Artists In My Music Collection

By ruido ruido
updated 4 months ago

The Bands here listed are part of my music collection, and my life soundtrack
Try to widen the bands information through the web (Wikipedia, Discogs,Official pages, KFTH page, etc ...)

  1. The Wall

    The Wall were a punk rock band formed in Wallsend, Sunderland, England, in early 1978. They released two albums while together.
    Formed in early 1978, the initial line-up was Ian Lowery (vocals), Andzy Griffiths (bass, vocals), John Hammond (lead guitar, vocals), and Bruce Archibald (drums), and this line-up recorded the band's debut single, "New Way", which was issued in April 1979.[1][2] Played regularly by BBC Radio 1 disc jockey John Peel, the single sold more than 10,000 copies.[2] This success led Lowery and Griffiths to relocate to London, although Hammond and Archibald didn't follow them and were replaced by Nick Ward on guitar, and by Rab Fae Beith, former drummer with Patrik Fitzgerald (who The Wall had toured with) and The Pack.After meeting Paul Cook and Steve Jones, the two former Sex Pistols decided they wanted to work with the band, and produced the next single, "Exchange".Rab became the band's manager, and when their first label Small Wonder ceased operating, he got them a deal with Fresh Records and went into the studio to record the next single "Ghetto". Although originally recorded with Lowery on vocals, it would be re-recorded with new singer Ivan Kelly (formerly of Ruefrex). Lowery had decided that Ward should be replaced, but the rest of the band disagreed and instead decided that Lowery should go.Lowery went on to form Ski Patrol (with Archibald) and The Folk Devils, as well as recording solo work. He died in 2001.Former Straps guitarist Andy "Heed" Forbes was also added to the line-up when Ward decided to leave the band. The debut album, Personal Troubles and Public Issues was released in late 1980. After an unprovoked drunken attack by Kelly on an elderly man while the band were walking through London, the singer was immediately sacked from the band, with Griffiths taking over on vocals.The band were given a support slot on the Stiff Little Fingers Go For It national tour, and recorded the Remembrance EP to coincide with the dates, with a stand-in bassist playing in the live shows. On returning from the tour, Claire Bidwell of The Passions joined on bass guitar, leaving Griffiths free to concentrate on vocals. The band's second album, Dirges and Anthems was released in April 1982, the band now signed to Polydor Records. Polydor insisted that "Epitaph" be released as a single, but it was outsold by the Hobbies for a Day EP released on Fresh Records shortly before, and the band were dropped by Polydor.The Wall were reduced to a duo of Beith and Griffiths, who soldiered on for one last effort, the Day Tripper EP in late 1982, before the group split up for good.

    Beith had a short spell with And Also the Trees before joining UK Subs in 1984, and running his own RFB record label. He later worked as a motorcycle mechanic.

    A collection of the band's independent releases was issued in 1998 on Captain Oi!

    In August 2007, the band reformed for a headline appearance at the Blackpool Rebellion with 7 of the original members, Andzy Griffiths (vocals), Nick Ward (guitars), Al Gregg (Guitars), Andrew Forbes (guitars), John Hammond (guitars), Claire Bidwell (bass) and Mark Dyvig (drums) with a warm-up the previous night at The Thatched House in Stockport. This was followed by the release of a new live album in August 2009 on Captive Records (Opus Productions).

    Singles, EPs
    "New Way" (1979) Small Wonder
    "Exchange" (1979) Small Wonder
    "Ghetto" (1980) Fresh
    Hobby For a Day EP (1981) Fresh
    Remembrance EP (1981) Polydor
    "Epitaph" (1981) Polydor
    Day Tripper 4 track 7" EP/9 track 12" EP (1982) No Future
    Personal Troubles and Public Issues (1980) Fresh
    Dirges and Anthems (1982) Polydor
    The Punk Collection (1998) Captain Oi!
    The Wall - Live (2009) Opus Productions

  2. Buffalo Tom,

  3. Instigators

    Instigators were an anarcho-punk band from Dewsbury, England, formed in 1980. The original line-up split up in the mid-1980s, but the band carried on into the 1990s.
    The band was formed in 1980 by drummer Paul "Hammy" Halmshaw and guitarist Simon Mooney, both students at Thornhill High School, and the line-up was completed by Simon "Semi" Bridgewater (vocals) and Nicky Djorjevic (bass Guitar). They took the name Instigators on the suggestion of Ritchie Calvert of the band Disintegrated. The band's first live performance was in summer 1982. Influences on the band included Crass and Flux of Pink Indians.
    Djorjevic left to be replaced by "Tompo", who only lasted a few months, playing on the band's first demo, before being replaced himself by Simon "Tab" Elsey. Bridgewater also left for a short time, his replacement being [Sheffield based Vocalist/Lyricist] Darren Dean. The band's demo got the band a support slot for Flux of Pink Indians in November 1982, and they recorded two further demos, all three getting released on a cassette on Halmshaw's Peaceville Records label, gaining the band more fans. The band were given another support slot in May 1983, opening for Subhumans in Bradford, a performance that was recorded by Subhumans vocalist Dick Lucas and released through his Bluurg label. Bluurg also released the band's first EP, The Blood is on Your Hands, which reached number 21 on the UK Independent Chart. The 1985 LP release Nobody Listens Anymore increased their popularity, reaching number 18 on the Indie Albums Chart, and securing them a spot on Pusmort's Cleanse the Bacteria compilation LP.
    Bridgewater left later that year after an argument, and the band recruited Tez Turner (formerly of The Expozez) as his replacement. Hlamshaw and Elsey also soon left, with Mooney and Turner continuing with Andrew "Trimble" Turnbull on bass guitar and Steve "Cuzzy" Curran on drums.The band's sound changed with the new line-up, taking on a more American influence. They went on to tour Europe and the United States and continued into the 1990s.
    Halmshaw went on to front Civilised Society, and continued to develop his Peaceville label.
    Singles, Eps
    The Blood Is on Your Hands 7" EP (1984), Bluurg, Fish 6
    Recorded Live in Denmark Feb '86 7" EP (1986), Mystic
    "Eye to Eye" (1986), Mystic
    "Full Circle" 7" (1987), Double A
    "Invasion" 7" (1988), Super Seven
    Demo (cassette) (1983)
    Live in Leeds (cassette) (1983), Bluurg
    Nobody Listens Anymore (1985), Bluurg, Fish 11
    Phoenix (1986), Bluurg, Fish 13
    Instigators Live At Huset, Arhus, Denmark, 15th February 1986 (1987), self-released, later licenced to Calypso Now
    Wall of Sound - Live in Berlin (1988), Meantime
    Shockgun (1988), Flipside, FLIP 16
    New Old Now (1989), Peaceville
    Recovery Sessions (1990), Full Circle
    Dine Upon the Dead (2002), Blackfish - compilation

