Punk | Hardcore Vinyl 418 Items

Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton.

Still in shrink but opened with hype sticker. Vinyl is close to NM. With insert. 2007 reissue.

Formed in Lewisham, southeast London, punk band the Business joined the Oi! scene after supporting the Four Skins in 198l. Debut single ‘Harry May’ hit the Indie charts before the group disintegrated, leading frontman Micky Fitz to recruit new members. Then, in 1987, original guitarist Nick Kent joined Fitz for heavy metal side project UK, with former Tank drummer Mark Brabbs, channelling their love of Ac/dc, Motorhead and Rose Tattoo. As Kent goes all-out with the hard rock solos and Fitz aims for the melodic, this is a great slice of the new wave of British heavy metal, and a startling surprise for all Business fans!

Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton.

Creator is the second album by legendary Boston band The Lemonheads. Still featuring the full original line-up of Evan Dando, Ben Deily, and Jesse Peretz, the album also includes John P. Strohm (of the Blake Babies, Antenna, and Velo-Deluxe) on drums.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of “Crossing The Red Sea”, The Adverts “Cast Of Thousands” has since been recognized as a lost classic of the time. TV Smith’s cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert’s bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield “Tubular Bells”) the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV’s best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear “Cast” for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on “My Place” or via the anthemic surge of “Television’s Over”, with TV’s hook factory on full display on the anti-love song “Love Songs”, and the band closing the album with the creeping ballad “I Will Walk You Home”; The Adverts had grown from a great punk rock band to a great rock band.

Classic Black vinyl, 1000 pressed. Arguably one of the best punk albums of the 70s, The Boys self-titled debut (produced by Dangerfield & Steel) is a cult UK classic. The album is filled with the pop punk gems, the kind of immediate salvos that would elevate Buzzcocks into the charts. In the intervening years, the history of punk rock has been written and re-written and a whole heap of bands have been sidelined. The Boys’ debut album, re-mastered here still sounds as fresh and immediate as it did back then and it also includes two classic punk rock singles in ‘I Don’t Care’ and ‘First Time’ (the latter, along with The Undertones "Teenage Kicks", the ultimate punk anthem of teenage romance and adolescent angst). Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’.

By the early 80s punk had become something else compared to what it was when Year Zero stabbed a flag in the sand and established ‘War!’ on boredom and normality. You could argue that in 1982 when Endangered Species arrived...UK Subs were very much that. The vanguard of the second wave. A crucial nook in the subculture. Still alive. Still kicking. Still prowling around the town with their best point yet to be proven. From Ambition, essentially an annihilated bluegrass-skank version of the Stones’ Satisfaction, to Indie Chart hit single Countdown and the atomic sonics of a post punk dub attack in Ice Age, all blistering guitar razors that chime against the night as well as chew it up, it's easy to see both why Charlie Harper considers the group's fifth LP to be their strongest and Guns ‘n’ Roses covered Down on the Farm.

Before embracing punk through the influence of bands like the Damned, UK Subs frontman Charlie Harper was active in pub rock groups, so when he decided to cut his debut solo album for Flicknife Records in 1981, he returned to classic rock ‘n’ roll and R&B, cutting an enjoyable covers album with fellow Subs Steve Slack and Pete Davies in tow. Tune in to this long lost gem to catch the other side of Charlie, who delivers one-off takes of Hendrix’s ‘Hey Joe,’ the Doors’ Light My Fire, the Velvets’ ‘Femme Fatale’ and Muddy Waters’ ‘Hoochie Coochie Man,’ among others. All UK Subs fans take note: your hero’s alter-ego awaits!

Formed in 1976, legendary punk outfit Chelsea was assembled by the owners of the Acme Attractions boutique with Gene October as frontman; guitarist Billy Idol, bassist Tony James and drummer John Towe soon split to form Generation X, but their loss was Chelsea’s gain, with debut single ‘Right To Work’ rated one of the best punk songs of all time. Though their self-titled debut LP didn’t surface until 1979, when punk was waning, there is plenty to savour in October’s forceful vocals and James Stevenson’s powerful guitar licks, plus a plausible take of Jimmy Cliff’s ‘Many Rivers To Cross.’ A punk classic, ripe for rediscovery!

"Why?" is the debut album by hardcore punk legends Discharge, originally released in 1981. Upon it's initial release it peaked at Number 1 in the UK indie album chart. When it comes to classic hardcore punk, Discharge are truly one of the all-time greats.

With insert.

Frontman MJ Howells and his drumming brother Peter Purrfect formed glam-rock band Rockslide in Manchester in the mid-1970s with bassist Wispa Cundall and guitarist Vic Long but changed direction after seeing the Sex Pistols; Long was replaced by guitarist Gus Gangrene and after shifting to London, their new identity was pure punk. Debut EP Temptations Of A White Collar Worker sold 14,000 copies in short shrift, paving the way for the dynamite LP Further Temptations, the sole long-player they managed before splitting in the mid-1980s. Brash, bold, defiant and non-conformist, Further Temptations kicks ass!

