Unreleased studio LP, recorded in 1980. Great melodic punk rock, the rock influence is somewhat stronger than on the 7"s, this might be caused by the better production, though. A definite buy for KBD fans.
Afrika Korps - 1977 - Music Kill By (Reissue 2002) ** download .
This merger of The Slickee Boys, The Gizmos, The Look, The Teenage Boys, O. Rex, and The Kaiser's Kittens has thrown up (how punky!) the best album of the year. Twenty-two (yes! 22!) songs about all the things that bother you--your complexion . . . your boys . . . your mental health . . . and your girls. Every gem is short and sweet . . . each one a nursery rhyme that's been sneaking looks at teen magazines . . . pure, unsullied, untouched by recording contract rock and roll. Every verse is a reprise, every song a chrous with a harmonious soundmix nothing like the usual Heavy Metal row most 'punks' employ. Despite their threats about slapping your pretty face and ripping your pretty lace, they're sweet kids. Real innocence always tries to be tough." --Julie Burchill, New Musical Express, 3 December 1977. Back in 1973, teenage fanzine writer Ken Highland first traveled from his small-town home in upstate New York to Brooklyn, New York, to jam with pen-pal Solomon Gruberger and his younger brother Jay in their living-room rock band O. Rex. Three years later, in early '76, Ken recorded the first infamous Gizmos EP in Bloomington, Indiana--and then joined the United States Marine Corps! Finding himself stationed in Maryland, near Washington, D.C., he quickly found his way into the burgeoning D.C. punk scene. He became friends with the Slickee Boys, and began writing songs on guard duty. Some of these became later Gizmos tunes, but the main project was a new band with the O. Rex brothers called The Afrika Korps. With help from Slickee Boys Kim Kane and Martha Hull, and the addition of multi-talented drummer Ken Kaiser, they recorded the music on this LP in the first few months of 1977. The recordings became free-for-all punk-rock "super sessions"--with various other Slickee Boys members, D.C. scenesters, rock writers, etc. joining in on the fun. The resulting LP still stands as one of the most spontaneous and least trendy things to come out of the early Amerikan punk scene.
F-Word!'s "Shut Down" - the first Posh Boy release - was recorded live at San Francisco's Mabuhay Gardens in '78. Picture sleeve (p/s)added 1990. "Shut Down" was a Darby Crash song that was recorded by F-Word! before The Germs had committed their version to vinyl. The 2 songs on the "B" side were to be recorded by other groups, too : the Damned influenced "Out There" was recorded by New York's Electric Frankenstein. "Government Official" was included on Swedish group Sator's "Barbie Q Killers" CD.
The Viletones were a Canadian punk band from Toronto, led by Steven Leckie, a.k.a. "Nazi Dog" or "Dog" on vocals. Other members from the original line-up were Freddie Pompeii, (some sources list him as 'Frederick DePasquale') on guitar/vocals; Chris Paputts, a.k.a. "Chris Hate" on bass guitar/vocals and Mike Anderson, a.k.a. "Motor X" on the drums/vocals. They were active during the late 1970s and early 1980s. Their music was similar to that of the Sex Pistols and The Damned. For a while, The Viletones were quite infamous in punk circles. Leckie himself was infamous for cutting himself up on stage, à la Iggy Pop. Footage of such can be found at the CBC Archives. They appeared in magazines all over the world. From July 7-10, 1977 the group joined The Diodes and Teenage Head at famed New York punk club CBGB at a showcase featuring "three outrageous punk bands from Toronto, Canada". Eminent rock critic Lester Bangs described the show in an April 29, 1981 article for the Village Voice: "This guy Natzee Dog hung from the rafters, crawled all over the stage, and hurled himself on the first row until his body was one huge sore. Somebody asked me what I thought and I said, 'Fine with me - in 1972 every band in the world was Grand Funk, now every band in the world is the Stooges.' I didn't tell Natzee Dog that, though; I told him: 'You guys were cooler with hockey haircuts.'" Also that year, The Viletones released their first single, "Screamin (sic) Fist" b/w "Possibilities" and "Rebel" on their own Vile Records. In 1978, they released Look Back In Anger, which featured the songs "Don't You Lie" and "Dirty Feeling", b/w "Back Door To Hell", "Swastika Girl" and "Danger Boy". The same year Pompeii, Hate and X abrubtly left The Viletones. The now former Viletones joined up with ex-Diode John Hamilton in The Secrets. In 1983, a reunited Viletones released their first full-length album, Saturday Night/Sunday Morning, recorded live at Larry's Hideaway in Toronto. Later that decade, they released a U.S.-only release, Live At Max's. In 1994, a record label, Other Peoples Music, released a retrospective, A Taste Of Honey. In 1998, Leckie released the What It Feels Like To Kill album, which featured among its 18 songs the 1995 Nailed EP, under the Viletones name. He currently runs an art gallery in Toronto called Fleurs Du Mal and made a brief appearance in the film, American Psycho. A reference to their song, "Screamin Fist", turned up in the pages of Neuromancer, a novel by William Gibson. The Viletones 2007 line-up consists of Steven Leckie (vocals), Steve Scarlet/The Sinisters/Drunkula (guitar) and Jeff Zurba (drums.)
