the PiPiettes (or the maleversion the PiPs) March 11, 2006 7:18 PM
are just 4 fun, no big discussion group, you get a membercard and then you can through in an line now and then if you feel like it, i dont think it gonna live for very long... but i hope PiP will, we're planning our debuteCD at this very moment...
sure we can trade later on when i get it all clear...
but what does "Jäpp" mean in English? I never heard that term, does it mean something like "cool"?
-Jäpp is like "sure thing"
Also:: did u go & chat with Arctic Monkeys after I wrote about them last nite,or have u known them b4??
-i knew of them before, we came in contact over the net when i was going to do an interview to my ModModWorldsite
sounds very cool that u talked to them, I really like their music!
-so do i, i havent heard their CD i got a couple of songs they sent out as demos before they had a contract
And like I said last nite:: You just GOTTA do a cover of that "day at the races" funny oldtime "original" punk song!!!!!!!!
-and i think we will... could be real fun... Groucho meets mod meets punk meets Punx In Parkas... a great idea... and its all thanx to ya and Celene... p.s. I've gotten a lot of my computer & cd music typed up as a list in document format so we can trade music... do u have one?? IF not, go ahead & type it up; if it's too much boring work, u can try tricks like taking screenshots instead of doing all the boring typing AND---you'll appreciate this probly more than any other music fan---I went to Epitonic.com & wikipedia & I copied-pasted paragraphs that tell who's in the bands & their background, influences as well as other folks they jammed with. ((People do the same thing on web sites, but I just did it my own low-budget way....)) I guess later I can copy it to the web on my livejournal page or something like that.HEY man----maybe we could do a forum/thread here on care2 where we do that with our songlists, ey?
- I am workin' on one just at the moment... but it's so much music, as soon as i get it readdy i'll send it over to ya...
but what does "Jäpp" mean in English? I never heard that term, does it mean something like "cool"?
Also:: did u go & chat with Arctic Monkeys after I wrote about them last nite, or have u known them b4??
sounds very cool that u talked to them, I really like their music!
And like I said last nite:: You just GOTTA do a cover of that "day at the races" funny oldtime "original" punk song!!!!!!!!
L8r, Rob =][= p.s. I've gotten a lot of my computer & cd music typed up as a list in document format so we can trade music... do u have one?? IF not, go ahead & type it up; if it's too much boring work, u can try tricks like taking screenshots instead of doing all the boring typing AND---you'll appreciate this probly more than any other music fan---I went to Epitonic.com & wikipedia & I copied-pasted paragraphs that tell who's in the bands & their background, influences as well as other folks they jammed with. ((People do the same thing on web sites, but I just did it my own low-budget way....)) I guess later I can copy it to the web on my livejournal page or something like that. HEY man----maybe we could do a forum/thread here on care2 where we do that with our songlists, ey?
swedish punk when its at its best... the MANSIC May 24, 2005 7:15 AM
Get Real! Mansic is a band that plays for the art of punkrock and punkrock is attitude. It's a wroar of anger, of revolution, a howl for change!!! Most of the members in Mansic have a history in the anarchy movement and the belief that every human can be free, thinking creatures are still lurking in our minds.
Biography Mansic started at the end 1999 as [sic] in a garage in a small town called Norrtälje just outside Stockholm. The brothers Nizze and Micke decided to do something with their wasted spare time. The band released their demo, the self financed, 8 track CD “Waking Up” and in 2001 they went on a Poland tour before they knew what hit them. All the members weren’t into it enough so after a short trip to Holland and a couple of gigs Nizze made some rearrangements and changed the name to Mansic.
In the beginning Mansic had problems finding members suited for the mix between punk and folkmusic. Marcas followed Nizze from an old project of his called Nepente, and he recommended Clabbe from the folkmusic band De Osaligas Kapell for the base. Mansic was started and the hunt for a drummer started.
In 2002 Mansic went on a European tour. They called in Janne on the drums and Nizze played one of the guitars. Janne made a good job behind the drums but he never became close enough to the band. After the tour they tried out Emil for drums. He recorded the CD-R release “Punkrock Paperdoll”. Also in the band at the moment was Pontus, whose influences leaned more toward death metal. After an Open Air festival in Thalheim, Germany, Emil got kicked from the band and Pontus friend Lalle was called in. It worked for a while but the metal sound of the band was too distinct. So Pontus and Lalle resigned. Nizze was checking his memory and now the final step toward Mansic today was done; at first Clabbe had to change his instrument from base to guitar. Micke from old [sic] was asked to join and so even Jocke from Nepente. After just a few rehearsals everything was set.
They recorded the CD “Everyday is a Tragedy”, released on the very small Swedish DIY label Bug Records and went out on the European Punkrock Show 2003 tour just as it was released. It was only a month between the start of the recording and the beginning of the tour. Many of the songs were written just a couple of weeks before the studio session.
In august 2003 Mansic were rewarded "Band of the month" from the Dutch radio show Punkhour.
The last quarter of 2003 was a turn point for Mansic who now are signed by the U.S label Digitone Records for one album. Digitone Records will also distribute "Everyday is a Tragedy".
The last december of 2004 Clabbe is taking a year off and El Norpo AKA Ove Sahlin is added to the line up as guitarist. Ove have been playing rock'n'roll in several constellations and wants to get back after some years in exil from the music.
Started up in the band "Kronrock" in Sundsvall. During the 80's the played in "Ål star blos bänd" together with Jonas from Leathernun and Steve McW. During the 90's he played covers from the dirty 70's together with Robban (Protectors & Bombi Bitt), Petri (Native in black) and Kenta (Rednex). And now... he is into some pure, dirty rock'n'rollpunk with Mansic.
