Punk | Hardcore Vinyl 403 Items

First vinyl reissue for this rare and sought after LP originally released by C/Z Records in 1985, featuring... well, have a look at the track list below... limited edition 500 copies!

Original inner sleeve.

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!

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!

Away from the grandeur, and although their line-up history is full of potholes - the key to unlock this classic release by Extreme Noise Terror, Holocaust in Your Head is the double-edged vocal prongs from ENT founders Phil Vane and Dean Jones and the black-avalanche guitars of Steve Hurley (not forgetting the drum stool occupied by Mick Harris, soon to be of Scorn during the recording of this album, and Doom’s Tony "Stick" Dickens). Statement is as good as any opening gambit for a band - a trail of sludge setting fire to itself consuming the raw, political ashtray mantras spewed into its thick, corrosive grip. Another Nail in the Coffin suitably devastating the senses as a wrecking ball swings from its chain into the side of a condemned building, brick by brick. Eaten. Buried.

Away from the grandeur, and although their line-up history is full of potholes - the key to unlock this classic release by Extreme Noise Terror, Holocaust in Your Head is the double-edged vocal prongs from ENT founders Phil Vane and Dean Jones and the black-avalanche guitars of Steve Hurley (not forgetting the drum stool occupied by Mick Harris, soon to be of Scorn during the recording of this album, and Doom’s Tony "Stick" Dickens). Statement is as good as any opening gambit for a band - a trail of sludge setting fire to itself consuming the raw, political ashtray mantras spewed into its thick, corrosive grip. Another Nail in the Coffin suitably devastating the senses as a wrecking ball swings from its chain into the side of a condemned building, brick by brick. Eaten. Buried.

Some records so perfectly capture an artist at a critical point in their creativity, and make such an impact, that they become not just synonymous with the band, but an essential piece of music history. Such is the case with Shock Troops, the album that not only became Cock Sparrer’s most acclaimed record, but a defining moment for Oi!, punk rock, and underground music in general! Originally released by Razor Records in 1983, Shock Troops proved to consist of song after song which would each become anthems of the burgeoning Oi! scene and far beyond. From the opening of “Where Are They Now?” on through “Take ‘Em All,” “We’re Coming Back,” all the way to the closing chords of “Out On An Island,” there isn’t a song in the bunch that any self respecting punk rocker can’t shout along to. These working class anthems are just as vital today, as proven by the crowds of beloved fans worldwide that continue to go wild at Sparrer’s live shows, where Shock Troops tracks still make up the heart of their setlists. For nearly 15 years, Pirates Press Records has made certain this classic stayed in print, in an absolutely stunning assortment of coloured vinyl pressings. In celebration of the band’s 50th year, we were proud to present a remastered version of Shock Troops, from the original 1⁄4” tapes, sounding better than ever! The 50th anniversary gold jacket versions are sadly all sold out but now we have the remastered versions on colored vinyl with the original artwork! Pure class. SIDE A:1. Where Are They Now2. Riot Squad3. Working4. Take 'em All5. We're Coming Back SIDE B:1. Watch Your Back2. I Got Your Number3. Secret Army4. Droogs Don't Run5. Out on an Island

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…

How many bands can say they had multiple debut albums? For crustcore sound terrorists Extreme Noise Terror, Holocaust In Your Head - The Original Holocaust, first recording version, continues to excuse itself in being reissued for what must be the last time before the last time. It’s no wonder why. We The Helpless is every bit as hopeless as it sounds - a blitzkrieg of wails and nightmarish sonics that tighten themselves around the temples until the eyes turn white. Statement will always stand on its own two feet as a perfect set opener and Innocence to Ignorance’s unhinged atmospheric armageddon as well as Use Your Mind’s sample-sprung assault on the senses are possible indications of where the band could’ve wound up had their line-up not been walking such a shaky tightrope. Rough as hell? Sure. But if you want to know what it feels like to have the signal input of your skull reflect a separation in the grounding circuit of the flesh from the neck down, then carry on screaming.