  4. Goober Patrol

    Norwich punk band.
    Simon - singing and guitar
    Stu - drums
    Tim - guitar
    Tom - bass(also plays with The Toy Dolls and Vanilla Pod)
    Ernie - keyboard
    In the early 90’s, four complete loons decided to pick up instruments and make a racket. The resulting din required a name that embodied both their incredible musical prowess and their extreme knack for silliness. The only fitting moniker was GOOBER PATROL.

    Having garnered overwhelmingly positive response to their first two albums, GOOBER PATROL suddenly realized that fans were rabidly multiplying. Folks were looking beyond the band’s early image of ‘hillbillies with wind problems’ and seeing them for what they truly are: some very talented little bastards


  5. Black Eyes

    Black Eyes are Dan, Daniel, Hugh, Jacob, and Mike. They began playing as Black Eyes in August of 2001, although most of the band had played together previously in Trooper and the No-Gos before that. The band's first-full length was released on Dischord in 2003 following several singles on Ruffian Records and Planaria. Black Eyes created a unique live experience as the members made a symmetrical shape on stage, two drummers, one on either side of the stage, two bass players, one at the back and one at the front, and one guitarist in the middle. Their shows were chaotic and renown for melting into a frenzied, rhythmic jam sessions with most of the audience partaking in the mayhem by the end of the set. After an extensive tour with Q and Not the band released their second full-length, "Cough" in May of 2004. This album introduced saxophone to the mix and relied more heavily on improvisational and dub influences hinted at in their earlier work. The band broke up shortly before the album was released, at the height of their popularity.

    (August 2001 - March 2004)

    Dan Caldas- drums, bass, vocals
    Daniel McCormick - guitar, vocals
    Hugh MacElroy - bass, keyboard, vocals
    Jacob Long- bass, guitar,vocals
    Mike Kanin- drums/vocals
    All play percussion!

  6. Flux Of Pink Indians

    Flux of Pink Indians were an anarcho-punk band from Hertfordshire, who released 3 completely different LP's from 1982 - 1986. The first was hardcore angry punk, the third, a mixture of protest tunes, dub, funk and drums. The second LP has the most offensive title ever conceived, and is an incredible burst of noise, political fury and melody.
    The band formed from the remaining members of the Epileptics (who later changed their name to Epi-X due to letters of complaint from The British Epilepsy Association) by Colin Latter (vocals) and Derek Birkett (bass guitar) with guitarists Andy Smith, Neil Puncher, and drummer Sid Ation (who was also a member of Rubella Ballet). Their debut EP, Neu Smell, was released on Crass Records in 1981.

    Ation departed FOPI to work full time with his other band Rubella Ballet, and was soon replaced by Bambi, formerly of Discharge, while Smith was replaced by Simon Middlehurst. However, both departed quickly for their original band, The Insane. While auditioning for their replacements, Puncher also left, and the line up was completed by former Darlex and Epileptics guitarist Kevin Hunter and drummer Martin Wilson. The band's debut album, Strive to Survive Causing the Least Suffering Possible was premiered on the band's own Spiderleg label
    The band's second LP, The Fucking Cunts Treat Us Like Pricks, was banned by retailers HMV, and copies were seized by Greater Manchester police from Eastern Bloc record shop, which was charged with displaying "Obscene Articles For Publication For Gain".

    By 1986 the band had shortened their name to Flux and released their third album Uncarved Block, produced by Adrian Sherwood, and featuring several members of the On-U Sound Records label.

    Birkett, making use of his experiences with Spiderleg, set up One Little Indian Records. He still uses the Flux title for occasional projects. Latter went on to form the dance influenced Hotalacio, and was joined by drummer Wilson and guitarist Middlehurst.

    In 2007, the band re-formed for an intended one-off gig supporting ex-Crass vocalist Steve Ignorant for his "The Feeding Of The 5000" gig at London's Shepherds Bush Empire in November of that year. The "Strive To Survive" era line-up (Latter, Hunter and Wilson) was joined by ex-Decadence Within bass player Ian Glasper replacing Birkett, and as a result of their well-received set the band played another three gigs in 2008, in Bradford, Dijon and London.
    Original lineup
    Colin Latter (vocals)
    Derek Birkett (bass guitar)
    Andy Smith (guitar)
    Neil Puncher (guitar)
    Sid Ation (drums)
    Later members
    Dave "Bambi" Ellesmere (drums)
    Simon Middlehurst (guitar)
    Kevin Hunter (guitar)
    Martin Wilson (drums)
    Louise Bell (guitar)
    Tim Kelly (guitar)
    The Licks
    1970's E.P. (1979, Stortbeat Records, 7", BEAT8)
    Tracks: "1970s Have Been Made In Hong Kong" / "System Rejects" / "Hitler's Still A Nazi" / "War Crimes"