HISTORY OF THE ANTI NOWHERE LEAGUE, BY ANIMAL - part 3 May 23, 2005 6:29 AM
On the road
On the road
Signed up with the German record label ‘Impact Records’ and released the ‘Pig Iron’ CD Although it was our first writing for many years it was too ‘metally’ for us it didn’t cut the mustard. I think Metallica’s influence had something to do with it but also it was co-written by the whole band and not by Magoo and myself as it was in the early days.
Magoo and I started to throw ideas at each other for the ‘Scum’ album and we took on Beef to give it some real bollocks.
Holidays in the Sun kicked off.
We were touring quite heavily to such places as the USA and Europe and we were enjoying it again, but Winston couldn’t handle it, the pressure was too much, he knew he had to leave. Jon Jon stepped in as part-time bass player. He had a act to follow but he did it with flying colours.
We recorded the ‘Scum Album’ for a few quid, we couldn’t afford a lot of time in the studio so the album suffered, but it did mean that Magoo and I was writing again and getting back into Punk..
We returned to Yugoslavia to record the‘Return to Yugoslavia’ album but it didn’t have the same appeal, the Germans wanted to do it anyway.
Took on new drummer Danny, who with Jon Jon performed some more real class League antics………… which will be in the book that I am writing, along side all other infamous League stories to include :-
Magoo and dusty bin
Winston and the rude awakenings
PJ and the girl with the ‘lully’ eye
The mystery of the New York flying dead cat
The southern black snack
Message in a bottle
And of course the famous Winston and Mr Whippy
Released ‘Out of Control’ album which were all early rough demos of songs thrown out before ‘We are the League’ its quite crappy but %#&!*%, ya have to start somewhere.
Magoo quit playing live, due to his motor cycle tour commitments, but he is still involved in the band.
JonJon, Beef and Danny stood down. PJ (the original drummer) got back behind the kit, along with Jez (lead guitar) and Shady on bass (original band members).
... and with the current line-up of Animal, PJ, Jez and Shady we are still playing a few shows around the world.
HISTORY OF THE ANTI NOWHERE LEAGUE, BY ANIMAL - part 2 May 23, 2005 6:28 AM
'Hardcore Storms America' Tour which was ANWL and UK Subs, it took us around the USA for about six weeks during which time we had been thrown off American Airlines (to cut a long funny story short) for touching up the air stewardess's, puking over fellow travelers and calling the captain an 'Old %#&!*%'(it was Charlie's fault) no sense of humour these yanks. The tour finished at the 'Peppermint Lounge' in New York which turned into a mass riot and we all ended up in the clap clinic.
We took on an extra guitarist, ‘Gilly’ as Magoo was getting far to drunk to be able to play properly, seeing as we were going to Yugoslavia to record a live album. That even ran into trouble. The authorities in Yugoslavia would not release the tapes because we had made a few comments about their recently deceased President Tito. So that was hacked out the tapes before they could go to press, then as it was being pressed the police came down on us again and made us beep out all offensive words, (including a few ‘when’s’, it’s and ands) by now we couldn’t even fart without getting arrested. This was all now getting very boring, what the %#&!*% do we do now?
PJ quit the band during an American tour because of drink and drug pressures, we were spiralling out of control and we had lost our musical direction. Punk had finished for the time being and Heavy Metal was boring. We moved into areas of self indulgent CRAP inspired by amphetamines and dope. We started work on the ‘Perfect Crime’ album.
We left our punk label and signed to GWR records, took on a new drummer ‘JB’ and recorded the ‘Perfect Crime’ album in the ICC Christian recording studios in Eastbourne ( I’ve been to Hastings and Brighton too) the album really did not get finished because when GWR heard the album in it’s rough cut and they refused to put any more money into it hence no professional producer and it was released in its rough cut to try and recoup some of the money they had invested. But I think we all realised it was a pile of %#&!*%.
I needed to get away from the rock business………….. I was sick of it all and the League disbanded.
Decided to do a one off farewell show in the Victoria Hall in our home town of ‘Tunbridge Wells’. It was record for a live album , I think called ‘Live & Loud’ although the quality was rubbish, it did capture the moment. Thank you and Goodnight!!!!!!
It was pissing hard with rain and I got a phone call from JB saying that Metallica would like me to go and sing ‘So What’ with them at Wembley, my reply was “who the %#&!*% are they and I’ve got to work on my %#&!*% car.” JB phoned back later and said “look these blokes are , I think you should do it”. Seeing as I had not been on stage for four years I couldn’t remember the words to ‘So What’. So I had to learn them again as JB drove me up there, mostly on the central reservation as I remember, we were late.
As I waited on the edge of the stage waiting to go on it suddenly dawned on me I was just about to stand in front of 10,000 punters who didn’t know me from Adam and sing a song that I couldn’t %#&!*% remember………….all that kept running through my head was RUN you silly old %#&!*%.
After the show and chatting with Metallica they suggested the League get back on the road and do some shows. I had the bug again.
We started playing small venues again with the original attitude, it was good.
After riding for several years with various motorcycle gangs Magoo and I put together ‘The Anti Nowhere League’ . Although Magoo had spent the whole of 1979 trying to teach me how to play guitar (Space Oddity I think) we came to the conclusion that I would never be able to play %#&!*% All so I might as well be the singer!! We collaborated with Bones (drummer) and Baggy Elvy (bass) to play a whole bunch of bad cover versions just for a laugh and to play live on Tunbridge Wells Common the same time as the annual Carnival was taking place , which we did and immediately got arrested, in the local rag the following week we hit the headlines by calling us a ‘Cacophony’ of noise and so The League had arrived.
We had the band now all we needed was material, we looked no further than our own door step, disgusted from Tunbridge Wells was just about to get a kick up their 9 to 5, self righteous, middle class arse holes. In a very short space of time we were banned from all pubs and clubs and labelled The Anti Nowhere Conspiracy, toy town would never be the same again.
