It's been
a while since we've updated this important yet oft overlooked page.
With the
design of the new web page we've decided to bring back this old favorite
from our original web site from the 90's. On this page we pay homage to
those who came before us and have paved the path for the punk bands and
fans of today. So read on, enjoy some fun facts about your favorites of
yesteryear or just begin to learn your roots. Lest we
forget!
If there's anything in particular that you'd
like to see or hear, email us and
if we have it maybe we'll post it up!
BAND/COUNTRY
RECORD
TITLE
FORMAT
LABEL/COUNTRY
YEAR
The
Buttocks (Germany)
"law
and order/army life/kill the pigs/nein nein nein "
7"
Konnekschen Records
(Germany)
1980
Often
touted as Germany's very first "hardcore" punk band,
The Buttocks were ahead of their time. Forming in 1978, this
is their second of two ep's. Their debut 1979 ep "Bonanza" is
great but this ep is one of those rare magical moments when a
band is captured at their peak. While still an active band, The
Buttocks also appeared on the "In Die Zukunft" compilation
LP in 1980 on the Konnekschen label as well as the famous "Kein
Experimente vol.1"
comp LP in 1983 on Weird System. Following their break-up in
1983, they had two posthumously-released collection LP's, "Fuckin'
In The Buttocks" in 1985 and "Mehre Pogo Leute" in
1991, as well as appearances on the "Paranoia in der Strassenbahn" comp
LP in 1990 and the "Nazis raus" comp LP in 1991, both on the
Weird System label. Most recently, they were bootlegged on the
KBD-style
"Bloodstains Across Germany" LP. Their drummer Stephane
went on to play for 80's German punk legends The Targets.
BAND/COUNTRY
RECORD
TITLE
FORMAT
LABEL/COUNTRY
YEAR
Charge (England)
"brave
new world/kings cross/gods kids "
7"
Test
Pressing
(England)
1981
Charge
are one of the great, unsung heroes of the early 80's London
punk scene. This, their debut ep, released on the obscure Test
Pressings label, is by far their best material. This ripper will
have you pogoing off the walls. Their follow
up ep "Destroy
The Youth" on the Kamera Records label is much easier to
find and almost as great. Their third ep "Fashion"
saw the band moving to a more dancy, new-wavy sound often compared
with other UK brit-pop/new wave bands of the time such as Theatre
of Hate and Sex Gang Children. Unforutnately, the "Fashion" ep
was a harbinger of things to come with the release of the band's
only full-length album, "Perfection" in 1982. Their best
material clearly behind them, they called it a day shortly thereafter.
BAND/COUNTRY
RECORD
TITLE
FORMAT
LABEL/COUNTRY
YEAR
Cheetah
Chrome Motherfuckers (Italy)
"furious
party"
7"
Belfagor
Records
(Italy)
1984
We've
featured lots of British, German, Swedish and Finnish punk but
now it's wop hour! Why would an Italian band name themselves
after the guitarist for the Dead Boys you ask? Um...well..anyway,
this ep, the band's second, is a serious ripper. CCM debuted
in 1981 with their raw and primitive "400 Fascists" ep,
followed by their split LP with I Refuse It in 1984 and this
ep the same year. Between 1983 and 1985 the band kept busy appearing
on international cassette compilations on such labels as ROIR
and Bad Compilation Tapes (whatever happened to Chrisxbct?) before
finally delivering their one and only studio full length, "Into
The Void". In my humble opinion,
"Into the Void" was very much like Social Unrest's full-length
material. Not comparable to their ep output but good in it's own
more melodic way.
BAND/COUNTRY
RECORD
TITLE
FORMAT
LABEL/COUNTRY
YEAR
FUCK
UPS (USA)
"FU82"
7"
Fowl
Records (USA
)
1982
San
Fracisco's ugliest, most hated band of the early 80's, don't let
anyone tell you otherwise. Singer Bob Noxious was the bane of the
early 80's scene. Disliked by all, including other
bands, labels, fanzines and even his own band members. I first
stumbled across the magic that is the Fuck Ups when I bought
the "You'll Hate This Record" comp LP featuring the
Fuck-Ups track "I Think You're Shit" in the late 80's.