This Coventry, based band, were originally called Midnight Circus(their image was slightly hippy). Singer and guitarist Neil O'Connor (brother of Hazel O'Connor ) met school kids David Freeman (guitar, vocals) and Joe Hughes (bass, vocals) in the mid-70s, and recruiting Pete King on drums. After a name change to The Flys The band recorded a demo in 1977 that failed to attract much attention from record companies, so they formed their own Lama label and put out an EP, Bunch of Five, around the end of the year. That caught the fancy of EMI, which signed them up in a hurry and put out the EP's "Love and a Molotov Cocktail" as a single. The album Waikiki Beach Refugees appeared in 1978. Several Flys singles appeared in early 1979, culminating in the release of the second album, Own. Intraband quarreling had led to King's departure and the arrival of Graham Deakin, the former drummer of John Entwistle's Ox. A move to Parlophone Records did little to salve the bickering, and the Flys broke up in 1980. O'Connor joined his sister Hazel's band and then took his skills behind the scenes as producer, arranger, and engineer; Freeman performed on Alison Moyet's Raindancing album, played briefly with Roddy Radiation and the Tearjerkers, and then formed The Lover Speaks with Hughes; Pete King went on to join After the Fire before his untimely death at age 26.
Alchemy is the debut solo album of Television guitarist, Richard Lloyd. It was released in 1979, one year after the break up of Television and the release of their second album, Adventure. Trouser Press called it "a gem of a solo album." Its title track was a minor New York FM radio hit. It features Lloyd on lead guitar, harmonica, piano and vocals, Matthew Mackenzie on guitar, piano and background vocals, James Mastro (later of the Bongos) on guitar, Fred Smith (of Television) on bass, "Heineken bass" and background vocals, and Vinny DeNunzio (formerly of the Feelies) on drums and background vocals. Producer Michael Young later added guitar and synthesizer overdubs to some tracks, which Lloyd has stated that he strenuously opposed.
Both bands came from Pordenone. Awesome Italian punk record. 500 copies i think, most of which have hand written and colouring done by the band on the sleeve. As far as i can think this is the only Hitler SS stuff but Tampax have quite a few other records. On the inserts, of which i konw of 3 different ones, Hitler SS pretend to be ex-members of London SS and the 101-ers which i thought was quite funny.This 45 is really anoying as the sides play on different speeds, although on some copies both sides play the same speed! Tampax singer Ado now manages a rock band called Prozac, and their drummer is now a drum instructor at a music college.