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output. Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly d istorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide. Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy. Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.

It’s 1980 in Orange County, California, and Punk Rock has been scorching the ‘burbs for a few years. Eddie Joseph has been on the Southern California scene the entire time, plotting his poisonous rock’n’roll maneuvers since the mid 1960s when he began playing in garage bands. Eddie had been honing his skills on roots music and swinging teenbeat well in advance of his foray into a new, seedy, violent punk blitzkrieg. There’s a master plan at work here, and it involves select players depending on which direction Eddie needs to bleed out of his system. The recruitment of Mike Patton and Matt Simon of OC legends THE Middle Class get Eddie AND THE Subtitles rolling for a slew of shows with comrades Black Flag, Adolescents, Circle Jerks and every other degenerate crew in the radius. A DIY imprint called No Label Records is formed (with literally NO Labels on the vinyl!) and the first single “Fuck You Eddie!” is unleashed. Recorded in Fullerton by JON ST. James at his legendary Casbah studio (The Vandals, Social Distortion, Berlin), these sessions also yielded a handful of tracks that would appear on the exceedingly rare Skeletons In The Closet LP (No Label Records, 1981). “Zombie Drug Killers,” “No Virgins In Hollywood,” and “American Society” (the short fast loud version covered by L7) appear here as the opening trio on this newly re-sequenced reissue. Geza X is also on board to produce a handful of tracks with peripheral Subtitles including Nicky Beat (germs, Weirdos) among the sessions’ players. The results here are another manifestation of Eddie’s one true love. Even as a punk allegiant, songwriting, sound and style are the priority. The dusted and dark goth-pop of “Magic” and “Stream of Consciousness” are crucial to the plot, setting a unique tone that works in a sea of one-dimensional scene releases, taking full advantage of Geza’s synth-mimicking microtonal guitar techniques. A tribute to Dave Dacron, chief miscreant of Dangerhouse Records’ Rhino 39 is also set to tape as consolation to X, as Dacron’s 16 year old life was tragically cut short in an automobile accident in 1980. But the party rocks on with covers of “Louie Louie” (also appearing on the elusive Fuck You Eddie! single) and “We Gotta Get Out of This Place,” as a testament to Eddie’s obsession with the timeless now-sounds of his delinquent adolescence. Friends and fellow freaks JON Blair (of surf cats JON AND THE Nightriders) and Bobby Paine (later of rockabilly hepsters THE Paine Brothers) lend their own song-smithery for four more originals: “Boppin’ Little Bobcat, ”“Treat me Right,” “Gina” (covered in 1984 by Josie Cotton and again in ‘89 by Stray Cats) and “Your Head’s In The Right Place,” respectively. Skeletons In The Closet remains an unusual and rare artifact in the ashtray world of punk, DIY and outsider music, and Slovenly Recordings is blasted to present it to the world one more time.

Back in print!

In the late ’70s, The Avengers established themselves as one of the US’s preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter’s final performance.

As Byron Coley writes in the liner notes, “Of the best bands of San Francisco’s first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was), with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!”

Originally released in 1983, four years after the band’s dissolution, The Avengers’ self-titled LP is often referred to as “The Pink Album” for its magenta-hued cover design. Frontwoman Penelope Houston’s iconic voice and razor-sharp lyrics resonate on anthems “We Are The One” and “The American In Me,” while penetrating ballads like “Corpus Christi” reveal a truly out-of-body euphony.

The Pink Album remains The Avengers’ definitive statement—collecting their classic Dangerhouse EP, sessions recorded with the Pistols’ Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, “The word I always come back to is mystical, and that remains almost theirs alone.”

Dead Moon's first LP! Originally released in 1989, In The Graveyard sounded like nothing else happening at the time. Lo -fi psychedelic masterful songwriting with so much murk and mystery—it's perfect. Features absolute hits like "In The Graveyard", "God Damn I Hate The Blues and "Dead In The Saddle." This is one of the most important rock and roll releases of all time.

Re-release of the classic Oi Polloi compilation that features some of the band's best studio tracks from years past, as well as a live side recorded in their hometown of Edinburgh.

The whole album has been completely re-mastered, the "live" side now features the whole gig without any breaks between the tracks so is now one long recording.

Limited edition Color Vinyl with a printed inner bag including lots of new sleeve notes by Deek.

The second album. Super mix of punk/glam and sub-Kinks pop! On this album, they branched out from straight ahead punk rock and added a bit of glam while maintaining their snotty, melodic approach. It's a classic. Originally released in 1979.

Hubble Bubble is a Belgian punk band in which Plastic Bertrand started his career. Formed in 1973 by Alain Bureau and managed by Bernard Schol, the band released a self-titled album in 1977 on Barclay Records. Plastic Bertrand is listed as a songwriter, singer, and drummer under the name Roger Junior. Reissue of the first Hubble bubble album originally released on Warner Bros records in 1977.

180 Gram Vinyl

White vinyl! Copy is still in shrink!