After parting company with Bones and Baggy, we joined forces with Winston Blake and PJ we were now ready to take on the world. We managed to wrangle an opening slot on the Apocalypse Punk Tour with The Exploited, Chron Gen and Anti Pasti. Punk promoter John Curd wanted a piece of the action and he signed us to his WXYZ record label and also co-managed us with Chris Gabrin who unbeknown to him drunk a pint of our piss on our first meeting.
After bribing Rat Scabies in a bog hole at some %#&!*% pub in the East End of London (two hundred quid I think) we got on a small tour up North with the Damned. We couldn’t afford hotels every night so we had to sleep in and under the van in the snow, but the Damned always fed us with their rider, which brings us to the famous carrot incident………….. Rat was giving it large in their dressing room after a show one night saying how he had seen all the rock and roll antics there was to see and nothing could shock him, Winston stood proud and bet Rat he could clear the dressing room within five minutes with just one antic. Rat took on the challenge, the dressing room was full of record company liggers, so Winston went to the food table pick up the largest object he could see which happened to be a 9 inch carrot, dropped his jeans and pants, dipped the carrot in mayonnaise, then in the pickle and then in the ketchup, he bent over and inserted the carrot right up his arse…………he pumped it in and out a few times by now everyone was looking on in silence, he then removed it from his arse licked off the mayo, pickle, ketchup and %#&!*% dressing and ate the carrot. Rat said “Oh %#&!*% hell” and everybody ran out, we tucked into the rest of the food.
We were about to release ‘Streets of London’ as our first single but couldn’t agree what to put on the flip side and as Magoo and I were sitting in a pub we listened in on a couple of bone heads having a conversation about things they had done. As one spoke the other was not listening and vice versa, so within five minutes we had wrote ‘So What’ the perfect flip side. Little did we know it would become our anthem, the press had a field day with us.
By now we were in full flight, we toured the UK with the infamous 'So What' tour with bands such as Chelsea, Chron Gen and the Defects causing widespread offense to everyone, we were hated!. From Tony Blackburn to Mary Whitehouse everybody had a go, but we didn't give a %#&!*%, the illegal substances were flowing, our records were selling and I was promised a new Harley. Then bang, the obscene publication squad came down on us they seized all records from our offices and from our distributors, Faulty Products. The naughty boys had turned into criminals. It swept like wild fire, all our records were removed from shops and we were banned from radio and television, although during all this we did go to do a Top of the Pops appearance but when they found out I had bought a three foot axe up with me they would not let us go on, so we locked ourselves into a changing room and refused to leave until they paid us which they did and then escorted us off the premises, never to set foot in the BBC again..........they had their chance and they blew it, %#&!*% EM we were off to the states with the UK Subs.
Fantastic stuff-thanks:I made a mistake with Joe Strummer's followup band:they were Joe Strummer and the Mescaleros, and thier first CD was X Ray Style:the 2nd CD I dont have yet.But, I agree, the Clash were seriously underated in the UK in thier heyday.It's only now that they are appreciated.Now Joe's gone, that fantastic voice is foerever stilled.Let the Casbah Live on.
Though they never received the recognition they deserved, Squire was one of the earliest and finest mod-revival bands of the late '70s. Like the founders of the revival, the Jam, Squire were able to transcend the limits of the genre with their high quality blend of pop smarts and songcraft which drew equal parts from punk spirit and '60s sensibilities.
The band formed in Guildford, England around 1977 as a covers band consisting of Enzo Esposito (vocals/bass), Steve Baker (guitar), and Ross Di'Landa (drums). In June 1978, songwriter/guitarist Anthony Meynell joined just prior to a high-profile gig opening for the Jam. The addition of Meynell changed the band's focus to producing original material, and by 1979, they had released their first single for ROK Records, "Get Ready to Go." While the single gained them some airplay, their biggest break came with the newly termed mod-revival movement and their appearance on the legendary Mods Mayday album which featured two new songs by the band. Ian Page of Secret Affair (one of Squire's mod peers) had just started his own I-Spy label and signed the band on the merits of their app
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The Jam emerged from the punk explosion of 1977, combining the energy of that movement with the musical values and styles of the previous generation's mod icons. The Jam: Sounds from the Street is the inside story of Paul Weller, Bruce Foxton and Rick Buckler's rise to fame, their brief but momentous reign and their shocking decision to quit at the peak of their success.
This authoritative chronology of the band's career weaves around an in-depth study of the band's entire musical legacy, including songs from their time as a four-piece and all the other tracks that comprised the pre-Polydor set list. Featuring exclusive contributions from Bruce Foxton, this is the essential account of one of Britain's best-loved rock groups.
were totally underated in the uk at the time eclipsed by the antics of the sex pistols ..it is only now that the genius of the clash and their energy is being fully appreciated ...hey by the way folks thanks for inviting me to the rebel spot on care 2 probably my spiritual home lol with lovend light eirwen.. and cahnging the track a bit speaking of goths who remembers Dead Can Dance i do
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Wait and See: The Continuing Stiff Little Fingers Story
"If it wasn't for your stiff little fingers nobody would know you were dead."
So go the lyrics to "Stiff Little Fingers" by the Vibrators, released in '77 as the b-side to their "London Girls" single.
Left to right: Jake Burns, Henry Cluney, Brian Faloon, Ali McMordie
Meanwhile in '77, Jake Burns-vocals and guitar, Henry Cluney-guitar, Gordon Blair-bass and Brian Faloon-drums, were in a cover band called Highway Star, in Belfast, Northern Ireland. Blair was soon replaced by Ali McMordie. (Gordon Blair joined the Belfast group Rudi.) Early in the year they saw the Clash play in Belfast, and were inspired to cut their hair and rename themselves after the Vibrators song. They started out playing covers of punk songs note for note.
