. The long hot summer of ?81 saw the whole country going up in flames. Real anarchy in the UK as city after city, town after town exploded! A perfect time for the Exploited to co-headline the legendary ?Apocalypse Now? tour with fellow punk giants, Discharge. The sell out London show (at the Lyceum Ballroom) took place just one day after the Brixton riots. Talk about an electric atmosphere!
By October that year The Exploited were in the singles charts with the violently evocative ?Dead Cities?, leading to arguably the most ferocious performance ever seen on Top Of The Pops (yeah, you read that right! And yes, there were numerous complaints) and another massive UK tour. If memory serves correctly, this was the one where Black Flag supported them, the one that ended in a full-scale riot at the Rainbow in Finsbury Park. Or maybe that was another time; certainly it was snowing in the Capital the night and ever demented front man Wattie declared war on the Mods (some idiot had booked the Jam to play just up the road), resulting in a pitched battle outside the venue.
1982 saw the release of the Exploited?s first genuine classic album ?Troops Of Tomorrow? (number 17 in the charts), which ten years later was to see tracks (most notably ?UK82? changed to ?LA92?) covered by Slayer for the ?Judgement Night? soundtrack. More proof, if it were needed, that without the likes of Exploited, Discharge and GBH there would be no thrash metal and thus, no Metallica, Slayer or Slipknot. It has even been noted that those punk bands influenced such varied acts as Queens Of The Stoneage (whom Wattie presented with a ?Best International Newcomers? gong at the Kerrang Awards in 2000) and Atari Teenage Riot, Nirvana (Ex-Exploited guitarist Big John even played for them briefly) and Massive Attack.
In over two decades The Exploited have been tear gassed by German cops, banned from Holland, arrested in Spain, declared that the Falklands are British forever whilst on stage in Argentina and have caused more carnage than a multi-car pile up on the M1. Throughout that time they have remained steadfastly true to their roots, never selling out, never splitting up (despite numerous line-up changes) and never bowing down. They?ve been accused of being dumb (yes, sometimes, but wilfully so) and causing trouble (guilty again, but smashing stuff is fun and punks are supposed to be obnoxious). But The Exploited are also fiercely (not to mention bluntly) socially and politically aware, covering everything from the Criminal Justice Act to the increasing use of Big Brother CCTV and never wavering from their anti-authoritarian, anti-war stance. And while a critic once suggested they were stating the obvious (politicians are liars and war is bad), someone is still voting for the ****ers and we seem to be on the brink of World War Three. Someone should be shouting about it for Christ?s sake! And no one shouts louder than The Exploited! Who else would have the nerve to drown a Tory politician in their video (for the title track of their ?96 masterpiece ?Beat The Bastards?) or repeatedly refer to Maggie Thatcher as a "****ing cunt!" (?Maggie?).
So we face the start of another New Year and nothing has changed. The country?s still ****ed and on the brink of war as America?s lapdog, bored kids still wander the streets (smack and designer labels having replaced glue and cider) and The Exploited are just as relevant today as they were in 1980. Punk rock has come to mean so many different things to so many different people. Like an incurable virus the genre has infected the whole world, evolving, mutating (often beyond recognition) and contaminating everything that gets in its path. Fashion, art, comedy, politics and of course, music have all been irrevocably altered by punk rock. Christ, even football got in on the act? a mohican haircut we?re told, is now called a Beckham. Not bad for something that has been pronounced dead more times than Dracula. But to The Exploited punk rock still means everything.
"**** The System? their eighth studio album sees the band on more explosive form than ever, riotous, unrepentant and wholly uncompromising. Tracks like ?Never Sell Out? and ?Chaos Is My Life? (both self-explanatory) are as brutally heavy as anything bands half their age have to offer and prove beyond doubt that, not only is there life in the old dog yet, but the ****er?s got rabies! ?**** The System? isn?t just an album title; it?s a statement of intent. But then, it is a punk rock album, and make no mistake.
The Exploited are punk rock!
Big John Duncan-Guitar
Dru Stix -Drums
Taken from http://www.spitfirerecords.com/Exploited.htm
**** the system, **** a mod, Propaganda, Punks not dead, I believe in anarchy, sex and violence, beat the bastards.. etc
07-06-2004, 01:07 AM
John Wright (Bass, guitar, vocals)
Rob Wright (vocals, drums, keys)
I've Got A Gun
Jesus Was A Terrorist(f/ Jello Biafra on vocals)
Cats, Sex, And Nazis
It's Catching Up
The band I descibe as the "thinky man's punk band" arouse in the early 80s in Victoria, British Columbia. Combining many genres, such as punk, funk, jazz, and metal with emphasis on hard-to-follow rythums, Nomeansno provide an extremely orginal break from the typical 3 chord punk song. Their strange lyrics add to creatate music the likes of which you've never heard.
Nomeansno formed after Rob witnessed an early performance by DOA. The duo, containing Rob's brother John, added a guitarist and began touring.
They have released 14 albums, including an 8 track EP with Dead Kennedys' vocalist Jello Biafra, and each album has a unique sound. 8 of the albums were released on Biafra's Alternative Tentacles label.
07-06-2004, 01:08 AM
Field Day For The Sunday
Sand in My Joints
Two People in A Room
One of the most orginal bands to emerge from the exploding British punk scene in the late 70s, Wire repeatedly reinvented their sound between 1977 and 1979.
Guitarists Colin Newman and George Gill formed a band called Overload while in art school in 1976. They recruited bassist Graham Lewis and drummer Robert Gotobed, and Wire was started. The group ousted Gill and began playing dates in London. At a gig at the ROcy, they met Mike Thorne, who was putting together a live album to be released on EMI, who he worked for. Wire were eventually to be signed to EMI, and released their debut in '77. While taking punk to a new level, the album contained 21 tracks in about 30 minutes. They began recording their follow up in the spring of 78. Chairs Missing, their followup, went in a radically different direction. It included keys and had a more complex feel than Pink Flag's minimalism. The group then released their next album, 154, which was the number of gigs they had played up to that point. Soon after it's release, the band was dropped from EMI and took a 5 year hiatus.
After reforming in 1985, the band released a few more albums, which I am not too familar with, and are still, I believe together to this day.
07-06-2004, 01:09 AM
Sickles and Hammers
Little Man With A Gun in His Hand
Political Song for Michael Jackson to Sing
Bob Dylan Wrote Propaganda Songs
This Aint No Picnic
The Minutemen were probably Southern California's most unique band to emerge out of the late 70s/early 80s punk scene. Often described as "the band's band" they epitimized the DIY attitude of many of the day's bands, which many bands still live by today. Through their relentless touring and recording, they helped pathe the way for the American indie rock scene that would emerge throughout the 80s. Ignoring the typical verse-chorus-verse style of rock music, the Minutemen had a extremely unique feel. Unlike any other punk band, the Minutemen explored other genres, like free jazz, folk, and even funk in their music. Most of their songs, which usually clocked in at about a minute, were leftist political rants aimed at everything from the Vietnam war (which had been over for 10 years) to working class oppression.
The Minutemen were from the working class harbor town of San Pedro, California, outside of LA. Mike Watt and Dennes Dale Boon had been friends since D. jumped out of a tree on Mike when he thought he was another person when the boys were 13. D. and Mike began playing playing music together at a rather young age, and were in one of the many cover bands in Pedro in the early 70s. When punk came along in the mid to late 70s, Mike and D. formed a band called the Reactonaries with drummer George Hurley and another guitarist and began writing their own songs, unheard of for a band in Pedro. The group disbanded after opening for Black Flag. Mike and D. invited George to play in a new band with them, and the Minutemen were born. After about a week, they recorded their first EP and it was released on Greg Ginn's SST label. The band then did a tour with Black Flag, and recorded their first full length album shortly afterwards. After more touring they released another album, on which they ventured into funky type music.
1984 brought on the release of the Minutemen's trademark album, Double Nickels on the Dime. This double LP, an idea unheard of in the punk world, contained 45 songs. Brancing even further away from punk's hardcore structure, this album included jazz and folk elements, as well as the punk and funk elements they were already implementing into their music.
After the release of Double Nickels, the band recorded 2 more albums. In December 1985, shortly after returning from a tour opening for REM, D. was killed in a tragic car accident while sleeping in the back of the band's van on a trip to visit his girlfriend's parents. Mike was crushed and never wanted to play music again, but his friends Sonic Youth convinced him that he needed to play again, and he formed the group fIREHOSE with George Hurley on drums in 1987. fIREHOSE went on to a major label deal, but disbanded in 1994. Mike has since released 2 solo albums with another due for release later this year and has toured relentlessly. Mike still tours in his van and books his own dates.
07-06-2004, 06:06 PM
LEGENDS OF CLASSIC PUNK!
ORIGINAL BAND MEMBERS
Joey Ramone - Vocals
Johnny Ramone - Guitar
Dee Ramone - Bass
Tommy Ramone - Drums
Recommended Songs: Rockaway Beach, Sheena Is A Punk Rocker, Blitzkrieg Bop, The KKK Took My Baby Away, Now I Wanna Sniff Some Glue, Beat on the Brat, 53rd And 3rd, SLUG, Havana Affair
The Ramones are the first punk rock band. Other bands, such as the Stooges and the New York Dolls, came before them and set the stage and aesthetic for punk, and bands that immediately followed, such as the Sex Pistols, made the latent violence of the music more explicit, but the Ramones crystallized the musical ideals of the genre. By cutting rock & roll down to its bare essentials -- four chords; a simple, catchy melody; and irresistibly inane lyrics -- and speeding up the tempo considerably, the Ramones created something that was rooted in early '60s, pre-Beatles rock & roll and pop but sounded revolutionary. Since their breakthrough was theoretical as well as musical, they comfortably became the leaders of the emerging New York punk rock scene. While their peers such as Patti Smith, Television, Talking Heads, and Richard Hell all were more intellectual and self-consciously artistic than the Ramones, they nevertheless appealed to the same mentality because of the way they turned rock conventions inside out and celebrated kitschy pop culture with stylized stupidity. The band's first four albums set the blueprint for punk, especially American punk and hardcore, for the next two decades. And the Ramones themselves were major figures for the next two decades, playing essentially the same music without changing their style much at all. Although some punk diehards -- including several of their peers -- would have claimed the band's long career wound up undercutting the ideals the band originally stood for, the Ramones always celebrated not just the punk aesthetic, but the music itself.