    The Epileptics
    Last Bus To Debden EP (1981, Spiderleg, 7", SDL2)
    1970's E.P. (1982, Spiderleg, 7", SDL1) (re-recording of The Licks EP with Penny Rimbaud of Crass on drums)
    Flux of Pink Indians
    Neu Smell EP (1981, Crass Records, 7", 321984-2)
    Strive to Survive Causing the Least Suffering Possible (1983, Spiderleg Records, LP, SDL8) (reissued 1987 on One Little Indian)
    The Fucking Cunts Treat Us Like Pricks (1984, Spiderleg Records, DLP, SDL13) (reissued 1987 on One Little Indian)
    Neu Smell EP (1987, One Little Indian, 12", 12TPEP1) (this release credited to 'Flux')
    LiveStatement (2002, Overground Records, LP/CD)
    Fits and Starts (2003, Dr. Strange Records, CD)
    Taking a Liberty EP (1985, Spiderleg Records, 7", SDL16)
    Uncarved Block (1987, One Little Indian Records, LP, TP1)
    "Vision" (1987, One Little Indian, 12", 12TP9)
    Not So Brave (1997, Overground, LP/CD, OVER67/OVER67CD)

  7. 32



    Swedish hardcore band from Umeå.
    Poetry Written In Gasoline
    A restrospective look into the scene shaping work of the seminal Swedish band.
    In 1998 a Swedish hardcore band called Refused released their third and what was to prove their final studio album The Shape of Punk to Come. Despite being lavished with praise amongst circles in the punk underground, the album largely slipped unnoticed, underneath the radar of the mainstream music press at a time when the nu-metal behemoth was beginning its ominous rise, and was dismissed on the underground scene by some purists for straying too far from the strict hardcore rulebook. After close to seven years of increasing inner tension and ideological conflict, after touring the album the band called it quits. The music world barely batted an eye-lid at the announcement.
    Fast-forward to 2005 and Refused songs are played every weekend in rock clubs the length and breadth of the country, The Shape of Punk to Come is widely heralded as one of the most important punk-rock albums ever recorded. A veritable who's who of rock music today are lining up to name drop them; from stadium giants Metallica, Foo Fighters and Sum 41, to the UK's very own Muse, Hell Is For Heroes and the recently departed Million Dead, who even named themselves after a Refused lyric. It seems everybody who is anybody is going out of their way to pay tribute to the band.
    2004 saw their record label Burning Heart re-release three of their albums and soon their long delayed retrospective DVD Refused are F*cking Dead will be upon us. So let’s look at the legacy they left us and examine what's exactly happened in the last seven years to lift a group of disbanded far-left leaning Swedes from relative obscurity to being one of the most influential bands on modern rock music.
    'Sitting up all night planning my revolution with a catchy phrase. A shitty band with an awesome plan.' Refused, 'Coup d´Etat'
    Firm followers of the straight edge ethic, Refused formed in early 1992 on the north-east coast of Sweden, in the city of Umeå. Rising from the ashes of Step Forward, godfathers of the local hardcore scene, the band was the brainchild of drummer David Sandström and vocalist Dennis Lyxzén. The formative years of the band's life were marked with a host of line up changes as the band strived to find the perfect chemistry. Despite the revolving doors their recorded output never faltered, in 1993 they released their The Is The New Deal EP, and later in that year they recorded their debut full length This Just Might Be... The Truth, while 1994 saw the emergence of their Everlasting seven track. The band themselves readily admit how much US hardcore standard bearers like Youth of Today and Gorilla Biscuits influenced their early sound. Much like Nirvana with Bleach and At The Drive-In's Acrobatic Tenement, their earlier recordings, while definitely worth investigating, only really show fleeting glimpses of what the band were truly capable of at a later date.
    'Forget about your self-pity, forget about your petty problems, forget about your small world' Refused, 'Crusader of Hopelessness'
    Listening back to these tracks today, one of the most interesting and significant aspects of their evolution at this time is the shift in lyrical content, with Lyxzén abandoning more personal themes and moving towards the political. From seething anti-capitalist rhetoric to venomous tirades on social oppression, it's territory that in time would come to define the band to many, and open the minds of many a young person around the globe.
    With the finally settled line up of David Sandström, Dennis Lyxzén, Kristofer Steen and Jon Brännström, 1996's Songs to Fan The Flames of Discontent was where Refused fully began to craft their own distinctive sound, and in turn, to catch the attention of punk, hardcore and metal fans across the UK and mainland Europe. Many consider the album to be Refused's year zero, given it was the first time the "classic" line up had written together, with David Sandström himself admitting that the group almost consider this as their first album.
    In late 2005 we're swamped week in, week out with identikit hardcore bands blatantly pillaging the latter day Refused sound, using the album as a blueprint to success. So it's a testament to its quality that despite its many imitators, nine years on from its initial release Songs to Fan The Flames of Discontent still sounds like such a remarkable, pure and vital album. Undoubtedly Refused's most aggressive and metallic material, it's the sound of protest music at its very fiercest.
    'They say the classics never go out of style, but they do... they do. Somehow baby, I never thought we'd do, too.' Refused, 'Worms of the Senses'
    After a heavy bout of touring, the band became increasingly frustrated and tired of the insular thinking and hypocritical actions of the punk scene. In late 1997 Refused decamped for eight months with the now renowned producers Pelle Henricsson and Eskil Lövström, to begin working on what was to become their definitive release.
    "We made this album wanting to challenge people's preconceptions of what a Punk band could be and what it could play, because Punk is the most conservative musical form there is. Even in Hardcore, there are so many rules about what is and what is not acceptable, and that completely negates the whole spirit of the original idea." Dennis Lyxzén, Refused.