In November of '77, Gordon Ogilvie, a local journalist, caught their live show and was impressed. He encouraged them to write their own songs about what they knew best--life in Belfast. Jake came back twelve days later with "Suspect Device" and "Wasted Life". These were the first of what became SLF's signature style: lyrics that meld the personal and political, music that combines the energy of punk with infectious hooks, and delivery that rings of honesty and commitment.
With Ogilvie's help, they released those two songs on their own Rigid Digits label, with an initial pressing of only 350. Ogilvie sent a copy to BBC Radio One DJ John Peel, who started playing it every night. The interest generated resulted in a distribution deal through Rough Trade in England.
A local fanzine named Alternative Ulster asked the band to write a song specially for a giveaway flexi-disc. Although the plans for the flexi fell through, "Alternative Ulster" became the first single released by Rough Trade in October of '78. Jake once introduced it as "a song about having nothing to do." It became a punk rock classic.
In the fall of '78, SLF toured the UK supporting the Tom Robinson band and gathered a solid following. That plus airplay by John Peel resulted in their first album, the now legendary Inflammable Material LP, debuting in the UK charts at #14. The album chronicles the band's anger and frustration at "the Troubles" in Northern Ireland, and calls on youth to create their own reality.
Left to right: Henry Cluney, Jim Reilly, Jake Burns, Ali McMordie
In '79 the band moved to London and Brian Faloon decided not to go, which inspired the lyrics to "Wait and See". He was replaced by Jim Reilly who made his debut on the "Gotta Gettaway" single. In the spring they played on the Rock Against Racism tour. By the summer of 1979, SLF signed a deal with Chrysalis Records which included unusually broad artistic control by the band. They released the LP Nobody's Heroes in 1980. It combined the DIY ethic of the first album with more universal themes of alienation, anti-militarism, and anti-racism.
Not exactly old school punk, but punk just the same...
At their core, Green Day were simply punk revivalists, recharging the energy of speedy, catchy three-chord punk-pop songs. Though their music wasn't particularly innovative, they brought the sound of late-'70s punk to a new, younger generation with Dookie, their 1994 major-label debut. Green Day weren't able to sustain their success -- Dookie sold over eight million, while its follow-up, Insomniac, only sold a quarter of its predecessor -- yet their influence was far-reaching because they opened the doors for a flood of American neo-punk, punk metal, and third wave ska revivalists.
Green Day were part of the northern California underground punk scene. Childhood friends Billie Joe Armstrong (guitar, vocals) and Mike Dirnt (bass; born Mike Pritchard) formed their first band, Sweet Children, in Rodeo, CA, when they were 14 years old. By 1989, the group had added drummer Al Sobrante and changed its name to Green Day. That year, the band independently released its first EP, 1,000 Hours, which was well-received in the California hardcore punk scene. Soon, the group had signed a contract with the local independent label, Lookout. Green Day's first album, 1,039/Smoothed Out Slappy Hour, was released later that year. Shortly after its release, the band replaced Sobrante with Tre Cool (born Frank Edwin Wright, III); Cool became the band's permanent drummer.
Throughout the early '90s, Green Day continued to cultivate a cult following, which only gained strength with the release of their second album, 1992's Kerplunk. The underground success of Kerplunk led to a wave of interest from major record labels; the band eventually decided to sign with Reprise. Dookie, Green Day's major-label debut, was released in the spring of 1994. Thanks to MTV support for the initial single, "Longview," Dookie became a major hit. The album continued to gain momentum throughout the summer, with the second single, "Basket Case," spending five weeks on the top of the American modern rock charts. At the end of the summer, the band stole the show at Woodstock '94, which helped the sales of Dookie increase. By the time the fourth single, "When I Come Around," began its seven-week stay at number one on the modern rock charts in early 1995, Dookie had sold over five million copies in the U.S. alone; it would eventually top eight million in America, selling over ten million copies internationally. Dookie also won the 1994 Grammy for Best Alternative Music Performance.
Green Day quickly followed Dookie with Insomniac in the fall of 1995; during the summer, they hit number one again on the modern rock charts with "J.A.R.," their contribution to the Angus soundtrack. Insomniac performed well initially, entering the U.S. charts at number two, and selling over two million copies by the spring of 1996, yet none of its singles -- including the radio favorite "Brain Stew/Jaded" -- were as popular as those from Dookie. In the spring of 1996, Green Day abruptly canceled a European tour, claiming exhaustion. Following the cancellation, the band spent the rest of the year resting and writing new material, issuing Nimrod in late 1997. Their long-awaited follow-up, Warning, was released three years later. ~ Stephen Thomas Erlewine, All Music Guide
The Dead Kennedys merged revolutionary politics with hardcore punk music and, in the process, became one of the defining hardcore bands. Often, they were more notable for their politics than their music, but that was part of their impact. The Kennedys were more inspired by British punk and the fiery, revolutionary-implied politics of the Sex Pistols than the artier tendencies of New York punk rockers. Under the direction of lead vocalist Jello Biafra, the Dead Kennedys became the most political and — to the eyes of many observers, including Christians and right-wing politicians — the most dangerous band in hardcore. By the mid-'80s, the band had become notorious enough to open themselves up to a prosecution for obscenity (concerning a poster inserted into their 1985 Frankenchrist album), and the ensuing court battle sped the band toward a breakup, but they left behind a legacy that influenced countless punk bands that followed.