Continue reading here... (http://www.livedaily.com/artist/bio/1166.html)
07-06-2004, 06:08 PM
Joe Strummer - Guitar, Vocals
Mick Jones - Guitar, Vocals
Paul Simonon - Bass, Background Vocals
Terry Chimes - Drums (Self-Titled Album Only)
"Topper" Headon - Drums
Recommended Songs: Complete Control, Garageland, Career Opportunites, Stay Free, Safe European Home, Lost in the Supermarket, The Guns of Brixton, Death or Glory, Straight to Hell
Formed during the first explosion of '70s English punk, the Clash came to notoriety for their loud, uncompromising sound and leftist politics. But while their fan-first ideology may have endeared them to their large cult audience and journalists, obviously what has made the Clash legacy so powerful has been their expansive and ever-changing music. Joe Strummer may have yelled like an angry upstart, "No Beatles or Stones in '77!" but it was just this willingness to go along with the great rock tradition that labeled his band so many heads and shoulders above their competition.
Their first album, The Clash, never saw proper release in the U.S. and, when finally issued, had several album tracks removed for the sake of catchier singles. Their initial roar is a convincing one, though accounts of singer Strummer's radical transformation from pub rock with the 101ers to the full-out velocity of the Clash had some claiming him less the authentic street punk than his CBS Records bio let on. But while the Clash raised ethical issues of "purity" in music--standards that would be wholeheartedly embraced by future hardcore (especially straight-edge) bands--it was the band's ability to pull off both rock and reggae convincingly that proved their mettle. Their second album, Give 'Em Enough Rope, was produced by Sandy Pearlman and contains some of their most anthemic songs. Pearlman, most noted for working with Blue Oyster Cult, added heavy metal's ritualized thunder to the band's chaotic crappy punk ways. Critics blamed Pearlman with sanitizing the band, but the real problem was material. Having toured constantly and written much from the road, the band needed a chance to catch their breath. The movie Rude Boy captures this heated time and features some better-than-average footage of the band, though the "acting" segments are painful to view.
Continue reading here... (http://music.launch.com/artist/artistFocus.asp?artistID=1005331)
07-06-2004, 06:09 PM
The Velvet Underground
Lou Reed- Vocals, Guitar
John Cale - Bass, Viola, Organ
Sterling Morrison - Guitar
Maureen Tucker - Drums/Percussion
Doug Yule - Bass, Organ (replaced Cale after second album)
Recommended Songs: Heroin, I'm Waiting For The Man, All Tommorow's Parties, I'm Set Free, Rock & Roll, Pale Blue Eyes, White Light/White Heat, What Goes On, Sweet Jane
Next to the Beatles and the Stones, the Velvet Underground were probably the most influential band in rock history. And when you consider that the Velvets only sold a small fraction of the records those two British units did, theirs is an amazing accomplishment, indeed. Of course, Brian Eno once said that every person who bought the Velvets' first album subsequently went out and formed their own band--and, naturally, Eno's original band, Roxy Music, would've hardly been possible without the Velvet Underground, nor would have R.E.M., David Bowie, Mott The Hoople, Blue Oyster Cult, the Stooges, or Patti Smith (in fact, the Velvets' John Cale produced the debut LPs for the latter two acts). The irony is that while most punk-rock wouldn't exist without the Velvet Underground, nor would softer-sounding, almost ambient rock acts like Mazzy Star and American Music Club, demonstrating just how wide the band's influence spanned.
Continue reading here... (http://launch.yahoo.com/artist/artistFocus.asp?artistID=1028205)
07-06-2004, 06:11 PM
The Only Band That Matters
The Velvet Underground
The Banana Album
The Ramones playing the CBGB's in '76
The Ramones outside the CBGB's
07-07-2004, 11:50 PM
Ok, this is gonna take a while to become complete. Since we have a bunch of people who seemed to have forgotten what to write, and a few who are MIA for a week or so.
So Monty, if you could reorganie this thread whenever all the articles are up, as wellas cleaning it up, I would be much obligued.
I'm gonna bring up the list of who wasdoing what and post it here in a few minutes.
07-08-2004, 07:56 PM
Classic Punk Revisited
The Dead Boys
The Dead Boys were one of the first punk bands to escalate the level of violence, nihilism, and pure ugliness of punk rock to extreme new levels. Although considered part of New York's mid-70's CBGB's scene, all of its bandmembers originally hailed from Cleveland, OH. The group's roots lay in the early 70's Cleveland cult band, Rocket from the Tombs, which included future Dead Boys Cheetah Chrome (aka Gene O'Connor) on guitar and Johnny Blitz (aka John Madansky) on drums, along with future Pere Ubu members David Thomas and Peter Laughner. The group's sound was a bit too comparable to 'art rock' for Chrome and Blitz's tastes (whose influences included the Stooges, Alice Cooper, and the New York Dolls), and by 1975, Rocket from the Tombs had split up.
Chrome and Blitz decided to enlist local singer Stiv Bators (aka Steve Bator), 2nd guitarist Jimmy Zero (aka William Wilden), and bassist Jeff Magnum (aka Jeff Halmagy), and formed a new group more a kin to their musical tastes, dubbed Frankenstein. But the group only managed a handful of local shows before fading away. Noticing that there was an underground punk scene flourishing in New York City's Bowery, the group befriended one of the leading bands from that scene, the Ramones, who had come to Cleveland on a tour stop. At the insistence of Bators, Ramones frontman Joey Ramone helped arrange a tryout for the group at CBGB's, as the whole former Frankenstein band (sans Magnum), made the trek to New York. Not only did the group land a spot at CBGB's, they enlisted the club's owner (Hilly Kristal) as their manager, and signed a recording contract with Sire shortly thereafter.
Changing their name to the Dead Boys (from a line in their song, "Down in Flames"), the band caused an immediate splash in their newly adopted hometown, due to Bator's Iggy Pop-esque, audience-bating antics and the group's vicious 3-chord punk rock. The Dead Boys' classic debut, 'Young Loud & Snotty,' was issued in 1977 - produced by rock singer Genya Raven, and with future renowned producer Bob Clearmountain providing bass. But by the time the Dead Boys launched a supporting tour (including opening slots for their hero Iggy Pop in the U.S. and the Damned over in England), Magnum had signed on once more as the group's bassist. Despite receiving a fair amount of coverage in the rock music press, punk was still misunderstood by most rock fans in the U.S., which resulted in the album not performing up to expectations sales-wise (despite spawning one of punk's great anthems, "Sonic Reducer").
The Dead Boys set their sights on their sophomore effort, which was originally to be produced by Lou Reed (with a working title of 'Down to Kill'). But at the assistance of their record company (who was trying to convince the band to soften up their sound a bit to produce a breakthrough hit), the group enlisted former Cream producer (and bassist for early 70's Cream-disciples, Mountain) Felix Pappalardi. The match didn't prove to be a fitting one, as the former hippie didn't understand the sonic onslaught of these young punks, resulting in an album that failed to expand on the promise of their debut (it's been rumored that the group unsuccessfully attempted to convince ex-Stooges guitarist James Williamson to take over the production chores from Pappalardi, in a last ditch effort to save the album). With a new title of 'We Have Come for Your Children,' the album spawned another punk classic in "Ain't It Fun," but the disc sold even less than its predecessor. To add insult to injury, the group was forced off tour for a long period of time, as Blitz was almost killed in a New York City street fight/mugging (a 'Blitz Benefit' concert was held at CBGB's to raise money for the drummer's medical bills, featuring appearances by John Belushi and Divine, as well as members of Blondie, the Ramones, and former Alice Cooper guitarist Glen Buxton).
With their record company pressuring the group to change their sound and look completely, the Dead Boys split up in 1979. But just a few months later, the band was forced to reunite for the recording of a live album at CBGB's (due to contractual obligations). To get revenge back at Sire, Bators purposely sang off mic, resulting in an expected unusable recording (when the album was reissued for the Bomp label several years later, Bators re-recorded his vocals in the studio). Despite splitting up once more shortly afterwards, the Dead Boys would reunite for the odd show here and there throughout the 80's. Bators tried his hand at acting in such films as 'Polyester' and 'Tapeheads,' in addition to pursuing a solo career (1980's new wave 'Disconnected'), before joining forces with ex-members of Sham 69 in the group the Wanderers (who issued a lone album, 1981's 'Only Lovers Left Alive'), and ex-Damned guitarist Brian James in the goth-punk outfit Lords of the New Church (releasing several albums between '82 and '88). Having relocated to Paris, France, Bators then attempted to assemble a punk 'supergroup' of sorts, which was to have included Johnny Thunders and Dee Dee Ramone, which fizzled out before any recording could get under way. On June 4, 1990, Bators died from injuries sustained after being hit by a car in Paris.