This LP was compiled by Mykel Board in 1983 and released on his
own "Seidboard Enterprises"
label. It was intended to compile the most disliked bands in
the underground music world at the time and is famous for including
rubber vomit on the front cover, making it virtually
impossible to store in your record collection. Although my collection
is infinitely larger now than it was when I discovered this album
in 1988, it still sticks out like a sore thumb. Not surprisingly,
the only other punk band on the album was
GG Allin. The rest of the album was comprised of awful alt/noise
bands including Board's own band, Art. FU82 was sadly the band's
only recorded output. This pink/black sleeve is the 2nd printing,
the first sleeve was on white paper. There's also an extremely
limited pressing of this 7" featuring film strip images on the
cover. Anyone know more about it?
BAND/COUNTRY
RECORD
TITLE
FORMAT
LABEL/COUNTRY
YEAR
Drongos
For Europe (England)
"adverse
chorus"
7"
Kite
Records (England)
1981
Alright,
here we inevitably go, back to the UK. We are Punk Core after
all, known for our worship of all things UK82.
Here we have another great band, very important though
often overlooked in the history of early 80's UK punk. Rising
from the British Midlands in
the late 70's, (along with bands like GBH, The Varukers, Dead
Wretched and even the Macc Lads) DFE made their presence known
with the release of their first ep "Adverse Chorus" on their
own Kite Records label in 1981, with the financial help of friend
"Tattoo Tony" Lynx. The band were picked up by the Inferno label
for the release of their awesome and slightly more polished "Death's
A Career" ep in 1981 followed by the nearly-as-great "Eternity"
ep the same year. DFE disappeared shortly thereafter, resurfacing
briefly in 1990 with their "This Town" ep. Sadly, "This Town"
lacked the piss, vinegar, youthful angst and lo-fi recording
that made early 80's England such a special time and place for
punk music. The band have since re-formed in the 2000's and have
had their early material re-released on an almost painfully lo-fi
collection CD entitled "Return of The Punk Monster" on Data Records,
followed by their sorely over-due full length album "Barcode
Generation" in 2003. Returning to true form and now stronger
than ever, the band are gigging hard and making up for lost time.
BAND/COUNTRY
RECORD
TITLE
FORMAT
LABEL/COUNTRY
YEAR
THE
EFFIGIES (USA)
"bodybag/security
a/k/a remains nonviewable"
7"
Restless
Records (USA)
1982
Chi-town's
first and best, The Effigies! Inspired by the early sounds of
New York, Detroit and England (like every other punk band of
the late 70's era) the Effigies began gigging around town and
were recorded live in late 1980 at the Oz club for their vinyl
debut on the infamous "Busted at Oz" comp LP on Autumn
Records along with other Chicago punk notables including Naked
Raygun, Siver Abuse and Strike Under. The Effigies followed with
their debut 12" ep "Haunted Town" on the Autumn
label in 1981. Similarly to the Damned's "music for pleasure" album,
there's no text on the cover of the "Haunted Town" album
to identify it as an Effigies record. By 1982, the Effigies released
this gem of a single on their own Ruthless Records label, followed
the same year by the classic "We're Da Machine" 12". "We're
Da Machine" featuring
the agressive title track, yet maintaining their mid-paced punk
rock sound in the face of the hardcore trend that was sweeping
the American punk rock scene at the time. Alas, is as often the
case, their fire was to burn bright but short. Their
post-punkish debut full-length album "For Ever Grounded" followed
in 1984. This is where
I lost interest as the band joined the Bob Mould school of utterly
disinteresting "post-punk". They followed with two
more albums which continued in this direction, 1985's "Fly
On a Wire" and
1986's "Ink". Ironically, as legend goes, The Effigies
broke up shortly after the release of "Ink" then were
offered the opening spot on Metallica's "Master of Puppets" tour
in 1986 by Lars Ulrich, which they turned down. This was the
fateful tour that would claim Cliff Burton's life, leaving the
world to wonder "why
did it have to be Cliff... why couldn't it have been Lars?".