The Dead Kennedys formed in 1978 in San Francisco when Biafra (vocals; born Eric Boucher) and bassist Klaus Flouride responded to a magazine ad placed by guitarist East Bay Ray. Drummer Ted (born Bruce Slesinger) joined soon after and the band played locally for the first two years of their career, occasionally venturing outside the Bay Area. Within a year, the band released their first independent single, "California Über Alles," an attack on the then-current governor, Jerry Brown. It was followed shortly afterward by their second single, "Holiday in Cambodia." In 1979, Biafra ran for mayor of San Francisco; he finished fourth. By this time, the band had become quite popular in both the American and British underground. Finally, in 1980, the band released their debut album, Fresh Fruit for Rotting Vegetables, on IRS Records. After its release, Ted left the band; he was replaced by drummer Darren H. Peligro.
Following the release of Fresh Fruit for Rotting Vegetables, the Dead Kennedys formed their own independent record label, Alternative Tentacles, in 1981. The first release on the label was the Kennedys' EP, <a href="http://w
Avia, totally awesome! I love your Clash data, fantastic.But just to put things right, Joe Strummer did make 2 CDs just before he passed away, with his new band, Joe Strummer and the X Ray Specs-I have the first one, but not the 2nd, which was made posthumously.The music here is a trifle quiet and mellow, but pretty melodic, although a far cry from the glory days of the Clash.I hear that the 2nd CD is much better.The world and music lost a great human being on his death.
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Early in 1979, the Clash began their first American tour, entitled "Pearl Harbor '79." That summer, the band released the U.K.-only EP The Cost of Living, which featured a cover of the Bobby Fuller Four's "I Fought the Law." Following the later summer release of The Clash in America, the group set out on its second U.S. tour, hiring Mickey Gallagher of Ian Dury's Blockheads as a keyboardist. On both of their U.S. tours, the Clash had R&B acts like Bo Diddley, Sam & Dave, Lee Dorsey, and Screamin' Jay Hawkins support them, as well as neo-traditionalist country-rocker Joe Ely and the punk rockabilly band the Cramps. The choice of supporting acts indicated that the Clash were becoming fascinated with older rock & roll and all of its legends. That fascination became the driving force behind their breakthrough double album, London Calling. Produced by Guy Stevens, who formerly worked with Mott the Hoople, London Calling boasted an array of styles, ranging from rockabilly and New Orleans R&B to anthemic hard rock and reggae. Retailing at the price of a single album, the record debuted at number nine on the U.K. charts in late 1979 and climbed to number 27 on the U.S. charts in the spring of 1980.
The Clash successfully toured the U.S., the U.K., and Europe in early 1980, during which time the pseudo-documentary Rude Boy was released in England. During the summer, the band released the Dutch-only, dub-inflected single "Bankrobber," which they recorded with DJ Mikey Dread; by the fall, the British branch of CBS was forced to release the single due to popular demand. Shortly afterward, the band went to New York to begin the tension-filled, self-produced sessions for their follow-up to London Calling. In November, a U.S.-only EP of odds and ends entitled Black Market Clash was released. The following month, the triple-record set Sandinista! appeared in the U.K. and the U.S. The critical reaction to the album was decidedly mixed, with American critics reacting more favorably than their British counterparts. Furthermore, the band's audience in the U.K. was shrinking slightly -- Sandinista! was the first record the group released that sold more copies in the U.S. than the U.K.
After spending much of 1981 touring and resting, the Clash reconvened late in the year to record their fifth album, with producer Glyn Johns, a former engineer/producer for the Rolling Stones, Who, and Led Zeppelin. Headon left the band shortly after the sessions finished; the press statement said he parted with the group due to political differences, but it was later revealed that the split was due to his heavy drug use. The band replaced Headon with their old drummer, Terry Chimes, around the spring release of Combat Rock. The album was the Clash's most commercially successful effort, entering the U.K. charts at number two and climbing into the American Top Ten in early 1983, thanks to the Top Ten hit single "Rock the Casbah." During the fall of 1982, the Clash opened for the Who on their farewell tour. Though the tour helped Combat Rock scale the U.S. charts, the Clash were routinely booed off the stage on every date of the tour.
Although the Clash were at the height of their commercial powers in 1983, the band was beginning fall apart. Chimes was fired in the spring and was replaced by Pete Howard, formerly of Cold Fish. During the summer, the band headlined the U.S. Festival in California; it would be their last major appearance. In September, Joe Strummer and Paul Simonon fired Mick Jones because he "drifted apart from the original idea of the Clash." Jones formed Big Audio Dynamite the following year, while the Clash hired guitarists Vince White and Nick Sheppard to fill his vacancy. Throughout 1984, the band toured America and Europe, testing the new lineup. The revamped Clash finally released their first album, Cut the Crap, in November. The album was greeted with overwhelmingly poor reviews and sales; it would later be disowned by Strummer and Simonon.
Early in 1986, Strummer and Simonon decided to permanently disband the Clash. Several years later, Simonon formed the roots rock band Havana 3 A.M., which released only one album, in 1991; following the record's release, he concentrated on painting. After reuniting with Jones to write songs for Big Audio Dynamite's second album, 1986's No. 10 Upping Street, Strummer drifted between a musical and film career, appearing in Alex Cox's Straight to Hell (1986) and Jim Jarmusch's Mystery Train (1989). He also scored Permanent Record (1988) and Cox's Walker (1987). Strummer released a solo album, Earthquake Weather, in 1989. Shortly afterward, he joined the Pogues as a touring rhythm guitarist and vocalist. By 1991, he had quietly drifted away from the spotlight. For the remainder of the decade, Strummer was quiet, appearing on only one other recording -- Black Grape's 1996 Top Ten hit "England's Irie."