After Bators' death, countless Dead Boys compilations and live/rarity sets were issued, including such titles as 'Twistin' on the Devil's Fork: Live at CBGB's,' 'Magnificent Chaos,' 'Down in Flames,' 'All This & More,' and 'Liver Than You'll Ever Be,' in addition to releases by the pre-Dead Boys outfits Rocket from the Tombs ('The Day the Earth Met the Rocket from the Tombs') and Frankenstein ('Eve of the Dead Boys: October 1975'). Despite only issuing a pair of studio recordings during their brief but colorful career, the Dead Boys' influence on subsequent rock bands continues to be felt to this day, as such acclaimed groups as Guns N' Roses and Pearl Jam covered their songs in the 90's. ~ Greg Prato & Stephen Thomas Erlewine
Recommended Listening: Sonic Reducer, All This and More, and Not Anymore
A couple of old cleveland punkers strained a few brain cells and recalled a few experiences they shared about the Dead Boys... http://clepunk.com/bands/deadboys/stories.htm
07-13-2004, 12:47 PM
First of all, the name ... "Operation Ivy" was one of Isocracy's former bandnames, and refers to the testing of the first nuclear weapon in the 1940s. They got together around March of 1987 after Basic Radio, Lint and Matt's band, broke up and those two were looking to go back to playing underground punk rock. Jesse had been playing drums for a few metal bands in Pennsylvania, but also had been in an early incarnation of Crimpshine in Berkeley. (Lint once played bass for this band too). They roped in Dave Mello, basically taught him how to play drums, and started practising ... Gilman Street, the club/punk collective in Berkeley, had only been open a few months, but there was already a buzz about the place, and about the East Bay scene in general.
In a few months, the band were ready to start playing ... their first show was in drummer Dave Mello's garage - about 30 people were there to see them play. Bad quality videos of this show are available, the only song i can make out is "Sleep Long". The next day, May 17th 1987, the band played their first show at Gilman Street, playing with MDC, Gang Green and Stikky (who would later write a song called "Lint : The King Of Ska". For the next few months, the band played Gilman as often as possible, leading the Mr. T Experience to write about "seeing OpIvy play every week" in one of their songs.
A lot of people heard about OpIvy, and just a few months after they played their first show, MaximumRockNRoll paid for the band to go into a studio in West Oakland and record a few songs for the "Turn It Around" compilation that MRR released. For the band, this was their first time in a real studio, and they did "Officer" and "I Got No", which you can get today on the Operation Ivy CD that Lookout Records are selling. The songs were engineered by Kevin Army, who went on to produce their album and many other Lookout bands.
Lookout Records was formed in the autumn of 1987, and according to Larry Livermore, was formed simply to release an Operation Ivy record. Anyway, in November, the band went into the Dangerous Rhythm Studios in Oakland, and recorded what would be released in January 1988 as the Hectic EP. There was an original pressing of around a thousand, but such is the popularity of the band that the record has been re-pressed a million times and is still available today.
1988 saw probably the busiest period in Operation Ivy's existence. They played a massive amount of shows, released the Hectic EP, and thought about recording their first full-length release. The band wanted to record it at Gilman, but after difficulties with that idea, they went on to record "Energy" at Sound and Vision in San Francisco in January 1989. It was released in May.
And then it was over. The day after the record release party for "Energy", OpIvy played their legendary last show at Gilman. After two years, and 185 shows, including their infamous laundromat show, and their show in the middle of nowhere where one person turned up, Operation Ivy called it quits.
lint - guitar
matt - bass
dave - drums
jesse - vocals
07-13-2004, 06:32 PM
Legends of Psychobilly
(taken from http://www.thequakes.com, written by Paul Roman)
Basically The Quakes started in the fall of 1986.I was back from my second unsuccessful trip to London to try to start a band. I called Rob Peltier who
saw Dave The Ace Hoy and myself playing at a party (we were the Quiffs.)
I told him my plan for world domination and we started playing.We needed
a drummer and we were reluctant to use Dave because he was about four
years younger than me and this was going to be a ?serious? band.In the end,
we (thankfully) had him join us.
In the beginning we were playing modern rockabilly in the vein of our idols
the Stray-Rock and Pole- cats. We had huge quiffs and wore bright clothes
and make-up like our idols. The only problem was, we couldn?t play our
instruments very well and we didn?t come close to the sound we envisioned
in our heads. Undeterred, we went on but found it had to get gigs and be
noticed in our home of Buffalo,New York.
There was a big punk scene and we noticed that these kids liked our faster
stuff.We started getting harder and we ditched the pegs and bowling shirts for
combat boots and ripped jeans. Things started to happened for us locally.
We knew a little bit about the scene in Europe and sent demos to Nervous records.We got a negative but encouraging response.We decided we were
going to pull a ?Stray cats? and sell all our stuff and move to London.
We arrived in the fall of 1987.We contacted Nervous records and as luck would
have it, Roy Williams told us that The Rattlers had canceled out of a psycho
fest in Belgium and we could have the spot. We were blown away by the scene.
There was about 4000 psychos from all over Europe in Weize, Belgium and that
was our first European gig. we were out of tune and we had arrived late
(long story#1) but it seemed to go down good.
Upon returning to England, we were stopped at the boarder and they deported
us because we didn?t have work permits (long story#2.)We returned (we were deported!) and didn?t know what to do next so we booked some local shows.
It was hard being back so soon after we basically told everyone that
?this town sucks and were moving to London.? Our ship came in when we got an offer to do a tour of Belgium and Germany supporting the Coffin Nails.
During the time leading up to our tour, Rob quit the band (?) so enter
Chris Van Cleve who I went to school with and who had played drums in an
earlier band the Quiffs.We put Chris on drums and Dave switched to bass
(note; all of the Quakes play slap bass!)We went over and did the tour but it
wasn?t the same because we had a short time to break in this new line up.
When the tour was over Dave and I stayed in Europe and convinced Rob to
re join as Nervous records was interested in doing a record. When Rob arrived
in London we only had a week to rehearse before the recordingand we weren't really ready in hindsight.We were living in a squat in east London surviving on peanut butter and jelly and spagetti.We started playing around London and it
was during this time that we made our debut at the Klubfoot on
June 5 1988.
The record came out and there were big plans for a tour of Europe (long story#3.)The tour never happened....we were literally waiting for the van to
pick us up and it never came.The whole thing is still a mystery as to what happened.....anyway we drove each other nuts living in that small flat
(it didn?t occur to us to get jobs!) The tour thing was the last straw for Dave
& Rob who were 17 and 19 years old at the time (I was 21),so they quit and
went back to Buffalo. I decided to stay and try to start a new band.
Upon his return to Buffalo,Dave the Ace was killed when he was struck by a
car while crossing a highway. The news was very sad for all of us and he is
I had a thing in London called Paul Roman and the Prowlers with Nick Peck on
bass from the Rattlers. We gigged around London and then we did a small fest in
Belgium. When we came back to the UK,I got stopped at the boarder again and again I was deported! (long-story #4.)
Plans were in the works for me to do a solo record and I had actually started recording before I got kicked out.When I got back to Buffalo, we put the ?band?
back together to do some shows before I could return to England (this time with a work permit.) This line up was Rob and I with Chris Van Cleve on rhythm guitar
and one of Robs old band mates on drums.
In London, I soon found that all my plans had fallen through with the record
label (which will remain unnamed.) So...there I was hanging out in London squatting with nothing to do. I ran into Ant Thomas from Demented Are Go in the laundry mat, turns out we lived in the same nieghborhood.Ant told me that Lex, the guitarist had quit the band and they had a bunch of gigs booked.
I filled in and did a bunch of gigs around England. It was a lot of fun but I had my
own thing and wanted to continue that.
I returned to Buffalo in the fall of 1989 and I got an apartment with Rob.We decided to put the Quakes back together. I think at first we had Chris on drums, he has been in and out of the band so many times its not funny. We then recruited Brian Doran who went to school with Rob, to play drums. We played at the first and second Big Rumbles (the good ones) in England and did some small tours before recording Voice of America in June of 1990. We did a lot of shows locally and around our area during this time.
We had a big fest coming up in Germany and a short tour to follow in the spring of 1991Shortly before departing, Brian said he couldn?t go ...Chris was back in the band!
Things started happening in the months that followed, we were contacted by
a Japanese company who wanted to bring us over for a tour based on our strong record sales. Planet records in Japan then contracted with us to do a live Cd from Tokyo. We had a great time in Japan and shortly thereafter we were contacted by Sony records in Japan and plans were made to do a new album
and a big tour.
New Generation was recorded in 1992 and released in the spring of 1993. We
did a 13 show tour of Japan and it was by far the pinnacle of our success. The album sold well in Japan and at that time we were trying to crossover into other markets.We were trying to be a little more melodic(by this time, we knew how to play our instruments!)but later in the year the album was licensed to Nervous and a lot of our European fans did not like it.
When we returned from Japan in the spring of 93...Chris quit the band again. During the next few years we had a series of drummers none of which are worth mentioning by name. We did festivals and local shows but we never did find a ?replacement? for Chris.
In 1995 we recorded our fourth studio album ?Quiff Rock.?We returned to our roots and stripped down the production.We played a few festivals but by this time the band was over. We couldn?t find the right drummer, I moved to Phoenix AZ and Rob joined the Irving Klaws.
Some time went by and we decided to continue the Quakes but in a limited way by playing at one or two festivals a year. We did a few and things were cool until Chris quit about ten days before a trip to Finland. We got Richie from The Nitros (who is a true professional) and did the gigs with about an hours worth of semi acoustic rehearsal. The shows were ok but they weren't our usual performance and we felt that we let the fans down. It might have been worse if we had canceled the shows on such short notice.
Chris was back in (ha! ha!) and we were back on our two show schedule a year later, then in the summer of 2000...Rob quit (I know these guys can?t stand me ha! ha!)Chris and I got Mark Burke from the Phantom Rockers to do the American rumble in New Jersey on Halloween weekend.