How many bands can say they had multiple debut albums? For crustcore sound terrorists Extreme Noise Terror, Holocaust In Your Head - The Original Holocaust, first recording version, continues to excuse itself in being reissued for what must be the last time before the last time. It’s no wonder why. We The Helpless is every bit as hopeless as it sounds - a blitzkrieg of wails and nightmarish sonics that tighten themselves around the temples until the eyes turn white. Statement will always stand on its own two feet as a perfect set opener and Innocence to Ignorance’s unhinged atmospheric armageddon as well as Use Your Mind’s sample-sprung assault on the senses are possible indications of where the band could’ve wound up had their line-up not been walking such a shaky tightrope. Rough as hell? Sure. But if you want to know what it feels like to have the signal input of your skull reflect a separation in the grounding circuit of the flesh from the neck down, then carry on screaming.

The album called "Fish Inn" was originallyreleased in 1984. The leader of the band Michiro Endo anticipated departing from punk rock and created this work, exploring a sound inclined towards psychedelic music, a challenging move that seemed to self-denounce The Stalin's previous style. Higo Hiroshi from Friction was also involved in the band as bassist during this recording. Endo reminisced later about the album as: "More specifically, the main theme was how to kill The Stalin." Following this release, The Stalin disbanded and marked it as their final album. Although the remix version produced by Bill Laswell released in 1986 is generally more highly regarded, P-vine focuses on the original version and reissues it on vinyl with the original artwork for the first time.

The 1983 Toxic Shock hardcore classic featuring tracks from Massacre Guys (future ALL, Descendents members), MAD Parade, Roach Motel, Human Therapy, RED Tide, Decry, THE Dull, Killroy, Peace Corpse, Knockabouts, S.U.M., Septic Death and more. Includes a 20-page full-size magazine with band info and lyrics plus cover art by Pushead.

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.

What is there to say about SS DECONTROL’s long out-of-print 1982 debut, The Kids Will Have Their Say, that hasn’t already been written? Long heralded as the first straightedge album, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered, artistic statement that’s singular in scope and vision. The Boston act’s debut was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with remastered audio and a painstaking recreation of the iconic cover art courtesy of Bryan Ray Turcotte. Over the years, the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa, and drummer Chris Foley perform live. In many ways, SSD launched the hardcore scene in Boston as we know it and the band’s kinship with Minor THREAT’s Ian MacKaye arose out of the fact that both acts refused to conform to society’s still shifting standards at the time. From the unbridled aggression of SSD’s “Boiling Point” to the strippeddown groove of “How Much Art,” the album was as reactionary as it was revolutionary and is an artistic statement that remains to be remarkably complex for a group of guys barely into adulthood. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of The Kids Will Have Their Say is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded.

No Atlanta punk record from the 1980s creates such a lather as the debut single by DDT (except maybe Neon Christ's single, but I digress). Self released in 1983, merely finding a copy would put you into serious debt. That is, until now. Audio was restored by Jason NeSmith at Chase Park from a spotless copy of the record given to Chunklet by Joe Perry who recorded the single at his Bombay Studios in Smyrna. Never before reissued until right now. Get in on the ground floor of Atlanta's punk scene from 40 years ago

Dicks’ debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980’s “Dicks Hate The Police,” and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint. Originally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries— fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason. Dicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on “Anti Klan,” the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as “No Nazi’s Friend,” “Rich Daddy” and the title track, which remains one of the stone-cold classic punk anthems. Forty years on, Kill From The Heart continues to smolder—an arresting testament to the possibilities embodied in creative rage. It is no surprise that Dicks have been covered by Mudhoney, Jesus Lizard and more. Superior Viaduct is honored to present this truly essential reissue. Comes with original tracklist, insert and download card.

What is there to say about SSD’s long out-of-print 1983 release, Get It Away, that hasn’t already been written? Long heralded as the album which defined the band, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered artistic statement that’s singular in scope and vision. The Boston act’s follow-up release was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with updated remastered audio. Over the years the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa and drummer Chris Foley perform live. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of Get It Away is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded. In a genre where authenticity reigns supreme, SSD stands tall as torchbearers, embodying the essence of hardcore music with every chord and lyric; this record is a must-have for new and old fans.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with it's innovative sound and uncompromising attitude.

This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains the best-selling album in the band's catalog, showcasing Bad Brains' unique fusion of punk rock, hardcore punk, reggae, and heavy metal influences. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with it's innovative sound and uncompromising attitude. This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

Japanese pressing without OBI!