    The fact that the inlay sleeve of The Shape of Punk to Come contained an introductory essay attempting to explain their evolution should go some way to illustrating the full extent to which the band so daringly overhauled their sound. Explosive opening track 'Worms of the Senses/Faculties of the Skull' sums up everything that's both stunning and yet utterly bewildering about the album. Mixing spoken word, hardcore, traffic and radio samples, electronica and techno; on paper these components appear to make a complete mess, but in reality when it's pumping out of your speakers at full volume, it works magnificently, augmenting as many ideas into one song as many bands manage in their entire career.
    Every one of following 11 tracks are equally spectacular, all offering something totally unique from the others, each a piece that complete the overall jigsaw. Similar in one sense to Radiohead's opus OK Computer, what are stunning tracks individually combine and sound even more compelling when heard in their full context. From the freefall jazz drop outs of 'The Deadly Rhythm' to the quiet / loud floorfilling perfection of 'New Noise' to the string soaked 'Tannhäuser/Derivé', the eight minute long eastern-tinged soundtrack to the most epic Ang Lee movie never made. Very few bands have attempted to utterly smash boundaries as Refused did and as a result The Shape of Punk to Come genuinely stands out as one of the 1990's most pioneering and challenging records. Quite simply, in a genre that is constantly evolving and re-inventing itself, The Shape of Punk to Come has no equals.
    'I'd rather be dead than alive by your design' Refused, 'Rather Be Dead'
    Inner tensions were perpetually hinted at, especially within the inlay of The Shape of Punk to Come and in the midst of a seven week US tour, the band cancelled the remaining shows and announced their split. To this day the band members have rejected all the offers to speak to "disgusting journalists whose only aim is the selling of issues and the cashing in of paychecks", having turning down the cover in Alternative Press (The biggest rock magazine in the US) last year, and have gone on to in all intents and purposes, disown their swansong release.
    Officially their last statement claims that Refused broke up because of their disgust of how music is always categorised, dumbed down and turned into commodity, going on to claim that with four separate projects they would be able to reach more people than one single entity ever could. Of course such a statement was always going to raise a few eyebrows, and in this day and age, where internet messageboard help spread rumours around the world at the click of a mouse button, the reasons behind their demise certainly didn't avoid speculation. From certain band members having difficulty keeping up the with increasingly complex nature of the music to a widening void in their political philosophies; no stone was left unturned by people wildly speculating from the safe faceless anonymity that the internet provides. Certainly the fact that, without their lead singer, Sandström, Steen and Brännström went on to release an extremely experimental album together under the moniker of TEXT, comprised of post The Shape of Punk to Come material before disbanding completely, certainly does little to quell these rumours.
    'So where do we go from here? Just about anywhere. Disorientated but alive' Refused, 'Tannhäuser/Derivé'
    Today David Sandström has released two solo-albums under the name David Sandström Overdrive; Kristofer Steen has been heavily involved over the last couple of years in the development of the aforementioned DVD; Jon Brännström is working on a project called Jon F Kennedy; meanwhile Dennis Lyxzén greatly divides fans opinions by fronting the decidedly more commercial sounding garage-punks The (International) Noise Conspiracy and has also released a trio of solo albums under the guise of The Lost Patrol, renamed The Lost Patrol Band earlier this year.
    There's no denying the fact that Refused have undoubtedly become something they'd always have hated, a seminal band much like Fugazi, who due to their fabled ethics and sub-cultural significance have become a credible name to drop by musicians, lazy journalists and scensters. As they so eloquently in their final press statement, "When people are being praised as geniuses and idols just because they play music... We will never play together again and we will never try to glorify or celebrate what was. All that we have to say has been said in our music/manifestos/lyrics and if that is not enough you are not likely to get it anyway." Elaborating at the end of the statement that they would no longer give interviews "...So that we will no longer be tortured with memories of a time gone by and the mythmaking that single-minded and incompetent journalism offers us."
    Even though other great acts like Botch, Husker Du, and Drive Like Jehu have similarly gone on to receive substantially more critical acclaim, and not to mention, commercial recognition since their demise, Refused's rise to prominence is something else, on several grounds. While it's been proven time and time again that it's difficult, if not impossible to be sufficiently subjective about an album when it has only been released relatively recently (just take a look at every music poll the great British public are ever responsible in voting for) but with The Shape Of Punk To Come Refused made an album much like The Beatles and Nirvana were famed for producing; an album that will continue to be discovered by younger and younger fans as time goes by. Music is seldom if ever truly timeless but there's the simple undeniable fact that at the time of its release The Shape Of Punk To Come was a criminally overlooked record. Now, at a time when hardcore has never been so synonymous with the mainstream, it's able to reach so many more people than it ever could at the time of it release. With image driven bands like Atreyu, Avenged Sevenfold and Eighteen Visions taking both their running mascara and the rather loosely attached tag of hardcore to a new MTV generation, a fresh audience has emerged, eager to follow the latest in musical fashion.
    One final reason as to why Refused stand out is the rather simple fact that they appeared to split, somewhat unusually in the music world, at their artistic peak. It could be argued that along with the likes of At The Drive-In, Jeff Buckley and Nirvana, they ended at the very top of their game (though the latter two for much more tragic reasons altogether). While other acts such as Metallica continue to grind out albums, tarnishing their once great legend in the process, these acts never got the opportunity to disappoint fans by playing past their musical "best before date" or releasing a disappointing record.