In January 2001 we started work on a new album which we recorded in Las Vegas with Mike Sak with whom we did New Generation and Quiff rock with.The album took seven months to finish because of the logistics and because we started our own record label and had to do everything ourselves (well worth it.)
Last of the human beings is the latest Cd by the Quakes and its on our new label Orrexx records.
In 2002 Chris? brother Jason started to play bass with us. We played several shows in Buffalo and went to Germany. In May of 2003, we headlined the American nightmare fest in Pamona ,CA. In July we played at the Calella fest
in Spain and then did a five show tour of Finland.
In December 2003, we played a gig in Buffalo with Rob Peltier on bass.This was Robs first gig with us in 3 years.Because of his schedule, Rob has been unable to play any other shows but we always ask him.
07-13-2004, 06:37 PM
(legends of psychobilly continued)
Formed at the end of 1995, Tiger Army played their first gig in March of the following year at the now-legendary 924 Gilman Street in Berkeley with AFI. Though troubled by difficulty in finding a permanent drummer, the band still managed to make a name for themselves gigging around the Bay Area, even playing a show with England's infamous psychobilly pioneers the Meteors.
In the summer of '96, the band entered the studio for the first time; from these sessions came both the material for their first release (a vinyl 45 issued in early 1997) and the demo that eventually made its way into the hands of Tim Armstrong. When Tim called Nick 13 to express his interest in having Tiger Army sign to his label Hellcat Records in the spring of '97, Nick was thrilled but had to explain that he had no lineup in the wake of the recent departure of the band's first stand-up bassist. Undeterred, Armstrong took a chance on Nick's songwriting ability and in January '99, Tiger Army entered the studio to begin work on their self-titled Hellcat debut. For the first album, Nick 13 took the producer's chair as well as vocal and guitar duties, enlisting the skills of Rob Peltier, bass slapper for seminal American psychobilly band the Quakes, as well as longtime friend Adam Carson of AFI on drums, who'd played many of the band's early gigs. With the schedules and geographical distance of the musicians involved, it was to be a studio-only lineup.
When the time came to promote the record Nick called Geoff Kresge, who'd been honing his stand-up bass skills since his departure from AFI. The two had been bandmates for almost two years in the early nineties in Nick's first band, Influence 13 (which also featured Jade Puget, now of AFI). The California mini-tour that they did to promote the release of the first album in late '99 with friend Joe Fish (ex-Fury 66, Creep Division) on drums led to Geoff joining the band as a permanent member a few months later. When hanging out with AFI on their tour with Danzig and the legendary horrorpunk/goth outfit Samhain, Nick 13 renewed his acquaintanceship with Samhain drummer London May, whom he'd met a few years previous. One copy of the Tiger Army cd later, plans were made to play together when Nick 13 moved to Southern California from the East Bay. Play they did and the lineup was complete. By the spring of 2000, Kresge and 13 had relocated from their respective homes to Los Angeles, the band's new home base.
Since that time, the new lineup has established a reputation for fiery live sets that hit as hard as the first record if not harder -- playing with such renowned bands as Social Distortion, X, the Polecats (with Boz Boorer), T.S.O.L., Nekromantix and AFI. The large and diverse following that has gathered around the band includes psychos, punks, greasers, skins, hardcore kids, goths and other nonconformists, and their loyalty has enabled them to headline their own sold-out shows at venues like Orange County's Galaxy Theatre and Hollywood's Troubadour
07-13-2004, 06:40 PM
Reverend Horton Heat
Jim Heath (aka The Rev): guitar, vocals
Jimbo Wallace: upright bass
Scott Churilla: drums
Undeniably, The Reverend Horton Heat, aka Jim Heath, is the biggest, baddest, grittiest, greasiest, greatest rocker that ever piled his hair up and pounded the drinks down. Without question, for all of his outlandish antics, blistering stage performances and legendary musical prowess, the one thing The Rev always gets asked about is the story behind his unusual and rather clerical moniker. ?Well, there used to be this guy who ran this place in Deep Ellum, Texas who used to call me Horton- my last name is Heath,? says The Rev. ?Anyway, this guy hired me and right before the show he goes, ?Your stage name should be Reverend Horton Heat! Your music is like gospel??and I thought it was pretty ridiculous. So I?m up there playing and after the first few songs, people are saying, ?Yeah, Reverend!? What?s really funny is that this guy gave up the bar business, and actually became a preacher! Now he comes to our shows and says, ?Jim, you really should drop this whole Reverend thing.??
It?s been an almost 20-year journey for Heath, whose country-flavored punkabilly and onstage antics have brought him and his band a strikingly diverse fan base and a devoted cult following, not to mention the respect of fellow musicians worldwide. Revival, the band?s first release for Yep Roc Records, is a return to Heath?s roots - musical and geographical.
The album was recorded at Last Beat Studio in the Deep Ellum area of Dallas, just a block from where The Rev played his first gig and next door to where the group currently rehearses. Along with eating a lot of world-class Mexican food and BBQ, the band recorded the album?s 15 tracks with a minimum of overdubs, bells and whistles. With tour manager/engineer Dave Allen at the board, they wanted an album they could duplicate live.
?I got this lick called the ?hurricane,? and I call back on the hurricane on this album for the sake of keeping things really rockin,?? he says. (The ?hurricane? is a trademark lick where The Rev plays lead and rhythm guitar simultaneously to give the trio its full live sound.) He?s also got a top-secret lick he?ll introduce on this disc. It?s so top secret that he won?t even divulge the name, but listen up for it! Lyrically, the album?s themes run ?from death to silliness,? says The Rev, who lost his mother earlier this year. ?I?d been going through so much stuff, losing my mom so quickly, new baby, touring, getting back and having to work,? he says of making the album. Revival finds the Rev dealing with these issues and more: The track ?Someone in Heaven? is written for his mother, while ?Indigo Friends? deals with a friend?s heroin addiction. But the album?s themes aren?t only dark and/or serious: ?Calling in Twisted? is about calling in sick to work and ?using the fake cough,? ?Rumble Strip? is a truck drivin? song and ?If it Ain?t got Rhythm? ? ?that?s a really fun one to play,? says the Rev ? is classic RHH. And ?Party Mad? is pretty self-explanatory.
Reunited with legendary producer/engineer Ed Stasium, who mixed the album, Revival is a 40-plus minute slab of rockabilly, blues, R&B that shows an artist ? and a band ? in their prime. It?s true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering ****-Starters, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can?t be wrong) among them.
?I think it?s cool we?ve lasted this long,? says The Rev. ?People still come out to see us play after all these years and all the shows and tours. It?s amazing. I mean, I get to sing songs about cars I love, drinking and chasing girls. Beats the hell out of the alternative.?
Reverend Horton Heat Timeline:
Late ?80s-1990: The trio sets many a Texas roadhouse aflame with its hellacious, unholy marriage of Dick Dale, Carl Perkins, Screamin? Jay Hawkins, the Cramps, and Gretsch theatrics. Talent scouts across the nation take note of the band?s country-stained punkabilly; Sub Pop?s irrefutable tag-team of Poneman and Pavitt wins the stakes.
1991-93: Sub Pop releases a pair of psychobilly (and non-Nirvana) touchstones: Smoke ?Em If You Got ?Em and The Full-Custom Gospel Sounds Of The Reverend Horton Heat introduce the band to a nationwide audience of gutterpunks, skatekids, metalheads, rockabilly scenesters, guitar geeks, and recovering Guns ?N? Roses fans. The band?s cult reaches epic proportions in the underground, while it?s cred-level reading rattles the upper reaches of the ever-finicky Indie-Cool Meter.
1994-97: The band hits the big leagues by inking a deal with Interscope Records. Their ensuing debut for the major label - a joint release with Sub Pop semi-subtly titled Liquor In The Front ? found the band in the studio with Ministry?s Al Jorganson. A breakthrough for the band, it found RHH exploring their darker, more aggressive sonic tendencies. The title track of the Rev?s follow-up effort, It?s Martini Time, becomes a minor hit single, and one reviewer likens the band?s bone-jolting live show to ?putting on a stainless steel suit and running full bore into an electric fence.? In other news, original drummer Patrick ?Taz? Bentley retires from Revdom; the Taz is replaced by Indiana Camaro fetishist Scott ?Chernobyl? Churilla shortly thereafter. The Rev himself takes a role in the indie film Love And A .45, while the whole band appears on The Drew Carey Show.
1998-2001: The band releases their final Interscope effort, Space Heater, before succumbing to the inevitable best-of treatment on Sub Pop?s Holy Roller. The retrospective collects many of the band?s finest recorded moments from the previous century, while also tracing a dividing line in the millennial sand of the band?s career. Spend A Night In The Box finds the trio speaking in a country/boogie/swing tongue with remarkable fluency - all without some overwrought horn section, no less. The band?s cred rating, meanwhile, remains remarkably lofty.
2002-2004: The band release their first and final record on Artemis, Lucky 7, a record widely acknowledged as the Rev?s edgiest effort in years. There are car tunes (?Like A Rocket,? ?Reverend Horton Heat?s Big Blue Car,? ?Galaxy 500?), party tunes (?Loco Gringos Like A Party?), devastating tales of rejection (?Ain?t Gonna Happen?), inspirational messages from the pulpit (?Sermon On The Jimbo?), instrumentals (?Show Pony,? ?Duel At The Two O? Clock Bell?) and even a song that finds the Rev delivering poignant portraits of loyal friendship (?You?ve Got A Friend In Jimbo?). The band leaves Artemis and is signed by Yep Roc Records in 2003, releasing Revival in June 2004.