Though Strummer and Simonon were both quiet, and Jones was busy with various incarnations of Big Audio Dynamite, rumors of a Clash reunion continued to circulate throughout the '90s. When "Should I Stay or Should I Go?" appeared in a Levi's television commercial in 1992, the song was re-released in the U.K. by CBS, and it shot to number one, fueling reunion speculation. The rumors appeared again in 1995 and 1996, when the Sex Pistols decided to reunite, but the Clash remained quiet. Live: From Here to Eternity, assembling material recorded between 1978 and 1982, was released in 1999, shortly followed by the documentary film Westway to the World. ~ Stephen Thomas Erlewine, All Music Guide
The Sex Pistols may have been the first British punk rock band, but the Clash were the definitive British punk rockers. Where the Pistols were nihilistic, the Clash were fiery and idealistic, charged with righteousness and a leftist political ideology. From the outset, the band was more musically adventurous, expanding its hard rock & roll with reggae, dub, and rockabilly among other roots musics. Furthermore, they were blessed with two exceptional songwriters in Joe Strummer and Mick Jones, each with a distinctive voice and style. The Clash copped heavily from classic outlaw imagery, positioning themselves as rebels with a cause. As a result, they won a passionately devoted following on both sides of the Atlantic. While they became rock & roll heroes in the U.K., second only to the Jam in terms of popularity, it took the Clash several years to break into the American market, and when they finally did in 1982, they imploded several months later. Though the Clash never became the superstars they always threatened to become, they restored passion and protest to rock & roll. For a while, they really did seem like "the only band that mattered."
For a band that constantly sang about revolution and the working class, the Clash had surprisingly traditional roots. Joe Strummer (born John Graham Mellor, August 21, 1952) had spent most of his childhood in boarding school. By the time he was in his early twenties, he had busked on the streets of London and had formed a pub rock band called the 101'ers. Around the same time, Mick Jones (born June 26, 1955) was leading a hard rock group called the London SS. Unlike Strummer, Jones came from a working-class background in Brixton. Throughout his teens, he was fascinated with rock & roll, and he had formed the London SS with the intent of replicating the hard-driving sound of Mott the Hoople and Faces. Jones' childhood friend Paul Simonon (born December 15, 1956) joined the group as a bassist in 1976 after hearing the Sex Pistols; he replaced Tony James, who would later join Generation X and Sigue Sigue Sputnik. At the time, the band also featured drummer Tory Crimes (born Terry Chimes), who had recently replaced Topper Headon (born Nicky Headon, May 30, 1955). After witnessing the Sex Pistols in concert, Joe Strummer decided to break up the 101'ers in early 1976 in order to pursue a new, harder-edged musical direction. He left the band just before their first single, "Keys to Your Heart," was released. Along with fellow 101'er guitarist Keith Levene, Strummer joined the revamped London SS, now renamed the Clash.
The Clash performed its first concert in the summer of 1976, supporting the Sex Pistols in London. Levene left the band shortly afterward. Hiring as their manager Bernard Rhodes, a former business associate of Sex Pistols manager Malcolm McLaren, the Clash set out on the Pistols' notorious Anarchy Tour late in 1976. Though only three concerts were performed on the tour, it nevertheless raised the Clash's profile and the band secured a record contract in February of 1977 with British CBS. Over the course of three weekends, the group recorded their debut album. Once the sessions were completed, Terry Chimes left the group, and Headon came aboard as the band's drummer. In the spring, the Clash's first single, "White Riot," and eponymous debut album were released to great critical acclaim and sales in the U.K., peaking at number 12 on the charts. The American division of CBS decided The Clash wasn't fit for radio play, so it decided to not release the album. The import of the record became the largest-selling import of all time. Shortly after the U.K. release of The Clash, the band set out on the whirlwind White Riot tour supported by the Jam and the Buzzcocks; the tour was highlighted by a date at London's Rainbow Theatre, when the audience tore the seats out of the venue. During the White Riot tour, CBS pulled "Remote Control" off the album as a single, and as a response, the Clash recorded "Complete Control" with reggae icon Lee "Scratch" Perry.
Throughout 1977, Strummer and Jones were in and out of jail for a myriad of minor indiscretions, ranging from vandalism to stealing a pillowcase, while Simonon and Headon were arrested for shooting racing pigeons with an air gun. The Clash's outlaw image was bolstered considerably by such events, but the band also began to branch out into social activism, such as headlining a Rock Against Racism concert. Released in the summer of 1978, the single "(White Man) In Hammersmith Palais" demonstrated the band's growing social consciousness. Shortly after the single peaked at number 32, the Clash began working on their second album with producer Sandy Pearlman, a former member of Blue Öyster Cult. Pearlman gave Give 'Em Enough Rope a clean but powerful sound designed to break the American market. While that didn't happen -- the album peaked at 128 on the U.S. charts in the spring of 1979 -- the record became an enormous hit in Britain, debuting at number two on the charts.
http://www.worldoffugazi.org/ 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. the label: http://www.dischord.com/
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The enduring L.A. punk band Social Distortion has overcome numerous personnel shifts, the demise of the Los Angeles hardcore scene that spawned them, and the heroin addiction of singer/guitarist/bandleader Mike Ness to achieve a measure mainstream acceptance for their rootsy, hard-hitting punk without compromise. Inspired by the fertile L.A. punk scene, Ness formed the group in 1978 with drummer Casey Royer and brothers Frank (bass) and Rikk Agnew (guitar). When the brothers left to join the Adolescents, Ness' schoolmate Dennis Danell joined on bass; the next few years saw a revolving-door membership. When the group finally recorded its debut album, Mommy's Little Monster in 1983, the band consisted of Ness, Danell (now on guitar), bassist Brent Liles, and drummer Derek O'Brien. Their music was often described as a punk version of the Rolling Stones, and "Another State of Mind" was one of the few punk videos to air on MTV in 1984. However, the band took four years to record a follow-up, as Ness descended into heroin addiction and self-consciously rebellious behavior. Liles and O'Brien left, and Ness, after straightening himself out, finally regrouped in 1988 with John Maurer on bass and Chris Reece on drums. This lineup recorded Prison Bound, a mature album broadening Social Distortion's roots rock influences with a country feel. Their self-titled 1990 effort included a cover of Johnny Cash's "Ring of Fire" and returned the group to MTV via "Ball and Chain." Somewhere Between Heaven and Hell became their most popular album to date, producing a minor radio hit in "Bad Luck" and keeping with their now-established blend of punk, blues, country, and rockabilly.