Nelson, Lancashire band, formed as early as 1976, initially by Nicholson and Husband. Nicholson, now a producer for the BBC, had first chanced upon punk while doing his paper round. “I was a 15-year-old paperboy delivering someone’s NME when I noticed a photo of some bloke called Johnny Rotten sporting a bondage suit. It thrilled and frightened me. I wasn't sure what to think. I'd grown out of Slade and had been desperately looking for something to like. I bought shit album after shit album in a forlorn hope that this might be the one - it never was. I still hadn't heard the Pistols but even the way they looked was enough to hook my attention. Then sitting at home one night watching So It Goes on Granada Television, there they were, it was a seismic moment and although it sounds corny, things really would never be the same again. When ‘Anarchy In The UK’ came out, I went to the local record shop to buy it. The shop owner wouldn't even say the band’s name. He called them the SP's - already this was more exciting than anything else that had ever happened to me and I hadn't even listened to the record yet. At home I had one of those record players that if you left the arm up, it would keep on playing the same record time after time. I put on my headphones and as my mum and dad watched Nationwide, I listened to it 15 times. It was and still is the most powerful manifesto any band has ever managed to put down on to seven inches of vinyl. I went straight over to my friend Philip across the road, who I'd been writing songs with, and played it to him. It was obvious that this is what we'd been waiting for. That record redefined everything.” Thus enthused, Husband and Nicholson set about putting a set together. “We wrote lots of songs, and approached a time when we needed to play them to someone, but there was just the two of us. My brother told me he knew another punk called Star (Terry Sanders) who lived in Nelson so we asked him through my brother if he wanted to be in a band, not knowing whether he could actually play anything. As it turns out, he couldn't, but somehow it didn't seem to matter. We were booked to do a gig at Bold Street Working Men’s Club in Accrington, where we'd seen a local skinhead/punk band called Schoolgirl Bitch support Eater the week before. Star was going to play bass but was so bad he changed to drums two days before the gig. He bought his kit for the princely sum of a pint of Mild - I kid you not.” So how did their debut gig go? “The soundcheck for the gig was really good, I think we surprised ourselves. Unfortunately, that was as good as it got. Philip and Terry got very nervous and drank far too much. We went on stage and Philip turned everything up and to appalling feedback, we announced the birth of the Pathetix. After two songs I said to Philip: ‘This is shit, let’s get off.’ Philip ripped all the strings off his guitar, Terry kicked his kit all over the stage and we walked off, feedback still reverberating around the room to huge cheers. Everyone thought it was some kind of stage act and wanted us back on. But Philip didn't have any more strings so that was that. To cut this interminable story slightly short, we added Gary Brown to the band, got a lot better then added Pete Rowlands on lead guitar and Peter Leeper on saxophone.” The band played a lot of gigs during the summer of 1978, until eventually “we thought it was time to make a record”. However, the major labels were not beating a path to their door. “As no-one showed the slightest interest in signing us, we embraced the DIY ethic and went into Smile Studios in Liverpool. The track we chose for the a-side was a song that had been written one boring evening after the band and a bunch of friends had taken out a ouija board and attempted to contact the spirit world. To this day I still don't know who around that table knew who Aleister Crowley was, but I sure as hell didn't. Who knows - perhaps it really was the man himself. After a sleepless night waiting to die, Philip, myself, and a friend called Quentin, wrote ‘Aleister Crowley’. The EP was duly released on their own No Records label, and its drunken séance diorama seemed to hit a chord, which was more than some of their peers were capable of at this stage. “These six sprightly young sprogs deserve encouragement for going it alone,” stated Max Bell in the NME. “A good idea brilliantly realised.” Both Giovanni Dadomo at Sounds and Mark Perry of Sniffing Glue were similarly impressed. The good press saw them reach the Top 10 of the (then unofficial) Independent Charts after the single was picked up for distribution by Rough Trade (ie they took 500 copies off their hands). After a further batch of gigs they signed with Manchester’s TJM label, which was “without a doubt the worst thing the band ever did". We thought it was going to change everything and sure enough it did, we never really recovered from the experience. We'd have been better looking after ourselves, what momentum we'd built up (admittedly not exactly turbo-charged but people were beginning to know who we were) was lost over a period where Tony [Davidson] played at being Richard Branson with his dad's money.” A further single emerged, by which time Leeper had left to join the theatre and Brown had joined the Notsensibles. He’d been practising with them and received