07-13-2004, 10:33 PM
Legends of Hardcore
(taken from http://www.vh1.com)
In many ways, Black Flag were the definitive Los Angeles hardcore punk band. Although their music flirted with heavy metal and experimental noise and jazz more than that of most hardcore bands, they defined the image and the aesthetic. Through their ceaseless touring, the band cultivated the American underground punk scene; every year, Black Flag played in every area of the U.S., influencing countless numbers of bands. Although their recording career was hampered by a draining lawsuit, which was followed by a seemingly endless stream of independently released records, the band was unquestionably one of the most influential American post-punk bands. A full decade and a half before the fusion of punk and metal became popular, Black Flag created a ferocious, edgy, and ironic amalgam of underground aesthetics and gut-pounding metal. Their lyrics alluded to social criticism and a political viewpoint, but it was all conveyed as seething, cynical angst, which was occasionally very funny. Furthermore, Black Flag demonstrated an affection for bohemia -- both in terms of musical experimentation and a fondness for poetry -- that reiterated the band's underground roots and prevented it from becoming nothing but a heavy metal group. And it didn't matter who was in the band -- throughout the years, the lineup changed numerous times -- because the Black Flag name and four-bar logo became punk institutions.
Black Flag was formed in 1977 by guitarist Greg Ginn, a graduate of UCLA. Ginn formed the band with bassist Chuck Dukowski; the pair soon added drummer Brian Migdol and vocalist Keith Morris. At the same time, Ginn and Dukowski formed an independent record label, SST, which released the band's first EP, Nervous Breakdown, in 1978. Morris and Migdol departed the following year -- Morris went on to form the Circle Jerks -- and they were respectively replaced with Chavo Pederast and Robo. By the release of 1980's Jealous Again, Black Flag had begun to tour the U.S. relentlessly, building up a small, but dedicated, following of fans. After the release of Jealous Again, Pederast left the group and was replaced by Dez Cadena. However, Cadena preferred to play guitar, and his transition to that instrument in 1981 gave the group a heavier sound; his replacement on vocals was Henry Rollins, a Washington, D.C., fan who jumped on-stage to sing with the band during a New York performance.
Early in 1981, Black Flag signed a record contract with Unicorn Records, a subsidiary of MCA. The band delivered their first full-length album, Damaged, to Unicorn; the label refused to release the record, citing the content of the music as too dangerous and vulgar. Undaunted, Ginn released the album on his own SST Records. Upon its release, the album received considerable critical acclaim. Soon after it appeared on the shelves, Unicorn sued Black Flag and SST over the release of Damaged. For the next two years, the band was prevented from using the name Black Flag or their logo on any records. During that time, the group continued to tour, and surreptitiously released Everything Went Black, a double-album retrospective that contained no mention of the band, although it listed the names of the members on the front cover. The dispute ended in 1983, when Unicorn went bankrupt and the rights to the Black Flag name and logo reverted back to the band (by this time, Cadena had left to form his own group).
As if to make up for lost time, Black Flag became impossibly prolific when it returned to recording in 1984. A new version of the group -- featuring Ginn on guitar and bass (the latter was credited to the pseudonym Dale Nixon), Rollins, and drummer Bill Stevenson -- recorded the albums My War and Family Man. After those two albums were recorded, the group added bassist Kira Roessler and cut Slip It In, its third official album of 1984. In addition to those three albums, Black Flag released the cassette-only Live '84 and the compilation The First Four Years in 1984, as well as reissuing Everything Went Black with all the proper credits restored. The group's touring and recording pace didn't slow in 1985; they released three records: Loose Nut, The Process of Weeding Out, and In My Head. By the end of the year, Anthony Martinez replaced Stevenson on drums.
After Black Flag released the live album Who's Got the 10½? in early 1986, Greg Ginn broke up the band. Ginn recorded two albums with the more experimental Gone, but he primarily concentrated on running SST Records, which had become one of the most important American independent labels of the era. By the time Black Flag broke up, SST had already released albums by such bands as Hüsker Dü, the Minutemen, Meat Puppets, and Sonic Youth. For most of the late '80s, Ginn retired from performing, choosing to operate SST Records instead; during this time, the label released the first recordings from bands like Soundgarden, Dinosaur Jr., and Screaming Trees. Ginn returned to music in 1993, releasing a solo album on his new record label, Cruz.
Following Black Flag's breakup, Henry Rollins formed the Rollins Band. For the rest of the '80s, he released music recorded with the Rollins Band on a variety of independent labels, as well as solo spoken-word recordings. In the early '90s, Rollins became one of the most recognizable figures of alternative music
07-13-2004, 10:38 PM
(taken from http://www.allmusic.com)
Minor Threat was the definitive Washington, D.C., hardcore punk band, setting the style for the straight-edge punk movement of the early '80s. Led by vocalist Ian MacKaye, the band was staunchly independent and fiercely sober. Through their songs, the group rejected drugs and alcohol, espoused anti-establishment politics, and led a call for self-awareness. Every song was fast, sharp, and lethal, often clocking in at just around a minute. Their speed and fury often hid their fairly catchy melodies, but the band's main function was to vent rage. Over the course of three years, Minor Threat released two EPs, one album, and several singles, all of which were quite popular in the American punk underground. Their records and concerts helped spawn straight-edge, an American punk lifestyle based on the group's intense, clean-living ideology. Following the disbandment of Minor Threat, MacKaye formed Fugazi, who became one of the more popular American indie rock bands of the late '80s and '90s.
The origins of Minor Threat lie in the Teen Idles, Ian MacKaye's first band. MacKaye formed the Teen Idles while he was attending Wilson High School in Washington, D.C., and after he graduated in 1980, he founded the Dischord record label with the intent of putting out his group's records through the label. Shortly after graduation, the Teen Idles had broken up and MacKaye had formed Minor Threat with former Idles drummer Jeff Nelson, former Government Issue bassist Brian Baker, and guitarist Lyle Preslar. By the end of the year, Minor Threat had released the singles "Minor Threat" and "Straight Edge," and had played many concerts along the East Coast. Throughout 1981, they followed this same pattern, playing a lot of concerts and releasing 7" singles. That year, they also released two EPs, Minor Threat and In My Eyes, both of which compiled their singles.
In 1982, bassist Baker had left and was replaced by Steve Hansen; Baker later played with the Meatmen, Junkyard, and Dag Nasty. With Hansen on board, the group recorded their only full-length album, Out of Step. Upon its 1983 release, the album became popular within the underground and Minor Threat were becoming alternative stars, which didn't sit well with MacKaye. By the end of the year, he broke up the band. MacKaye and Nelson continued to run Dischord, which thrived well into the '90s. The pair also played together in another band, Egg Hunt. Following the disbandment of Egg Hunt, Nelson played with a variety of bands ? including Three and Senator Flux ? before devoting his energies to running Dischord. MacKaye played with Embrace, Skewbald, and Pailhead before forming Fugazi, who carried on the aesthetic, if not the sound, of Minor Threat.
07-13-2004, 10:40 PM
(taken from www.allmusic.com )
By melding punk with reggae, Bad Brains became one of the definitive American hardcore punk groups of the early '80s. Although the group released only a handful of records during its peak, including the legendary cassette-only debut, Bad Brains, they developed a dedicated following, many of whom would later form their own hardcore and alternative bands. As for Bad Brains themselves, they continued to record and tour in varying lineups led by guitarist Dr. Know into the late '90s yet never managed to break out of their cult status.
Dr. Know (born Gary Miller), a former jazz fusion guitarist, formed Bad Brains in 1979, inspired by both the amateurish rage of the Sex Pistols and the political reggae of Bob Marley. Realizing that the lines between punk and reggae were already blurred in the U.K., he set out to replicate that situation in the U.S., and he recruited several similarly minded musicians ? vocalist H.R. (born Paul D. Hudson), bassist Darryl Aaron Jenifer, and drummer Earl Hudson ? to prove his point. Bad Brains quickly became one of the most popular punk bands on the East Coast, particularly in their hometown of Washington, D.C. Their live performances were legendary, but their recordings were difficult to find. Their debut single, "Pay to Cum," was pressed in limited numbers, and their 1982 debut album was only issued in cassette form by ROIR. In addition to the Bad Brains tape, the group released a handful of other EPs in 1982, finally moving to PVC for 1983's full-length debut, Rock for Light, which was produced by Ric Ocasek.
The handful of indie recordings Bad Brains left behind, as well as their live shows, made the band legendary in American hardcore, yet few potential fans could actually hear the band due to poor distribution and erratic touring. The band took three years to deliver the follow-up to Rock for Light, finally releasing I Against I on SST in 1986. In those three years, the group developed more heavy metal leanings, and the resulting record received mixed reviews. More importantly, it divided the band, with Dr. Know and Jenifer wishing to continue to pursue heavy rock, and H.R. and Hudson wanting to devote themselves to reggae. Over the next three years, the latter pair frequently left the band to make reggae albums before finally departing in 1989. They were replaced by Israel Joseph-I (born Dexter Pinto) and Mackie Jayson, respectively.
In the wake of the alternative rock boom of the early '90s, Bad Brains were finally offered a major-label contract in 1993, releasing Rise on Epic later that year. The album bombed and the group was dropped. Maverick Records offered the group a contract in 1995, provided that the original lineup reunited. They did so and released God of Love that summer, to mixed reviews and poor sales. H.R. and Hudson left the band shortly after the album's release, and the band was dropped by Maverick. In 1998 the band again reunited and began touring under the name Soul Brains.