    'Rather be forgotten than remembered for giving in'
    Refused, 'Summer Holidays vs. Punk Routine'
    By Daniel Jones |
    Active Years: 1992-1998, MySpace

  8. Sick Of It All

    New York Hardcore band founded in 1984.
    Sick of It All is an American hardcore band, from Queens, New York, formed in 1986. Founded by brothers Lou Koller (vocals) and Pete Koller (guitar), Armand Majidi (drums) and Rich Cipriano (bass). They have been known to be a major part of the New York hardcore scene.The band was formed during the era of the major hardcore decline, when many pioneering hardcore bands including Black Flag and Minor Threat disbanded.
    Early career (1986–1992)
    Hailing from Queens, New York, Sick of It All was formed alongside New York hardcore bands Straight Ahead, and Rest In Pieces which both featured Majidi and current Sick of It All bass player Craig Setari. Majidi joined up with the Koller brothers and Rich Cipriano to record the Sick of It All demo in 1986, after original bass player Mark McNielly and drummer David Lamb left. The band began to play Sunday afternoon matinees at renowned venue CBGB's, and soon after released a self-titled 7" on Revelation Records (which was later re-issued on the tenth anniversary of its release, in 1997).
    In 1988, Sick of It All signed to Relativity Records and recorded their first full-length, Blood, Sweat and No Tears, which was released in the following year. The album's follow-up, Just Look Around, was released in 1992.
    Rising popularity (1993–1997)
    Sick of It All released their record Scratch the Surface on major label EastWest Records. They also recorded a video for "Step Down" and the title track "Scratch The Surface". The record was the first recorded with long-time friend and former Straight Ahead, Rest In Pieces, Youth of Today and Agnostic Front bass player Craig Setari, who had replaced Rich Cipriano in early 1993.
    The band received bad publicity in December 1992 when Wayne Lo, a prep-college student, shot and killed two people and wounded four others at the Bard College at Simon's Rock in Great Barrington, Massachusetts. Widely-circulated photos of him at his arrest showed him wearing a Sick of It All t-shirt. After being inundated with claims that they initiated violence at shows and through their music, the band defended themselves in the press (particularly The New York Times).
    The fair success of Scratch the Surface allowed the band to tour worldwide. In 1997 they released their second record on the EastWest label, Built to Last. More punk-inspired than their previous effort, Built to Last produced a number of live staples for the band, including "Us vs. Them," "Busted" and "Good Lookin' Out." The album also marked the end of Sick of It All's contractual agreement with EastWest.
    The Fat Wreck Chords years (1998–2004)
    In 1998, Sick of It All signed to independent record label Fat Wreck Chords, owned and run by Fat Mike of NOFX. After releasing the "Potential For A Fall" single – for which another video was filmed, Call To Arms was released in February 1999.
    The 2000 follow-up Yours Truly was less critically acclaimed. Despite containing some of the bands favored live tracks, including "Blown Away," "The Bland Within," "District" and "America," some fans felt alienated by the album's progressive nature and in a recent interview, frontman Lou Koller claimed that the album's cover art probably contributed to its poor reception.
    In 2001, Sick of It All released their home video The Story So Far, and a year later a live record was released as part of Fat Wreck Chords' Live In A Dive series. The album showcased tracks from Sick of It All's entire career up to that point in time.
    2003 saw Sick of It All release their seventh studio album: Life on the Ropes. In 2004, the band also released an album of b-sides, covers and rare tracks entitled Outtakes for the Outcast, which contains some Sick of It All recordings.
    Recent activity and the future of the band (2005–present)
    In early 2005, Sick of It All signed to Abacus Recordings to record the follow-up to Fat Wreck Chords' Life on the Ropes. The new album, titled Death to Tyrants, was released on April 18, 2006. The band has recently toured with AFI and The Dear & Departed in early 2007.
    A tribute to the band, titled Our Impact Will Be Felt, was released on April 24, 2007, and includes covers from artists such as Bane, Bleeding Through, The Bouncing Souls, Ignite, Comeback Kid, Hatebreed, Himsa, Madball, Most Precious Blood, Napalm Death, Pennywise, Rise Against, Sepultura, Stretch Arm Strong, The Suicide Machines, Unearth, and Walls of Jericho.
    Following a worldwide tour in support of Death to Tyrants, Sick of It All began working on new material for their next album. In an August 2009 interview with singer Lou Koller, he revealed that the band would begin recording their new album in November for a 2010 release.[4] Based on a True Story, the first Sick of It All album in four years, was released on April 20, 2010.[5]. Sick of it all will also be touring in Australia with Rise Against to support their endgame tour in 2011.
    They also toured the UK with AFI and Dear & Departed in April 2010., MySpace
    Members:Armand Majidi, Craig Setari, Lou Koller, Pete Koller, Rich Cipriano

  9. Dead Kennedys

    DEAD KENNEDYS were one of the most popular and important American hardcore punk bands of the late '70s/early '80s. They formed in San Francisco in 1978 when EAST BAY RAY placed an ad in a music paper that vocalist JELLO BIAFRA responded to. They were soon joined by bassist KLAUS FLOURIDE, drummer TED and a second guitarist known to posterity simply as 6025. The latter departed in March 1979, while Ted was replaced at the very end of 1980 by D.H. PELIGRO.

    After a brief rehearsal period, Dead Kennedys played their first gig at Mabuhay Gardens in July 1978. The "Fab Mab" was a Filipino restaurant in San Francisco's North Beach section that served as a home to punk bands for nearly ten years. It wasn't too long before the band gained a considerable following around San Francisco. Live, DKs were a combination of chaos and theatrics. Their sound could be described as a cross between the Sex Pistols and the Ventures.

    Dead Kennedys' early success led them to record their first single, "California Über Alles," in 1979, a blistering attack on the then governor of California, Jerry Brown. It was released on their own label in the USA, Alternative Tentacles Records, set up by East Bay Ray. That single was later issued in Britain on the indie label Fast Products. "Holiday in Cambodia" (1980) followed and is perhaps the band's definitive moment - a perfect mix of hilarious yuppie-baiting lyrics and evil-sounding music. Almost as essential were "Kill the Poor" (1980) and "Too Drunk to Fuck" (remarkably, a British Top 40 single in 1981) and the debut LP, FRESH FRUIT FOR ROTTING VEGETABLES (1980). That LP went on to be awarded a Gold Record in Britain.