Japanese pressing without OBI!

Having played with the likes of influential movers and shakers on the anarcho-punk scene Antisect and Icons of Filth, on their first full-length LP, Birmingham’s Sacrilege established themselves as a unique force to be reckoned with, wreaking havoc on what we could classify as sonic tropes belonging to a spectrum of subgenres dealing in the extremes: hardcore, doom, and thrash. Fronted by Lynda ‘Tam’ Simpson and her seizure-inducing spells injected with a fierce, sociopolitical-cum-mythopoeic banshee bite (but not wanting to understate the line-up of Damian Thompson on guillotine-quick/milkshake thick guitars) - the six-track onslaught is every bit as crushing as the title suggests. From depraved dungeon synth-scapes on opener Lifeline to the planet-flattening funeral toll of The Closing Irony, one question remains: One riff to rule them all? Yes.

Having played with the likes of influential movers and shakers on the anarcho-punk scene Antisect and Icons of Filth, on their first full-length LP, Birmingham’s Sacrilege established themselves as a unique force to be reckoned with, wreaking havoc on what we could classify as sonic tropes belonging to a spectrum of subgenres dealing in the extremes: hardcore, doom, and thrash. Fronted by Lynda ‘Tam’ Simpson and her seizure-inducing spells injected with a fierce, sociopolitical-cum-mythopoeic banshee bite (but not wanting to understate the line-up of Damian Thompson on guillotine-quick/milkshake thick guitars) - the six-track onslaught is every bit as crushing as the title suggests. From depraved dungeon synth-scapes on opener Lifeline to the planet-flattening funeral toll of The Closing Irony, one question remains: One riff to rule them all? Yes.

At last, one of the all-time bat legends, Nomeansno has returned to Alternative Tentacles Records. The entire catalog no less, starting with their most beloved album, Wrong. Using the original all-analog master, from the original mother, as engineered by George Horn, John Wright, and Jello Biafra.

Nomeansno formed in a vacuum, in Victoria, British Columbia in 1979 and honing their sounds for years before relocating to Vancouver and releasing eleven albums over an almost forty year career, including a collaborative album with Jello Biafra, and numerous EPs and singles. Originally formed as a two-piece by brothers John and Rob Wright, and later joined by monster guitarist, Andy Kerr. Mixing hardcore punk, dark lyrics, and sophisticated arrangements boarding on prog, Nomeansno was massively influential and widely regarded as the first band to be referred to as “math rock”.

Originally released on Alternative Tentacles in 1989, Wrong stands on its own and is still considered to be a much-loved classic. Allmusic called the album a masterpiece and a definitive jazz core album. In 2021, the album was voted by the public’s to win the Canadian Polaris Heritage Prize to honor classic Canadian albums released before the creation of the award.

In 2015, drummer John Wright described the album as their “most popular album by a country mile” and to the St. Louis Music Press of Wrong’s success to the rise of alternative music and the success of Nirvana:

“That’s where all the buzz about us came from. We were touring throughout the States in the mid-80s, and we’d get a little bit of an audience here and there, but after a couple of years in Europe, we started doing some big shows there, and all of a sudden, people in the States were coming out to our shows. And we went from getting paid $200 to getting paid $1000. It was just like that. You had to have the buzz, and then it all just kind of blew up.”

Getting Nomeansno vinyl into stores is long overdue, so it all starts here with Wrong. Expect all vintage Nomeansno vinyl to systematically return in the days ahead.

Small sticker on cover.

A quartet of milanese kids destined to write the history of hardcore punk: ladies and gentlemen, here are Crash Box! At their debut and grappling with some of the most iconic hits such as Nato per essere veloce and Veleno per voi. Demo 1983, where Marco Maniglia Medici's lyrics are already at the peak of creativity and at the service of one of the most virtuous formations in the history of the band. 22 minutes of true Italian hardcore. Anastatic reissue of the original 1983 cassette and remastered audio. Graphix by DeeMo on original materials.

“In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7-inch EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7-inch EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs. In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12-inch EP, the G.I. record would have to wait. A new DC label, Fountain of Youth expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to fi nally release the record on Dischord proper. In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world making multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts.”—Ian MacKaye, August 2010.

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.

1985 reissue.