07-13-2004, 11:08 PM
Lucky-Political Not Check
dkpinhead- Misc. Check
BadReligion-Pop-Punk Not Check
your's truly-Oi Check
damn-right-'77 Not Check
sargasm-Ska Not Check
Monty if you wanna do Folk be my guest. And am I gonna have to assign new people to the genres not done yet?
07-14-2004, 04:05 PM
Legends Of Pop-Punk
The Buzzco<e>cks were formed in 1976, in Manchester, England. The band was made up of Pete Shelley (guitar, vocals), Steve Diggle (guitar), Howard Devoto (vocals), Steve Garvey (bass), and John Maher (drums). They were Britain?s first real pop-punk band. The Buzzco<e>cks were heavily influenced by the Sex Pistols, but they did not have the same political minded style as them. They instead played songs about more immature things, like life, love, and masturbation, to name a few. They didn?t really want to make a difference with their music; they just wanted to entertain, and entertain they did. With upbeat and melodic music, they became one of the most famous pop-punk bands to date.
In July of 1976, the Buzzc<e>ocks played their first ever gig at ?Lesser Free Trade Hall? opening for their idols, the Sex Pistols. In December of that year, they recorded their first EP, ?Spiral Scratch? with money that Shelley had borrowed from his father. The album was released DIY, and then was later released on their own label, ?New Hormones?. Shortly after the release of this album, Devoto left the band to go back to school. Shelley then took over the role of lead vocals. In 1977, they were sought after by major label United Artists Records. They signed to them in June and released their debut single, ?Orgasm Addict?. This wasn?t publicly accepted because of its subject matter, but it was a hit in the punk community. Their second single, ?What Do I Get?? actually made it to the British charts. In March of 1978, they released their first full-length album, ?Another Music in a Different Kitchen?. Later on that year, they released their second album, ?Love Bites?.
In the next 3 years, they released a few more albums and toured quite a bit. Unfortunately, their label, UAR, was bought out by EMI, who then cut back on support to the Buzzco<e>cks. The band was in the middle of recording their 4th album, EMI refused to put it out, and instead wanted to re-release their singles collection to the UK. This conflict caused Pete Shelley to decide to split the band up instead of fighting their label. In 1989, The Buzzco<e>cks reformed to release an album and tour. This move became permanent and the band currently continues to tour and release albums to this date.
Recommended Listening: Orgasm Addict; What Do I Get?; Boredom
07-14-2004, 04:07 PM
The Descendents formed in 1979, in Los Angeles, California. They consisted of vocalist/guitarist Frank Navetta, vocalist/bassist Tony Lombardo and drummer Bill Stevenson. They played the same pop-punk style of music as the Buzzco<e>cks, which is a reason they toured with them. They released their first single, ?Ride The Wild? and soon after that, were completely unheard of. In 1981, they resurfaced from 2 years of obscurity to show a new addition to the band. A lead vocalist by the name of Milo Auckerman. Milo was a notable person within the local hardcore scene. He was the driving force behind the Descendents, writing the majority of their songs. In the midst of a packed touring schedule, the managed to record their first EP, entitled ?Fat?. This had all the immaturity in the lyrics that pop-punk needed, along with the touch of teen-angst that was apparent in the song ?My Dad Sucks?. This was the start of what would become one of the most famous pop-punk bands of all time. The very next year, 1982, The Descendents released what would end up being their most recognized (and in most opinions, best) album. This, their first LP, was entitled ?Milo Goes To College?. This pop-punk packed album was full of immaturity, teen-angst, girls, and foolishness ? the epitome of what a pop-punk record should be. The title of the album wasn?t just a name, though. Milo Auckerman was actually heading to college to study biochemistry. Bill also left to drum in the classic band, Black Flag. This caused this pop-punk quartette to be on hiatus.
The band reformed in 1985 when Milo and Bill returned. They also had a new bassist, Karl Alvarez, and guitarist, Steve Egerton. The then recorded the LP, ?I Don?t Wanna Grow Up?. They did a lot of touring after this release and released an EP along the way. In 1987, they released the album ?ALL?. Once this record was put out, Milo left the band again to pursue further education. The 3 remaining members were not The Descendents without Milo, so they called upon ex Dag Nasty vocalist, Dave Smalley, and created the band, ALL. ALL started playing in 1988 and continue on strong today. The Descendents re-formed yet again in 1996, when Milo hung up his lab coat to be a Descendent again. They released ?Everything Sucks? and were back on track. They released a few more records later on as the band split time between Milo and The Descendents, and Dave and Dag Nasty. Both bands are going strong today, and The Descendents recently released a new LP, ?Cool To Be You?.
Recommended Listening: Kubuki Girl; Hope; Bikage; I Don?t Wanna Grow Up
07-19-2004, 01:15 AM
legends of Ska
Recommended Listenings: Ska Ska Ska, Mood for Ska, Third Man Ska, Skalifornia, Big Trombone.
The Skatalites are known as the first Ska band, and are responsible for spreading Ska to the masses, and gaining it it?s reputation as the first truly Jamaican style of music. In 1964, The Skatalites recorded their first album, Ska Authentic. They worked with various big names in Ska, including Ska?s creator, Prince Buster. Their collaborations with other groups are responsible for the successes of many big names, such as Bob Marley, And Desmond Dekker. By fall of 64, their song ?Man In The Street? was among the top 10 in the UK charts. The trombone player, Don Drummond, composed most of their songs at the time. In 1965, Drummond was arrested for murder. The original Skatalites broke up in 1965, but after only a short career, they had brought Ska to the Jamaican masses, and even gained it some popularity overseas. In 1983, They reunited, and played numerous shows in Jamaica. Eventually, they started playing shows in America as well. The Skatalites are still playing shows today, (although they aren?t currently on any major tour, and shows are rare) and their lineup still features 4 original members.
07-19-2004, 01:16 AM
Legends of Ska
The Specials and 2-Tone Records:
Recommended Listenings: Too hot, Pressure drop, A message to you rudi, Rude boys out of Jail, racist friend, simmer down
After disappearing after the 60?s, Ska experienced a second wind during the 80?s. This revival can be credited to Ska legends, The Specials. The Specials (originally known as the Automatics) formed in 1977, and played a mixture of reggae and Punk rock. In 1978, They got an opening spot on a Clash tour. Joe Strummer was quite fond of the group (this may partially account for the clash?s later reggae-influenced material.) After various name changes (the automatics -> the Coventry Automatics -> The Special AKA The Coventry Automatics) they eventually decided on ?The Special AKA.? The Clash?s Rowdy Punk Audience did not share Strummer?s appreciation for the band. They often expressed this by spitting and throwing things at the group. After the tour, they started adding Ska to their sound. They needed an image to go along with their sound, and choose a look influenced by Paul Simenon (Clash Bassist), Mods, and Rude Boys. They wore sharp Black suits, and Black Pork Pie Hats. To this day, this is the look most commonly associated with Ska. When Jerry Dammers created 2-Tone Records, The Specials started releasing albums under that label. After working with producer Elvis Costello, They started touring, and finally gained some success. In 1980, Jerry Dammers and vocalist Terry Hall were arrested when the police mistook their attempts to stop fights in the crowd as trying to provoke the crowd. During this time, the group was constantly arguing amongst themselves, and in 1981, some members including Terry Hall left the band. Many ex-Specials worked on solo projects, while the remaining members continued to tour with other groups, eventually joining up with The Beat and becoming ?The Special Beat.? In 1994, Original members Lynval, Neville, Horace and Roddy re-started the specials, and released an album called ?today?s Specials.? After two albums and relentless touring, they finally disbanded in 1998. Today, many ex-members are still touring and releasing albums with various projects.
2-Tone Records was started by The Specials? Keyboardist, Jerry Dammers. Their famous logo was known as Walt Jabsco, a drawing of a man in a black suit, Influenced by Reggae Legend Peter Tosh. They signed various now-prominent Ska Groups such as The Selceter, The Madness, and The Beat. The 1980?s became known as the ?2-Tone Era? for Ska.
Peter Tosh / Walt Jabsco
07-26-2004, 01:30 AM
(Taken from allmusic.com)
If history is kind to Fugazi, their records won't be overshadowed by their reputation and methods of operation. Instead of being known for their community activism, five-dollar shows, ten-dollar CDs, resistance to mainstream outlets, and the laughably fictitious folklore surrounding their lifestyle, they will instead be identified as setting a high bar for artistic excellence that is frequently aimed for but seldom achieved with great frequency. During their existence, the four-piece created some of the most intelligent, invigorating, and undeniably musical post-hardcore rock & roll. Along with their stridently underground ethics ? which were more out of pragmatism and modesty than anything else ? they gained an extremely loyal and numerous global following. To many, Fugazi meant as much to them as Bob Dylan did to their parents. Somewhat better to look at, perhaps, and certainly more accessible, but just as commanding of attention and adoration. More than anything, Fugazi inspired; they showed that art can prevail over commerce.
Drummer Brendan Canty, bassist Joe Lally, and guitarists/vocalists Ian MacKaye, and Guy Picciotto formed Fugazi in 1987. Initially a trio, Picciotto was added to the lineup after the band's first live shows. Prior to forming, the members already had deep pedigrees in the D.C. punk scene. Dischord labelhead MacKaye, who had previously been in the Teen Idles and Minor Threat, had just come from Embrace. For better or worse, Embrace, along with Picciotto and Canty's better Rites of Spring, kick-started the emocore sub-genre that would rise to prominence ten years later.
After further honing their cathartic live act and expanding their material, their first EP (Fugazi) was released in late 1988. More of an extension of Rites of Spring's thick, dynamic, varied-tempo soul-bearing than anything else, the EP featured "Suggestion," which would become the band's most well-known song. Though the course of rock history shows that loud music created by angry men tends to be of a predatory nature, "Suggestion" was an anomaly. MacKaye spoke from the female point of view, railing with frustration at how their sex is objectified. Not hampering the song's status as one of the most recognized chunks of late-'80s post-hardcore was its catchy, vaguely reggae-influenced rhythms and searing guitars.