    Underpinned by an acute sense of humor, early songs such as "Let's Lynch the Landlord," "I Kill Children" and "Chemical Warfare" satirized the twin elements of extreme violence and conservatism that characterize much of American life. Dead Kennedys' inflammatory name and provocative behavior (in one 1979 prank, Biafra ran for mayor of San Francisco - and came in fourth) attracted the attention of a number of far-right politico-religious groups. The band's problems with these self-appointed moral guardians were compounded by a confrontational relationship with US authorities, ensuring an aggressive police presence at most of their gigs.

    But the band continued to expand their audience by playing at a mix of underground venues in different corners of the USA and Canada. They did their first British tour in late 1980, which established the band there as a figurehead for an audience long deprived of the Pistols, Biafra stage-diving to great enthusiasm. Dead Kennedys went on to tour worldwide, covering the continents of North America, Europe and Australia.

    The eight-track EP, IN GOD WE TRUST, INC. (1981), took things further, boasting a speed and power that left most reviewers nonplussed and contemporaries trailing. The EP included a wild cover of "Rawhide" and "Nazi Punks, Fuck Off," an anti-violence paean. The band then changed musical gears again when the PLASTIC SURGERY DISASTERS appeared in late 1982. Possibly their best album, this fine collection of songs retained the trademark savagery and satire, but the musical content had diversified, even including such unexpected moments as Klaus Flouride playing clarinet. Featured were the singles "Bleed for Me" and "Halloween," and it also included "Moon Over Marin," as closeas Dead Kennedys ever came to a ballad, albeit with anti-pollution lyrics.

    After two years of touring, where they performed all over North America,Europe and Australia, the moremelodic FRANKENCHRIST (1985) appeared, marked by a frantic sense of desperation that reflected America's increasingly right-wing political landscape and with songs like "MTV Get Off the Air." As ever, the group ran into controversy, this time with the LP's accompanying poster, "Penis Landscape," by Swiss artist H. R. Giger.

    Detailing several rows of copulating genitalia, it provoked a legal offensive against the band beginning in April 1986. As well as having his flat torn apart by the police, Biafra was charged with "distributing harmful matter to minors," a charge which he repulsed on the basis of the First Amendment right to free speech and which was dismissed the following year. But before the controversy, the band had already decided to disband in January 1986 and to complete the recording of BEDTIME FOR DEMOCRACY, which was released later that year. The band rocked as tight as ever, with Ray's voodoo/surf guitar, Flouride's thumping bass and Peligro's skin bashing providing the perfect "sturm und drang" for Biafra's words.

    Dead Kennedys played their last show in February of 1986 in the San
    Francisco Bay Area, where they began. GIVE ME CONVENIENCE OR GIVE ME DEATH, a fantastic collection of their classic early singles and B sides, rare tracks and compilation tracks, was released in 1987.

    Adapted from THE ROUGH GUIDE TO ROCK biography by Andy Lewis., MySpace

  10. Bad Brains

    Mention the name "Bad Brains" to anyone today and you will likely get an eye-opening and overwhelmingly positive response. Considered by some to be the "holy grail" of punk rock, Bad Brains have a pure and quintessential attitude that most artists only aspire to achieve -- they are simply one of the most important and influential American bands still working today. Like all great bands, light bulbs go off and charisma enters a room just by the band merely standing in it. For the Bad Brains, they go one step further and supply the electricity to charisma. Sometimes reactionary, but always volatile, Bad Brains are one of the definitive punk groups who garner the same respect as the Sex Pistols, Black Flag, The Clash and The Ramones. Known for their over-the-top live performances, the band melded punk and reggae into an innovative style that has yet to be copied. Their impact can be felt in many musical circles and the Brains today have impacted virtually every punk band working the airwaves. Although the band released only a handful of records during their lifetime, they are now musical icons that remain humble.

    Formed by guitarist Dr. Know, vocalist H.R., bassist Darryl Jenifer and drummer Earl Hudson in the early 1980s, Bad Brains are influenced by reggae and pure punk rage. At the time, these two influences were surfacing in U.K. punk bands, but the Bad Brains took it a step further and were pioneers at crossing the genres and bringing a manic energy never seen before.

    They managed to maintain an intensity and a sense of fury while switching gears from punk to reggae to punk. Darryl Jenifer and Dr. Know bring some of the most brutal and timeless musical jousts, and their interplay with Hudson drives the Brains' energy and intensity. Vocalist H.R. and his vocal virtuosity continue unchallenged today. His dub-influenced delivery is sometimes majestic, sometimes bizarre, sometimes brutal, but always compelling-- H.R. is clearly an innovative singer ahead of his time.

    Their debut 7” single, “Pay to Cum,” became an underground hit and their debut LP, simply called Bad Brains is considered by many to be the "holy grail" of punk and hardcore. This self-titled debut album created a firestorm and put the Brains on the map -- It was a sound unheard of and also captured the Brains’ live reputation. The band quickly became one of the most popular punk bands on the East Coast, particularly in their hometown of Washington, D.C. Their legendary live performances were often banned in their hometown, and their recordings were often difficult to find helping forge an even bigger underground following. The band released a few EPs and in 1983 they released the Rick Ocasek-produced Rock for Light.

    The band released I Against I in 1986, which was for Bad Brains what London Calling was for The Clash -- the band's more rounded effort that pushed them into legendary status. It had a focused vision, yet retained its diverse influences. Like the Brains' self-titled release, I Against I was another masterpiece in the original sense of that term — a “creative juggernaut.” The album is blistering, musically exhilarating, and contains some of the most complex and viscerally compelling songs the band ever produced. Their next album Quickness was an interesting detour into funk-metal for the band. Everything was slowed down and the sonic textures were thick.