an ultimatum from the band. ’Love in Decay’ should have been great but Tony wouldn't pay for a producer and just when we should have been sounding better and getting a push there was a big nothing. At a time when every single had a picture sleeve, ours didn't. I've only ever seen one copy of the picture sleeve and that's framed on Philip's wall. This sleeve was allegedly sent to the band by Tony Davidson with a note stating this is how the sleeve will look! Not, here is the single sleeve, does the band approve? (Phil Husband adds: Since then, I have been led to believe that a handful of sleeves do exist! They were all mock-up proof sleeves BUT apparently Tony Davidson never paid the photographer for the photo session and therefore he put a stop to all his photos from being used!! So that is the story why our single came out without a picture sleeve! I was lucky enough to have been sent one which I have kept safe over the years until I recently sold it to Dizzy !!!) ”It did at least garner some vaguely positive reviews. Mancunian fanzine City Fun, edited by the notorious duo of Cath Carroll and Liz Naylor, saluted its “great sound”. TJM did at least organise a package tour for them (See advert below). “It included a band called the Frantic Elevators with a flame-haired eejit as vocalist. He used to go bright red whenever he sang. They did lots of covers and I remember watching him singing ‘Don't Let Me Down’ thinking his head was going to explode. His name was Mick Hucknall. Imagine my surprise years later etc.” Hucknall was a big fan of the Pathetix’s ‘Don’t Let The Bastards Grind You Down’, and once sang it back to its co-author verbatim in a drunken moment while doing an interview for Music Box. “The tour was a real Tony event. No hotels for us, we used to do the gig, jump on the coach and drive all the way back to Manchester. Then next morning meet up again and drive off to wherever we were playing that night for the whole routine to repeat itself.” But there were encouraging reviews. “The Pathetix take to the stage – instant improvement,” noted Ian Ravendale in Sounds. “This lot have style, panache, power and punch. A shower to watch out for.” By now, that shower’s set had expanded to include, in addition to their recorded material, the aforementioned ‘Don’t Let The Bastards Grind You Down’, ‘What Do You Expect From Me’, ‘Teenage Idol’, ‘Pressure Drop’ (not the reggae staple) and ‘My Friend’s A Moron’. Nicholson’s favourite, though, was ‘Soldier Tommy’, about Northern Ireland. “It’s one of the first songs Philip and I wrote and it’s a song I regret never recording.” TJM’s only saving grace, apparently, was its rehearsal studio. “It was an old warehouse on Little Peter Street in Manchester and because we were on his label, we got to rehearse there for free. Amongst the other bands that had to pay for the privilege was a local Manchester band called Joy Division. Philip and Terry were interested in starting a fanzine and interviewed three of the band members; Bernard, Peter and Stephen. Philip still has the tape. It's hilarious. Amongst the searching questions they ask are: ‘Where do you get your ideas from?’ and ‘How do you get gigs?’ But my favourite moment is where they ask them to say their names into the mic, and say what they do in the band. Very sweetly, the band oblige.” Thereafter the line-up of the Pathetix shuffled. Gary Brown left to join the Notsensibles and Pete Leeper became an actor, appearing as Malcolm Parrot on Grange Hill. But the band weren’t satisfied that TJM were delivering on their promises and promoting their single nationally, and instead signed a deal with French independent (with Mancunian connections) Sordide Sentimental. They ground to a halt soon after, though they were joined for a while by keyboard player John Finch. They’d also grown a bit tired of punk’s self-regulation. “It was ‘79 by now. We all felt that punk was a moment in time, a moment that had gone. Bands like Discharge, the Angelic Upstarts and Crass were about as far away from what punk had meant to us as it was possible to be. To me punk was about limitless possibilities and not accepting your lot in life. The interesting bands were trying to articulate themselves in new ways and so did we - it didn't last long and maybe we were wrong. We made one last record for Sordide Sentimental [as Citizen UK, by which time Pete Rowlands had left and John Finch had joined on keyboards] and that was that. By 1981 it was all over.” There was a further cassette as Citizen UK while Husband and Nicholson were also involved in the aforementioned punk-hip-hop hybrid Trash Culture. And as the man says, that was that. All over. But not quite. Nicholson: “In 1998 I was working as a director at the BBC. Noel's House Party needed a last-minute replacement for the NTV section of the show [in which viewers are unknowingly filmed in their own living room]. By this time, Peter Leeper was an actor and was pretty well known as Malcolm Parrot, a teacher on Grange Hill, so it was arranged for Peter to be the 'guest' on NTV that week. Noel clicked his fingers to reveal Peter apparently sitting at home utterly shocked. But once Noel mentioned the Pathetix, Peter dismantled the hidden camera by his TV set, and with the words ‘I'm not up for this, Noel’, put it in a cup of tea he was drinking.”