The similarly veined Margin Walker EP followed the next year and was later coupled with Fugazi on CD as 13 Songs. Though suffering slightly from lyrical shortcomings (MacKaye and Picciotto grandstand too much), 1990's full-length debut Repeater is generally regarded as a classic. Toughening and refining the band's shockingly propulsive lockstep dynamics (see "Repeater" and "Styrofoam"), it still left several critics and a few fans wondering if the band was becoming a one-trick pony. A year later, the cynics were proven wrong with Steady Diet of Nothing, clearly the band's most challenging material to date. Branching out lyrically and limiting the finger pointing, Steady Diet also varied from its predecessors with more imaginative arrangements and less visceral qualities. Two years passed until In on the Killtaker, the band's most abrasively black-and-white record. With scabous guitars and extended stretches of discordance, some of the songs were among the band's most aggressive and angular.
Since the band didn't do interviews with major publications, some journalists were left to improvise and opted to take creative license. The rumor mill amongst the fan base was equally imaginative. In fact, some concertgoers might have been surprised to see the band pull up to venues in a van, not arriving by a convoy of camels. Those who spoke with bandmembers were surprised to hear that they lived in houses ? not monasteries ? with running furnaces and that their diets weren't strictly rice-based. Worse yet, the band gained a reputation for not having a sense of humor. Their records never kicked out the yucks (they weren't Ween, after all), but this was probably the most unwarranted myth of all. Those who were resourceful enough to find interviews with the band in small fanzines might have been shocked to read that MacKaye was influence by Ted Nugent as much as Jimi Hendrix. Now that takes a sense of humor...
I cut off the last bit but you get the point. Their music is incredibly powerful. If you like music, you HAVE to check this band out. You will be amazed.
09-30-2004, 07:41 AM
Originally posted by madfingers
Anyone who wrote an article, save it, I'm gonna delete this thread in a few days and make another. Hopefully it'll work this time.
No need for that.
Spam deleted. Just let me know what else needs to be deleted from here, and you can carry on :cheers:
09-30-2004, 02:52 PM
Ok, thanks Lazy. Unfortunately for the sake of neatness and organization I'm gonna ask if Dylan(insert numbers) and iwannabeyourdog's posts are deleted. Guys, not that the article were bad, but genres were assigned, but if you want to do '77 or political go ahead.
10-01-2004, 05:08 PM
I decided that I don't have time to write an article, so I stole one..
Legends of Political Punk Crass
The brittlest and most hard-line radical of the first wave of British punk bands, Crass issued a blitz of records that were ruthless in both their unrelenting sociopolitical screeds and their amelodic crash of noise. The horrors of war, the arbitrary nature of legal justice, sexism, media imagery, organized religion, the flaws of the punk movement itself ? all were subjected to harsh critique. Like few other rock bands before or since, Crass took rock-as-agent-of-social-and-political-change seriously, and not just in their music. In addition to putting out their own fiercely independent records (though the majors were certainly not knocking at their door), they also formed an anarchist commune that worked with other artists and labels, and on the behalf of various political causes. But they were also afflicted by considerable tension between the medium and its message ? not more than a few thousand people were exposed to Crass' very broad social concerns, and their musical inflexibility guaranteed that the band would be preaching to the converted almost exclusively.
In keeping with early punk ethos, Crass assumed obviously fake stage names. The membership changed a bit over the years, but the group's mainstays were vocalists Steve Ignorant, Eve Libertine, and Joy de Vivre. Drummer Penny Rimbaud and G. Sus, who did tape collages and provided the distinctively bleak black and white artwork on the fold-out posters that usually enclosed their LPs, were also important contributors. Their late-'70s recordings may sound like just so much hardcore punk decades later. But at the time they were indeed shocking assaults of noisy guitars and relentless drumming, backed by throaty, angry rants that were made incomprehensible to many ears by the heavy British accents and the sheer speed of delivery.
They were the definitive uncompromising punk band, which guaranteed them a cult following of very disaffected youth, and also ensured that they would never come remotely close to mainstream exposure, or even to many new wave playlists. An undiluted lyrical message was far more important to Crass than commercial considerations, and until 1984 they cranked out anarchist-leaning recordings without much variation in their attack. Occasional experimental cuts were promising variations on their format, particularly when they branched into tape collage, or spoken poetry. Those were largely the exception rather than the rule, though Crass weren't without the occasional moment of humor.
Crass always intended to disband in 1984, and true to their ideals as always, they did exactly that when that year came around. Even for those with no taste for the band's brand of confrontational punk, they deserve recognition as one of the relatively few acts in the music who attempted to live their values, and not just sing about them.
(Article taken from allmusic.com)
12-23-2004, 01:21 PM
Legends of Punk:
taken from (http://www.theboys.co.uk/)
Casino Steel had been in the influential Hollywood Brats who formed in London in 1972 around the songwriting partnership of Steel (keyboards) and Andrew Matheson (vocals). Similar in style and looks to the New York Dolls they were born out of disgust and aimed to shock. They were originally called The Queen until they had an altercation at the Marquee with Freddie Mercury?s Queen, forcing them to change their name to the Hollywood Brats. They played regular gigs in London building up a small band of followers, which included Keith Moon of The Who. Their debut album ?Grown Up Wrong? was initially only released in Scandinavia in 1974 after the Brats had broken up.
Following the demise of the Brats Steel met up with Matt Dangerfield, who had converted the basement of his flat in into a recording studio and which became extremely important in the development of the UK punk scene.
Mick Jones, Tony James, Bryan James, Rat Scabies, Gene October and Billy Idol amongst others were regular visitors. The Damned, The Clash, Generation X and the Sex Pistols made their first recordings in Dangerfield?s studio.
Out of these jamming sessions legendary UK punk band London SS were formed and boasted a line-up which included Dangerfield, Steel, Mick Jones and Tony James and others. Geir Waade, came up with the name ? the SS meaning Social Security not Nazi SS. Dangerfield left the London SS to join up with Steel, Andrew Matheson (vocals) and Wayne Manor (bass), all from the Hollywood Brats along with Geir Waade (drums), an old friend of Steel?s from Norway. Honest John Plain, who had been at art school in Leeds with Dangerfield, later joined the line-up.
After several rehearsals Matheson, Manor and Waade left. Plain worked as a foreman in a T-shirt factory with two young musicians who had been at school together. Duncan ?Kid? Reid and Jack Black joined in June 1976 on bass and drums respectively. Numerous vocalists were auditioned before it was decided that the vocal duties would be shared between Dangerfield and Reid. With the backbone of some classy Steel/Dangerfield originals, The Boys were about to unleash themselves on the unsuspecting music world. They played their first gig at the Hope and Anchor Pub in Islington in September 1976. Mick Jones, Billy Idol, Tony James and Gene October were all present and the pub was packed for The Boys debut performance. Further gigs followed at The Brecknock, Kensington and Rochester Castle before they supported Bebe Ruth at Dingwells and some men from NEMS Records came along to see what all the fuss was about.
On 16 January 1977 The Boys naively signed a five-year deal with NEMS and became the first UK punk band to sign an album deal (The Damned had a one-single deal with Stiff and the Sex Pistols had been sacked by EMI). Although Polydor, a major label, offered to buy out their contract NEMS wouldn?t allow it so The Boys were left to make the best of NEMS? limitations.
The Boys recorded their first single ?I Don?t Care? c/w ?Soda Pressing? on 3 February To coincide with the release of their first single The Boys embarked on a national tour supporting ex Velvet Underground legend John Cale.
On 5/6 May 1977 they laid down 16-tracks for their debut album. Unfortunately due to NEMS? incompetence it wasn?t available in the shops until 9 September by which time a couple of other punk bands had released their first albums thus wrestling the initiative away from The Boys.
Their second single, an edited version of Plain?s classic punk anthem ?First Time? was released on 30 July 1977 to great critical acclaim achieving ?Single Of The Week? in Sounds. It received considerable airplay on John Peel?s radio programme and he was so impressed by The Boys that he invited them to record a live session for his show, broadcast on 8 August.
?First Time? had climbed to No.77 in the UK charts but then on 16 August 1977 the rock?n?roll world was shook by the news of Elvis Presley?s death. This had dire consequences for The Boys as NEMS were distributed by RCA who switched all their efforts and resources into keeping up the huge posthumous demand for Elvis? records. The Boys saw both their debut self titled album (which peaked at No.50) and ?First Time? quickly slip out of the charts as no one could buy them! Despite the setbacks The Boys began to build on their growing UK fan base with a substantial following in Europe where their Beatles influenced power-punk songs and energetic live performances were going down a storm.
Every Christmas The Boys rearranged the ?B? and the ?Y? and became The Yobs releasing a Christmas offering.
The Boys went to Rockfield Studios in Wales on 27 November to record their second, self produced album, and on 10 February 1978 they released arguably their finest single ?Brickfield Nights?, without doubt Dangerfield?s finest moment as a vocalist. Their second album ?Alternative Chartbusters? followed a month later on 17 March and was, as the title suggests, crammed with potential hit singles.
Unfortunately NEMS failed to get the album out in time for the tour set up to promote it! The album failed to chart. Nevertheless John Peel invited them back to the BBC where they recorded their second Radio Session on 2 May.