Social Distortion took an extended hiatus following the release of Somewhere Between Heaven and Hell, returning in 1996 with White Light, White Heat, White Trash, which proved to be a moderate hit on MTV and modern-rock radio; former Black Flag and D.O.A. drummer Chuck Biscuits made his debut on the album, following the departure of Reece. Live at the Roxy followed in 1998, and a year later Ness issued a pair of solo albums, Cheating at Solitaire and the covers collection Under the Influences. Danell died February 29, 2000 of an apparent brain aneurysm; the guitarist was just 38-years-old. In the fall of 2000, Jonny Wickersham signed on as the group's new guitarist, and Charlie Quintana took over on drums from the often busy Biscuits. After extensive touring, the band went back into the studio in 2004 to record Sex, Love and Rock 'n' Roll. ~ Steve Huey, All Music Guide
Formed in 1979 by Black Flag vocalist Keith Morris and Redd Kross guitarist Greg Hetson, the Circle Jerks combined the rebelliousness of the Sex Pistols and Ramones with the aggressive athletic elements of the surfer/skateboarder crowd from Hermosa Beach. This coastal city just south of Los Angeles ignited the initial explosion of hardcore bands. Including bassist Roger Rogerson and drummer Lucky Lehrer, the band recorded their debut album, Group Sex, in 1980 on Frontier Records. Containing 14 tracks, the songs ranged in length from 1:35 to 27 seconds, taking the hyper blast of punk to the next extreme. With the release of the album, an appearance in the documentary film about L.A. punk The Decline of Western Civilization, and their incendiary live performances, the group's stature was assured in the budding hardcore community.
Their second LP, 1982's Wild in the Streets, continued the intensity while injecting a humorous slant into the music by covering '60s pop hits "Just Like Me"/"Put a Little Love in Your Heart," applied with their slamdancing aggression. The joke was expanded on Golden Shower of Hits, their third album, released in 1983. The second time around they tackled "Along Comes Mary," "Afternoon Delight," "Having My Baby," and "Love Will Keep Us Together." Golden Shower also marked the incorporation of a few longer songs that hovered around the three-minute mark, including "Under the Gun," "High Price on Our Heads," and "Rats of Reality." At this point the band took a two-year break, which found Hetson joining the newly formed Bad Religion, taking on guitar duties for both bands well into the next decade.
In 1985 the Circle Jerks returned with two new bandmembers, Keith Clark on drums and bassist Zander Schloss, releasing the metal-tinged Wonderful album on the Combat label. The group's new approach received mixed reviews, as their hard and fast thrash was slowed down and replaced by an explicit hard rock thump, which carried over to their next Combat release in 1987, VI. The band kept a low profile into the '90s, with the only Circle Jerks record being the 1992 anthology of concert performances titled Gig. By 1995, the band released its first new studio album in eight years, Oddities, Abnormalities and Curiosities, their major-label debut on Mercury. A highlight among the 12 tracks was a cover version of the Soft Boys' "I Wanna Destroy You," featuring a truly odd vocal appearance by Circle Jerks' fan Debbie Gibson, who would sporadically show up at gigs and perform the song with the band!
By 1996 the years of rough touring caught up with the bandmembers and once again they went on hiatus. Morris in particular had been plagued by serious health problems, including a back injury that forced him to wear a brace, colon and stomach problems including appendicitis, and a 1999 diagnosis of adult onset diabetes. Since Morris had no health insurance, benefits were held to curtail his enormous medical bills, allowing the now dreadlocked lead singer to begin recuperating. In 2003 Morris was well enough to play live gigs with his spoken word jazz-punk ensemble Midget Handjob, and also tour with the Circle Jerks and the Rollins Band. An appearance on the Henry Rollins' orchestrated benefit album Rise Above: 24 Black Flag Songs to Benefit the West Memphis Three would bring Morris full circle with a performance of "Nervous Breakdown," a track he initially recorded in 1978 with the first incarnation of Black Flag. ~ Al Campbell, All Music Guide
One of the cornerstone bands of the '90s punk revival, Rancid's unabashedly classicist sound drew heavily from the Clash's early records, echoing their left-leaning politics and fascination with ska, while adding a bit of post-hardcore crunch. While some critics dismissed Rancid as derivative, others praised their political commitment, surging energy, and undeniable way with a hook. And, regardless of critical debate over their significance, the band's strengths made them perhaps the most popular neo-punk band after Green Day and the Offspring. Their third album, 1995's ...And Out Come the Wolves, made them a platinum-selling sensation and an inescapable presence on MTV and modern rock radio. While they never translated that success into an enormous blockbuster record (like the aforementioned bands who hit the mainstream first), that wasn't necessarily their ambition, choosing to stay with the independent punk label Epitaph and the creative freedom it allowed them. That decision helped them retain a large, devoted core audience as revivalist punk-pop began to slip off the mainstream's musical radar.