The Fits formed in Blackpool in October 1979, with an initial line-up of Mick Crudge (vocals), Andy Baron (bass guitar), Kev Halliday (drums), and "Big Bill" (guitar). They played their first gig only four days after forming, supporting Section 25 at a community centre in Bispham. After four gigs, Big Bill was replaced by Steve Withers. The band's first single, "You Said We'd Never Make It" was recorded in June 1980. Local second-hand record shop owner Barry Lights sold it in his shop, and when the initial run of 1,500 had sold out, reissued it on his Beat The System label, the single eventually reaching number 2 in the Sounds Punk Chart. Increasing exposure saw the band supporting more established punk bands such as the UK Subs around the UK, and they were signed by the Rondelet label in November 1981. Rondelet issued their second single, "Think For Yourself" on New Year's Day 1982. In March 1982, the band entered the studio to record their album You're Nothing, You're Nowhere. The band were not happy with the album, and Halliday and Baron left the band shortly afterwards, to be replaced by Tez McDonald of One Way System and Ricky McGuire of Chaotic Youth. The new line-up had immediate success with the Last Laugh EP, which entered the UK Indie Chart in December 1982 and peaked at number 44. McGuire left the band in February 1983 (he would later join UK Subs and The Men They Couldn't Hang), his eventual replacement being Gaz Ivin. The band struggled to capitalise on the success of their last EP, not helped by McDonald's drug problem, but their career was kickstarted when John Robb suggested that they might find a suitable home at Crass'/John Loder's Corpus Christi Records. After travelling to meet Crass, the label took them on and released the Tears of a Nation EP, which spent eight weeks in the indie chart, peaking at number 15. The success of the EP led Crudge and Withers to relocate to London. McDonald remained in Fleetwood with his family, and did not travel to all of the band's gigs, with Ogs from Peter and the Test Tube Babies standing in. A split EP, Pressed For Cash was issued on the Babies' Trapper label, and the band would play several times on the same bill as PTTB. Trapper released two more singles, "Action" and "Fact or Fiction", both of which were indie hits, but the violence that was common at punk gigs at the time affected the band, and they split up in November 1985. Crudge, Withers, and Ivin went on to play in Pure Pressure, before all three moved abroad. In 1995, Captain Oi! records released a 27-track retrospective, The Fits Punk Collection, and this was followed in 1997 by the Too Many Rules collection on the Italian Get Back label.
Vice Creems - 1978 - Won't Be My Girl 7'' download .
The Vice Creems, originally the Aylesbury Bucks, formed in Aylesbury in around mid – late 1977. They were basically the vehicle for Zig-Zag Magazine editor (& former teenage president of the Mott The Hoople fanclub) Kris Needs (vocals), his best mate Colin Keinch (guitar) & assorted mates from the pub. Following sparodic gigging throughout late 77 – early 78, they made their vinyl debut with a fairly typical punky track "No Passion" on the "Aylesbury Goes Flaccid" local compilation LP. Shortly afterwards (June 78) they recorded two tracks "01-01-212" and "Won't You Be My Girl" on studio down-time during a Flaming Groovies album tracking session (obviously due to Needs' connections!) which was released shortly afterwards as their debut 45 on Tiger Records (the sleeve lists the line up, in addition to Needs & Keinch as Nigel Birchall – guitar, Chris Lugmayer – bass, & Martin Godfrey – drums). Following more gigs (including dates with The Adverts & The Lurkers), on the eve of returning to the studio to record a Mick Jones produced second single, Birchall, Lugmayer & Godfrey quit the band. Jones said "don't worry" & offered to get Needs & Keinch a band for the session, which he did :- The Clash's Topper Headon on drums, Generation X's Tony James on bass & Jones himself on guitar! (& apparently Billy Idol is in there on backing vocals too!). The recordings materialized as a single "Danger Love" / "Like A Tiger" on ZigZag Records shortly afterwards, with (for legal reasons) Jones credited as "Michael Blair", Headon as "Nicholas Kahn" & James as "Anthony Ross"! "Kris - A guy came in with money via Zig Zag & we were gonna launch Zig Zag Records. Only problem - the band split up the week before - leaving just me & Colin. I phoned Mick Jones who’d already agreed to produce the record & told him I had Olympic Studios sorted but no band. Mick said he’d get a band & told me to be there. We showed up - 1st thing we see is Johnny Green & the Clash gear & flight cases. We realised our backing band was gonna be Topper, Mick & Tony James. We had a warm up jam. It was surreal." The Vice Creems were never able to find a steady line up, & called it a day shortly afterwards but not before a prestigious support slot to The Clash & Ian Dury & The Blockheads at Aylesbury Friars. In all the singles were fairly well received though Needs and the band were never viewed as serious contenders more a journalist playing at being a rockstar. After quitting Zig-Zag Magazine in the early 80's, & following several years in New York (along with picking up a heavy heroin habit), Needs cleaned up, returned to the UK in the early 90's & has since become a major figure in the UK underground dance scene, both as a dj and as a recording artist!