They returned to Rockfield Studios in the late summer of 1978 to record their third album, provisionally titled ?Junk?. They laid down over 15 tracks in the week they were in the recording studio but NEMS refused to pay the bill and so Rockfield, understandably, refused to relinquish the master tapes! Fortunately Dangerfield had saved many of the monitor mixes, which were to finally to see the light of day many years later (on ?Odds And Sods? and ?Punk Rock Rarities?). By this time The Boys had had enough of NEMS and decided drastic action was required to free them from their recording contract. So confident were they in their music and their ability to bounce back that they literally went on strike until NEMS agreed to release them.
After an 18-month absence The Boys were back, this time with Safari Records and with a new album recorded in Trondheim, Norway. ?To Hell With The Boys? came out on 27 November 1979.
The Boys appeared live on the Old Grey Whistle Test on 8 January 1980 before securing a support slot on the Ramones national UK tour.
?Terminal Love? followed on 7 February mid tour. At the end of the tour they recorded a third Radio Session for the BBC as well as a BBC In Concert, which was broadcast on 13 February 1980.
The old Stones song ?You?d Better Move On? was finally chosen as their next single before Steel left the band and returned to Norway. The Boys then embarked on a French tour, their first without Steel and flew to Germany mid tour on 22 May 1980 to perform ?You?d Better Move On? on German music show Musik Laden.
On 17 October 1980 The Boys released their penultimate single ?Weekend? which became a Peter Powell Radio 1 record of the week, with the video even being shown on ?Noel Edmonds Multi Coloured Swapshop?. Despite some radio airplay the single once again failed to chart. On 30 January 1981 their final album ?Boys Only? and final single ?Let It Rain? were both released, unfortunately not to the same critical acclaim as their previous material. Following the commercial failure of ?Boys Only? Safari Records dropped the band and the band decided to call it a day. They did temporarily reform with various line-ups to undertake an Italian tour and two concerts in New York (with the Members). A Spanish tour which ended with gig in Ibiza Castle high above Ibiza town, proved to be their final gig for 17 years.
Although The Boys never achieved the commercial success they richly deserved, their music has refused to die. Campino, lead singer with highly-successful German punk band Die Toten Hosen and longtime fan, has championed their music for more than a decade, covering several songs and introducing new fans to The Boys? unique brand of music.
Many new bands began discovering The Boys for the first time and in 1998 Michelle Gun Elephant had a massive hit in Japan covering ?Soda Pressing? and ?Sick On You?. This prompted the re-release of several Boys albums during 1999 including ?The Peel Sessions? with encouraging international sales (more than 30,000 albums were sold in Japan alone). Vinyl Japan also released the first Boys tribute CD ?Satisfaction Guaranteed? which featured 13 bands from around the world. A second tribute album ?You Wanna Know What It?s Like?? featuring 21 international bands has been compiled in Italy and is due for release shortly.
The Boys were invited to play some dates in Japan and finally agreed to come out of retirement. Four of the original members along with Steve ?Vom? Ritchie (replacing Jack Black on drums) played two dates on 31 July and 1 August 1999. The Boys played at the Holidays in the Sun Festival in Bergara, Spain on 23 September 2000 with the same line up as Japan.
Drummer Jack Black made a guest appearance playing the drums on ?Kamikaze? and also filmed the gig. It was the first time in 20 years that the five original Boys had been reunited on stage.
Their first UK date in 20 years followed on 6 July 2001 at the Holidays In The Sun punk festival at Morecambe and The Boys were featured in BBC?s regional news programme ?North West Tonight?. Further offers followed and The Boys played their first-ever German gig in Dusseldorf on 21 December with TV Smith of the Adverts as one of the support acts.
In 2002 The Boys were invited by Die Toten Hosen to play at their end of tour "Grill Party" in Loreley, Germany. The Boys appeared in front of 5,000 fans on Friday 6 September and joined Die Toten Hosen on stage the following evening in front of 20,000 fans for a joint rendition of "First Time" and "Brickfield Nights".
12-24-2004, 05:41 PM
Sorry, i dunno if you can just post one that isn't done. if your not able to, just delete mine.
Legends Of Punk:
(taken from http://punkandoi.free.fr/adicts_biography.htm)
Starting out in 1977 as the AFTERBIRTHS, later in the year having their first gig in a scout hut in Aldeburgh, Suffolk, under the new name of PINZ. They soon had to change this as there was another band od the same name, thus the ADDICTS were born. But yet again there was another clash of names, so this time they dropped one of the "d's" and simply bacame the ADICTS, a decision that caused them no end of spelling problems in the press etc, and being accused of being illiterate!
There only did a limited number of gigs over the following two years due a lack of venues in the area, but they still managed to build up a reasonabmy sized local following. Their first break came on August 18th 1979 with their first London gig at the Breakneck in camden. They look down a coachland of fans ensuring a sucessful night.
The Norwich-based Dining Out label, who were at the gig, signed themup for a one record deal. This produced 'Lunchtime With The Adicts', a 4-track ep in september of the same year. The line up at the time was Pete Davison(later Pee Dee) on guitar, Mel 'Spider' Ellis on guitar, Kid Davison(pete's younger brother) on drums, Tim Hocking on bass and K 'Monkey' Warren with the vocals(He was given this nickname due to the the fact that he had big ears). Overall the EP sold 10,000 copies and got them to number 2 in the independant charts(a limited amount came with a brown hand coloured sleeve and inner lyric sheet). John PEEL heard and liked them and set up a session. They recorded 4 tracks, Numbers, Get Adicted, Distortion and Sensitive at the Maida Vale studios which was broadcast on Nov. 11th, 1979. All seemed to be looking up for the band now, with the exception of Dining Out, who, despite all of the record sales, only paid out a total of £23 in respect of royalties!!
Obviously left a little bitter with their short contact with the business they set up their own label DWED Records derived from their surnames Davison, Warren, Ellis and Davison(Tim Hocking nw not in the band and Mel swithching over to play the bass) and managed by the two brother's father Geordie. They released their next record, their debut LP-"Songs Of Praise". They financed it all themselves with a bank loan, recorded and mixed it in just under 24 hours. The LP captured all of the sound that the ADICTS were about, hard-hitting, sing-along, memorable tunes. They also now had a look to go with it, as it was around this time that they adopted their new image, bowler hats, white clothes and black boots taken from Alex and his friends 'Clockwork Orange'. This seemed to contradict their musical and political outlook as a fun band against Orange's ultraviolence, but they claimed that they were fed up with bands ans fans in the punk scene all looking the same, with leather jackets, jeans and mohicans. The white clothes were a really striking and powerful image. one that was enhanced even further with monkey going totally overboard with his joker style look, white grease-painted face with black clownlike eye make up, a grin from ear to ear and a wardrobe full of bright, raggy and colourful clothes.
The LP received a five star review by Gary Bushell in Sounds and favourable reviews were commonplace. Within a matter of weeks they'd recovered all of their money from the loan and they were taken up by Fall Out Records, who had a far better distribution. They repressed the album, the only difference was the inner label and the front cover which was replaced with more professional writing and a photograph of Monkey rather the band's drawing of him.
The next release was in July 1982. Another 7" 'Viva La Revolution' backed with one of the daftest titles they ever came up with, 'Steamroller', which carried on with their tradition as a fun band. 1982 proved to be a productive year, with a change of labels(Razor), the release of their second LP 'Sound of Music', a more accomplished record on both production and musically and their first single on Razor in November, 'Chinese Takeaway', with the immortal chorus 'Hey, hey, I want Chinese takeaway; hey, hey, woo,woo, woo!!'
The following year gave them another break with an appareance on children's BBC as the Fun Adicts with their next single 'Bad Boy'. the temporary change of name came about because of the producers of Cheggers Plays Pop thought that the name Adicts came a little too close to drugs references and as the moral guardians of Britain's children the band had to compromise. Cries of "sell out" were now being thrown at the band because if this move, but it did actually gain them a lot of fans. They kept quiet for the rest of the year on vinyl, but gigged constantly throughout Britain and the States(taking over with them as supoort bands Sunderland's Toy Dolls and Darlington based Major Accident).
While over there in 1984 they signed a £180,000 contract with Warner/Sire Records. It was at this time that they changed their name yet again to ADX. Interviewed in 1986 they said "They tried to make us something else, we wouldn't bring out any of that music under the name Adicts, it was too embarrassing. So really we changed to ADX for them and ourselves, it was one big cock up, we made the mistake and all we can do is rectify it, we blew away two years of our lives." Under the name they released two singles 'Tokyo' which came in", 12" and limited edition 12" white vinyl and 'Falling In love Again'.
While love in America Razor(subsidiary of Sire) released their third LP 'Smart Alex' which was what was left over from Sire. This proved to be a disappointing LPturning the band into a joke band rather a fun band, the two being worlds apart. After they'd bought themselves off, they basically started from scratch again, releasing a compilation album at the end of 1985 'This is your life', back again on Fall Out, which included their now deleted debut single, their John Peel session and a couple of demos recorded as a single but never released in 1979. Slated by the press, but eagerly taken up by fans who had missed out on their early material. Their next release was back on their own DWED label(through Fall Out), a 4-track 12" 'Bar Room Bop'. In November 1985, an initial pressing of 3,000 was done, which unexpectedly sold out within weeks and a second pressing was immediatly ordered.
It was at this time that they expanded their line up for a while with keyboard player James who had been their roadie for some time. The band toured extensively in 1986 starting with a tour of Britain in Jan./Feb. then going on to Germany in March then to america again, but not really to any avail. Their next LP '5th Overture' was released in September 87' and then an official bootleg 3 months later 'Live and loud'.
After which the Adicts just seemed to disappear and then eventually split up. Whatever the case is now the adicts were more than just a punk band, they were true to their name and definately addictive!
vBulletin v3.0.9, Copyright ©2000-2016, Jelsoft Enterprises Ltd.