    Over the next few years, H.R. and Hudson left the band to make reggae albums before finally departing in 1989. Bad Brains were then offered a major-label contract, releasing Rise on Epic Records. The album's sales were modest, despite the absence of H.R. and Earl Hudson. Following that release, Madonna's Maverick Records offered the group a contract, provided that the original lineup reunited. They did so and released God of Love in the mid-1990s The intense relationship of H.R. and Hudson and the rest of the band led to H.R. and Hudson's departure again shortly after the album's release, and thus the band split from Maverick.

    The recordings Bad Brains left behind, as well as their live shows, made the band legendary. Yet few potential fans could actually hear the band due to erratic touring. Their turbulent past and combustible live experience are also what created the Brains’ mythology and intensity. This brings us to 2007 and the appearance of Adam Yauch (MCA of The Beastie Boys) bringing together all the original members and also bringing the band back into focus.

    Build A Nation was the result of Adam calling bassist Darryl Jenifer during a rehearsal break with the Beastie Boys. "I was watching an episode of McGyver when Yauch gave me a call one day to say 'what up' and that he and Steve Tyler were rehearsing some vocals together. I said 'That's hot! Is your man Bono gonna get down with y'all?’ says Jenifer. "I told Adam I was thinking about a new Brains' record, then Adam said 'Word! You should let me produce that shit, son! I'll smoke those other cats that tried to produce y'all. I'll make you sound real!' I said 'Word!' And the rest is history."

    The genesis of Build A Nation is one built on positivity. "We were trying to spread positive vibes to all through our gift of riffs," says Jenifer.

    One thing that is apparent is the raw and organic nature of the album. Recorded strictly with analog tape and mastered with analog equipment, producer Adam Yauch wanted to create the rough and raw early sound, yet also capture where the Brains are today. Some 17 songs were written for the album and recorded at Oscilloscope Studios in New York City. It is also the first studio recording, aside from Beastie Boys' recordings, from the Oscilloscope laboratories.

    After spending weeks perfecting the brutal punk riffs, break-neck tempos and the most forward-looking reggae vibe, the album was lifted to a new plane of consciousness by H.R.'s futuristic and unique vocal style. But, both Doc and Darryl will insist that this album's genius is the riffs in hand. "This album is tha shit because Doc and I made sure the riffs were BB's to tha fullest, none of that fancy jazz metal shit," says Jenifer on the album's fierce nature and further added the strange forces lurking in the studio. "So you see, these little quirks are what makes us." The aura of the Bad Brains was obviously in full force in the studio.

    The opening song, "Give Thanks And Praises" foreshadows the album's direction with melodic Rasta-like vocal lines mixed with heavy riffs and punk fury. The sequence is similar to a live Brains’ show with several furious punk songs mixed with a reggae throwdown, and so forth. "Natty Dreadlocks Pon The Mountaintop" introduces the album's reggae side by way of an infectious hook and groove. Obviously, this album contains some of the Brains' finest dub songs, which are very hook-laden and rounded by HR's brilliant vocal style. The band's uncanny ability to mix punk and reggae genres are at their pinnacle with this album. Unlike past albums, the band created masterful and seemless transitions from dub to punk that feel as though these two genres were even more important to each other. But perhaps what really unites the two different genres is H.R.'s vocal acrobatics remaining consistent from song to song, regardless of whether it's a punk or reggae underpinning. H.R. does not compromise nor condescend to each genre, but merely sings what comes naturally to him creating an ethereal quality.

    Build A Nation has clearly brought out the best in the band. H.R. digs deep into his bag of voices and pulls them all out, one by one: The frightening falsetto, the rubato soul-deep baritone, the dub echoes, the sneering punk, and a speed-chatter that spews lyrics like a machine gun. Dr. Know shreds with a lacerating speed attack, deep reggae riffs, and a pure guitar tone. And Darryl Jenifer’s lightning-quick bass, monster riffs and raw tone combined with Earl Hudson's jabbing rhythms and pounding beats are flawlessly represented on every track. It's this incredibly tight and tonally rich interplay between Dr. Know, Darryl Jenifer, and Earl Hudson that gives this album its rhythmically sonic texture. The integration of all the songs into one cohesive whole was very important to communicating what the band has to say – which is music reaching a higher level. In the end,this album has a supernatural feeling that transcends music – A spiritual awakening of mad genius., MySpace, Wikipedia

  11. Chaos UK

    UK punk band, formed in 1979 with an initial line-up of Simon Greenham (vocals), Andy Farrier (guitar), Adrian Rice (bass) and Richard Potts (drums).
    We are the English Hardcore Punk band formed in 1979 near Bristol.Drunk fast sloppy hardcore punk rock initially. Consisting of Simon on vocals, Andy on guitar, Kaos on bass and Potts on drums (although we have been through many different line ups over the years with Kaos and Gabba as the only consistent members). Lyrics deal with topics such as unemployment, economic recession, drinking, killing babies, distrust of government, the police, and authority in general. In our 20 year career Chaos UK toured the world (including a Japanese tour which produced the Live in Japan album) played with bands such as Napalm Death, Extreme Noise Terror, Oi Polloi, The Exploited, Swinging Utters, Misery, and many others. We also released over 20 LPs, EPs, Singles, Splits, and live albums.agggghhhh!! ..
    MySpace, MySpace,, Wikipedia
    Adrian Rice, Andy Farrier, Beki (3), Chuck (9), Devilman (2), Gabba, Marvin Gauntlett, Mower (2), Richard Potts, Simon Greenham, V.D

    -DEMO (1981)
    -BURNING BRITAIN 7" (Riot City, 1982)

    -CHAOS UK LP (Riot City, 1983)

    -SHORT SHARP SHOCK 12" (COR/Weasel, 1984)
    -JUST MERE SLAVES 12" (Selfish, 1984)
    -CHAOS UK/EXTREME NOISE TERROR split LP (Manic Ears, 1986)