The group was founded in 1977 by four high school friends: Paul McLaughlin, David Maguire, Greg Maguire, and Tom Robinson. While their instruments were basic - including a cardboard drum kit - they were able to quickly produce a demo tape which they sent to a local indie label Fast Product, who also produced the Human League. Inspired by The Slits and Mekons, the Prats debuted on the Fast EP Earcom 1. In 1979, the band recorded a session with John Peel, who was cited as saying "... this session has put me in a good mood for the rest of the weekend... it's terrific...a great session!" Peel also offered his fee from a DJing appearance to finance a single release. A series of singles then followed, including "General Davis" and "Die Todten Reyten Schnell," which was released on a German indie label. A number of line-up changes saw Elspeth McLeod joining to provide additional guitar (including on the single "General Davis") and Jeff Maguire taking over bass duties from Tom Robinson. In 1980, the EP "The 1990s Pop" was released on Rough Trade Music. This record contained four tracks: "Disco Pope," "Nothing," "TV Set," and "Noboty Noticed." "Disco Pope" received significant airplay under John Peel and was re-released in 2003 on Rough Trade Shops' compilation CD Post Punk Volume 1. The end of school in 1981 meant the end of the Prats. Paul McLaughlin was quoted as saying “Bands are like marriages between four people. You just stop getting on with each other.” McLaughlin, now living in Chelmsford, has released one solo single, "Party Girl." He has since then given up on music and is currently an executive with the National Union of Journalists; Dave, Jeff, Greg, Tom and Elspeth all live in the Edinburgh area.
Fingerprintz - 1979 - Who's Your Friend 7'' download .
You may already know that even before the Silencers, Jimme and Cha were involved in the musical world, not in Scotland but in London. Cha was then the guitarist of the band Adam and the Ant , whereas Jimme used to write for Lene Lovitch and Paul Young . The encounter of our two "future" Silencers drove into the Fingerprintz in 1979, with the release of a first 12" single : Dancing with Myself / Sync Unit / Sean's New Shoes . Three albums will follow : The Very Dab , Distinguishing Marks and Beat Noir . in all these albums, you can find a sound that reminds the post-punk era, and when you listen to the songs, you will undoubtedly feel an evolution, noticing however obvious links between the tracks of the album The Very Dab and those of Distinshing Marks (Wet Jobs). S In the second album, Bob Shilling became Bogdan Wiczling (but it seems this is the same person anyway!!), and the music also became much more accessible, with tracks such as Houdini Love , Jabs and the famous Bulletproof Heart (which was released as single already at the time). Tracks were not anylonger composed by Jimme alone, since he was now helped by Cha. In the third album (recorded in Paris and London) the same musicians were present, plus Sadie "The Cat" (Jimme's wife). Beat Noir is actually the beginning of the "Silencers" sound, with such tracks as Touch Sense . At the same period a new single was released : Bohemian Dance / Coffe and Screams . The band then separated "split" in 1985, and Jimme and Cha returned to their native Scotland in order to found the Silencers with Martin Hanlin and Joe Donnelly (a cousin of Jim Kerr). Before they eventually chose the definitive name for the band, our four musicians hesitated a long time between such names as My Gronny's Green Armchair, See Gong Planet or The Hot Dog from Hell. In September 1986, the band started to repeat in Berlin, in Denmark, in Scotland and in London, and soon the demo of Painted Moon would be chosen to illustrate a film called "The Home Front". Painted Moon was then released as single in April 1987. It would be soon much appreciated by critics. The album A Letter from St Paul was be released one month later, after a Tour supporting the Pretenders in Europe and UK...
from a text by Valérie Prouvost, Silences, 02/1992 (link)
Holly And The Italians - 1980 - Tell That Girl To Shut Up 7'' download .