Rancid were formed in 1991 by San Francisco Bay Area punk scenesters Tim Armstrong (guitar/vocals) and Matt Freeman (bass). Lifelong friends and longtime punk fans, the two had grown up together in the small, working-class town of Albany, near Berkeley; they'd also played together in the legendary ska-punk band Operation Ivy, Armstrong as "Lint" and Freeman as Matt McCall. After Op Ivy disbanded in 1989, Armstrong and Freeman spent a few weeks in the ska-punk outfit Dance Hall Crashers, as well as Downfall; Freeman later briefly joined the hardcore band MDC. Meanwhile, Armstrong was waging a battle with alcoholism (but, fortunately, winning), and to help keep his friend occupied, Freeman suggested they escape their day jobs by forming a new band, which became Rancid. The duo added drummer Brett Reed, Armstrong's roommate and a familiar presence on the Gilman Street scene where Operation Ivy had cut their teeth. Just a couple of months later, Rancid were performing live around the area, and in 1992 they released a five-song debut EP on Lookout! Records.
The EP caught the attention of Brett Gurewitz and his well-respected Epitaph label, which signed Rancid to a highly favorable contract guaranteeing them a generous amount of creative control. The band's eponymously titled, first full-length album arrived in 1993, pursuing an up-tempo, hardcore/skatepunk style with few hints of early British punk. Rancid had been seeking a second guitarist, and Green Day's Billie Joe Armstrong even played live with the group at one show. They pursued Lars Frederiksen, a Bay Area resident who'd joined a later incarnation of U.K. Subs and was performing with the band Slip; Frederiksen initially declined Rancid's invitation to join, but when Slip disbanded, he quickly changed his mind and came along on Rancid's first tour. Frederiksen made his recording debut on the early-1994 EP Radio Radio Radio, a side dalliance on Fat Wreck Chords. Released later that year, Let's Go was the album that made Rancid's name in the punk underground. It marked the beginnings of their fascination with the 1977-era London punk scene, particularly the Clash, and it also provided their first widespread exposure when MTV picked up on the video for the single "Salvation." Let's Go quickly went gold, and with the breakout mainstream success of Green Day and the Offspring that year, major-label interest in Rancid quickly escalated into a full-fledged bidding war (even Madonna's Maverick imprint got in on the action). Ultimately, Rancid decided that no major could offer them the level of decision-making power that Epitaph had given them, and stayed right where they were.
Rancid scored a major success with their next album, 1995's ...And Out Come the Wolves, whose title was a reference to the near-predatory interest in signing the band. The Clash fetish was even more pronounced, augmented with a greater interest in the original Two-Tone ska revival the Clash had helped influence (bands like the Specials). "Ruby Soho" was a major MTV and radio hit, and "Time Bomb" and "Roots Radicals" were hits in their own right. The album went platinum and made Rancid one of the most visible punk bands around. They played the 1996 Lollapalooza Tour, and afterward took a short break, their first since becoming a quartet. During that time, Freeman played with former X singer Exene Cervenka in Auntie Christ, while Armstrong set up the Epitaph subsidiary Hellcat; he and Frederiksen both began doing production work for other bands they hoped to spotlight.
Rancid returned in 1998 with the even more ska-heavy Life Won't Wait, a guest-star-loaded affair that featured members of ska bands the Specials and Hepcat, Dicky Barrett of the Mighty Mighty Bosstones, dancehall reggae star Buju Banton, and Agnostic Front vocalist Roger Miret. While it didn't cross over on the level of ...And Out Come the Wolves, it demonstrated that Rancid retained a substantial fan base. For the 2000 follow-up, their second self-titled release, the group largely scrapped its ska-punk side, recording a visceral, hardcore-influenced album that blasted through 22 songs in under 40 minutes (in contrast to its two lengthy predecessors). Perhaps for that reason, Rancid received a highly positive response from the punk community.
im no oracle, just a hardcorefan to rebellrock... May 16, 2005 1:23 AM
that was quite a lot you got there Jonathan, i'll try to come back to the rest, but i could add that B52, like for example DEVO are more new wave than punx, or as the devolutionaries called it no wave... i think there good though, B52's hot lava or rock lobster, or DEVOS satisfaction or uncontrolabal urge... great tunes...
And not forgetting Siouxie and the Banshees, the Fall, the Damned, Scritti Politti, Pere Ubu,Gang of 4,Velvet Underground,Lou Reed, Wreckless Eric,Nick Lowe, Dr.Feelgood,Elvis C & the Attractions,Dexys Midnight Runners,the Undertones, ....and the record labels-Rough Trade, 2-Tone,, the list goes on.Any additions?
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I LOVE T-Rex!!! Of course, I also love David Bowie, Iggy Pop, Alice Cooper, the Misfits , the Cramps, the Sex Pistols, the Vandals, the Dead Kennedys, the Ramones....I really could go on & on!
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I have all the Fuggs singles, and albums, but no player! May 15, 2005 10:11 PM
I've got a complete collection of the Fuggs, but no working turntable anymore, as a matter of fact, I've got hundreds of albums, no way to listen to them, do you know where I can get a reasonably priced turntable.
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A rock form characterized by aggressive volume, short, angry vocals and often bitter political or hopeless emotional content. It was born as a reaction to the bland, corporate rock of the 1970s. Early exponents of punk include Sex Pistols, The Clash, Ramones and Buzzcocks. Punk's recent revival is attributed to the dominance of sound-alike “alternative” bands. www.factmonster.com/ipka/A0776052.html
Punk Rock is an anti-establishment music movement that began about 1976 (although precursors can be found several years earlier), exemplified by The Ramones, the Sex Pistols, The Clash and The Damned. The term is also used to describe subsequent music scenes that share key characteristics with those first-generation "punks". The term is sometimes also applied to the fashions or the irreverent "DIY" ("do it yourself") attitude associated with this musical movement. en.wikipedia.org/wiki/Punk_(music)