Holly and the Italians were a short-lived American pop-punk band that formed in Los Angeles, California in 1978 by Chicago born singer and guitarist Holly Beth Vincent, bassist Mark Sidgwick, and drummer Steve Young. They relocated to London, England and after playing on the pub circuit extensively, they quickly came to prominence as the opening act for fellow Americans Blondie, and were signed to disc jockey Charlie Gillett's record label, Oval. The 1980 release of the single "Tell That Girl To Shut Up" garnered the band a recording contract with Virgin Records. While the single wasn't a very big hit for Holly and the Italians, it would be in 1988 when covered by Transvision Vamp. The band recorded their only album, The Right To Be Italian, produced by Richard Gottehrer. In August 1980, they played the major Heatwave festival near Toronto. In 1982, Holly Beth Vincent released a solo album entitled Holly and the Italians. The album was/is critically acclaimed, and the subsequent video gained some airtime on MTV. Later that year Vincent recorded a duet of Sonny and Cher's "I Got You Babe" with Ramones frontman Joey Ramone. After a brief period replacing Patty Donahue in The Waitresses, she sang in a combo called the Wild Things with Anthony Thistlethwaite (The Waterboys) and Mick Taylor (Rolling Stones) and recorded an album, "America", under the name the Oblivious for Amy Ray's label Daemon Records. In 1995, Holly toured and teamed up with Concrete Blonde singer Johnette Napolitano for a musical side project entitled Vowel Movement. In 2007, Holly completed a new record,"Super Rocket Star" which is available on CD Baby.
London PX are a punk rock group formed by four friends from North London in 1979 they existed in various forms until 1982 and after a reunion in 2007 have reformed. They produced two singles Orders and Arnold Layne, additionally they have featured on various Punk Compilation Albums e.g. Killed by Death and Messthetics 102. An LP "All That There Is (1979-1982)" containing everything that was recorded is available.
Ebba Grön was not the hardest punk band in Sweden, after the two first records it was hardly punk at all, and the band did only hold together for five years. But in this time they almost single-handedly managed to bring Swedish punk rock into the spotlight, and they became more popular than any other bands in that genre, before or after. A decade and a half after their breakup they were still uncontested as the kings of Swedish punk. Ebba Grön was formed as a trio in 1977 by Ljungstedt, Thåström, and Eriksson, who already played together in the bands Urin and Fajt. Their stage debut took place in March 1978 when they played warmup for the Lerium at the local youth center, and by financing it themselves they released the debut single "Antirock" one month later. The band bought all the 500 copies and sold them on the streets. After a concert at Långholmsparken, which was recorded by the national radio, they were contacted by Håkan Lagher from Mistlur, who offered a contract and to re-release the single. Ebba Grön started a hectic period of touring, during which they also released two more singles. In 1978, the time had come for their album debut, and with We're Only in It for the Money they definitely wrote themselves into rock history. The anarchistic lyrics were seen as very controversial at the time, and the lyrics of one song, "Beväpna Er," about taking up arms against the authorities, could not be printed on the cover. The band also started to get a reputation of having troublesome gigs, with vandalism and fights, which fitted the punk image perfectly. In 1980, Ebba Grön released a single that would become their most famous song, a cover of Blå Tåget's Staten Och Kapitalet. Kärlek Och Uppror was released next year, and was much more produced than the debut, with the focus of the music shifting slightly away from punk. The catchy melodies and Ebba Grön's image as young rebels appealed to both the punk crowd and a wider audience, and rendered the album a big success. The lyrics and the music were always credited to the entire band, but after a while it became more obvious that it was Thåström who was the creative engine, and he would also have the most successful career after the breakup. Later that same year, keyboard player Sjöholm, alias Stry Terrarie, was recruited and brought with him new influences. The single "Scheisse" was released and parallel with this: Thåström, Ljungstedt, and Sjöholm released a single with the new project Rymdimperiet, later to reach fame as Imperiet. On Ebba Grön, released in 1982, the new tendencies were even more obvious. The album, produced by Tony Thorén from Eldkvarn, had keyboards and horns, and was more melodic than its predecessors. This may have meant that Ebba Grön was not punk anymore (though lyrically they were), but that hardly harmed them commercially. When Eriksson ended up in jail for four months for refusing to do his military service; it was the beginning of the end for Ebba Grön, and in February 1983 they sent a farewell letter to the press. But already the same year Rymdimperiet released their first album, now under the name Imperiet. Musically this album continued the development away from punk rock that had been seen on Ebba Grön's albums. Imperiet got a good start and would be the leading band of the Swedish alternative rock scene throughout the '80s. In 1995 Ebba Grön reunited for one occasion, but Thåström refused to participate.
A Scottish foursome from the Glasgow area, The EXILE formed in February of 1977 with the following line-up: Graham Scott (ex-Free Flight- vocals, guitar), Stan Workman (guitar), Robert Kirk (bass) and Dougie Burns (drums). The band spent a full 3 hours recording their debut 7" EP (1 hour to rehearse, 1 hour to record and 1 hour to mix). this took place on June 18, 1977, at Glasgow's Thor Studios and cost a grand total of 300 pounds. With the memorably fitting title "Don't Tax Me"", the self-produced record was released as a 4-track EP in August on The Exile's own Boring Records. the EP's 4 slabs of basic no-nonsense punk are: "Jubille 77", "Hooked On You", "Fascist DJ" and "The Windmill", the latter of wich is listed as just "Windmill" on the rear sleeve. Oh yeah, and the sleeve is designed by A.Moron. Being one of the very first scottish punk bands, The Exile was also responsible for setting up the first Scottish punk club for local bands, Gigi's Disco. The opening of the club (the opening night ended up being cancelled by the authorities) was actually financed by the revenue from the "Don't Tax Me" EP. "Disaster Movie" , a track recorded in October 1977, found its way onto the "Streets" compilation LP (Beggars Banquet) that came out in November 1977. At the same October recording sessions, "The Real People" and "Tomorrow Today" were also laid down. These songs were, however, not released until January 1978. "Disaster Movie", The Exile's finest moment, is a primitive, but catchy and highly era-fixed glimpse of '77 punk with a contagious singalong chorus to go along wth it. The Exile's second single, the "The real People" 7", came out on Charly Records in January, 1978. All 3 tracks were recorded in October 1977 and have been released on the various artists compilation CD entitled "Short Sharp Shock" (Overground). The Exile split towards the end of 1978, at which time robert Kirk (bass) had already been replaced by first Paul amour (ex-Cuban Heels) and then Gavin Patterson. Out of The Exile ashes rose Friction, who never managed as much as one single ("World in Exile").
Radiators From Space - 1977 - Television Screen 7'' download .
The Radiators From Space are an Irish punk rock band. The band formed in 1976 in Dublin, consisting of Philip Chevron (who was later to perform with the Pogues), Pete Holidai, Steve Rapid, Jimmy Crashe and Mark Megaray. They signed to Chiswick Records in 1977 and released two albums, TV Tube Heart and Ghostown in 1979, the latter of which featured "Faithful Departed". "Television Screen" featured on the Long Shots, Dead Certs And Odds On Favourites (Chiswick Chartbusters Volume Two) sampler Compilation album (1978: Chiswick). Ghostown received critical acclaim, but failed to sell well. They disbanded in 1981. Radiators' songs have been recorded by Christy Moore ("Faithful Departed") and Mary Coughlan ("Kitty Rickets"). The band reunited in 2004, with a slightly different line-up (Crashe and Megaray left the band and were replaced by Cait O'Riordan and Johnny Bonnie) and the shortened name The Radiators. Following a one-off concert, they formally reunited and signed to the 625 record label, through whom they have released two new EPs: The Television Screen (2004) and The Summer Season (2005). A new bass player, Jesse Booth, joined the band in February 2006. On 26 October 2006, the band released their third studio album Trouble Pilgrim. On 21 December 2006, they played in 'The Point', Dublin as a special guest of The Pogues.