    -HEADFUCK 7" (Desperate Attempt, 1989)
    -HEAD ON A POLE 7" (Desperate Attempt, 1991)
    -ENOUGH TO MAKE YOU SICK LP (Vinyl Japan, 1991)
    -CHAOS UK/RAW NOISE split LP (Vinyl Japan, 1991)
    -LIVE IN JAPAN LP/CD (Cargo, 1991)

    -TOTAL CHAOS LP/CD (Anagram, 1991)
    -DEATH SIDE/CHAOS UK split CD (Selfish, 1993)
    -100% TWO FINGERS IN THE AIR PUNK ROCK 12"/CD (Slap Up, 1993)
    -SECRET MEN 7" (Slap Up, 1993)
    -FLOGGIN' THE CORPSE CD (Anagram, 1996)
    -KING FOR A DAY 7" (Discipline, 1996)

    -HEARD IT, SEEN IT, DONE IT CD (Discipline, 1999)
    -CHAOS UK/ASSFORT split 12" (Discipline, 2000)
    -KANPAI CD (Discipline, 2000)
    J- BASS

  12. Sugar (5)

    After two solo albums, ex-Hüsker Dü guitarist/vocalist Bob Mould formed Sugar in 1992, with David Barbe (Bass) and Malcolm Travis (drums, percussions). The band signed with Rykodisc in the U.S., Creation in the U.K.
    Sugar's first album, Copper Blue, was released in the fall of 1992. It was the most successful album by Sugar. In the spring of 1993, Sugar released the mini-LP Beaster, a more abrasive collection than Copper Blue that was recorded at the same sessions. The album, File Under: Easy Listening, appeared in the fall of 1994. Although it received good reviews, it didn't match the performance of Copper Blue. A collection of rarities and B-sides was released in summer 1995, before Mould broke up the band in Fall and began to work on a third solo album.
    Bob Mould, David Barbe, Malcolm Travis

  13. Government Issue

    Government Issue (often referred to as G.I.) was a punk rock band from Washington, DC. The band formed in 1980 and split in 1989. They began as a hardcore band but overtime transitioned into more alternative rock areas. Singer John "Stabb" Schroeder was the group's only constant member, although original drummer Marc Alberstadt played with the band from 1980 until 1986 and bassist-turned-guitarist Tom Lyle joined the band in 1981 and stayed until the end. Brian Baker (Minor Threat, Dag Nasty, Bad Religion) played with the band from 1981 through 1982. The group's final bassist, J. Robbins, who played with the band from 1986 until their split, went on to form Jawbox and became an in-demand engineer and producer.

    The band has reunited for shows in 2007 and 2010 but has no plans for a full time reunion.
    Sites:, Wikipedia
    Brian Baker, Brian Gay, J. A. Leonard, J. Robbins, John Barry (4), John Stabb Schroeder, Marc Alberstadt, Mike Fellows, Mitch Parker, Peter Moffett, Rob Moss, Sean Saley, Steve Hansgen, Tom Lyle
    Viewing All | Government Issue
    G.I. | G.I.'s, The | GIs

  14. Angry Samoans

    Angry Samoans
    Origin Van Nuys, Los Angeles, California, United States
    Genres Hardcore punk, garage punk
    Years active 1978–present
    Labels Bad Trip Records, Triple X Records
    Associated acts VOM, The Mooseheart Faith Stellar Groove Band, Hollywood Squaretet, Oppressed Logic, Ray Campi, Backbiter, Clobber Monkey, Larry Robinson Jr.
    Website Official website
    Mike Saunders, Billy Vockeroth

    The Angry Samoans are an American punk rock band in the first wave of American punk. Formed in August 1978 in Los Angeles, California by early 1970s rock writer "Metal" Mike Saunders and his sibling lead guitarist bonze blayk,[1] along with co-conspirator Gregg Turner (another rock writer, for Creem Magazine during the late 1970s-mid 1980s) and original recruits bassist Todd Homer and drummer Billy Vockeroth.

    During 1978 both Turner and Saunders had played in the Los Angeles punk band VOM, which issued a posthumous 5-song EP Live at Surf City on White Noise Records in early summer 1978. In 1969 in hometown Little Rock, Saunders and Samoans guitarist bonze had cut a 14-song highschool garage-rock album I'm a Roadrunner Motherfucka (unissued until the late 1990s) under a twice-used local band name the Rockin' Blewz, and in 1975 Saunders briefly played in an embroyonic backing line-up for 1950s rockabilly cult artist Ray Campi before moving back to Arkansas for two years (pursuant to a second college degree). Bassist Todd Homer had played in 1977 Masque-era band Jesus Prick, and drummer Bill Vockeroth was a veteran of the Pasadena "backyard kegger party" cover band circuit.
    Shortly after the Angry Samoans formed, in late 1978 Saunders/Turner/Homer wrote a song about long-time LA/Hollywood scenemaker (and KROQ DJ, beginning in 1976) Rodney Bingenheimer titled "Get Off the Air."[2] Due to Bingheimer's strong influence with LA/Hollywood clubs, when the song was included on the band's first record Inside My Brain, the band was blacklisted at the Starwood/Whiskey and any other club in Hollywood/LA proper for about two years during mid 1980 - late 1982. The band's ostensibly offensive, politically incorrect attitude and (somewhat humorous) lyrical content was not a factor in this situation.
    The first Angry Samoans gig was opening for Roky Erickson and the Aliens in Richmond, California on October 30, 1978. Roky was sick and did not make the show (Aliens band members covered for his lead vocals) but remained a lifelong friend and inspiration to Gregg Turner of the Samoans (the next night they played an "all-LA bill" at the SF Mab, opening for Shock and the Zeros).
    The Samoans' first release, Inside My Brain, was one of the early hardcore punk albums to come out of the 1980 LA punk rock scene. In between this recording and Back from Samoa, the band released a four-song EP as "The Queer Pills," allegedly using the pseudonym because the EP was to get air time on Rodney's KROQ radio program. (See interview, Forced Exposure magazine) Their 14-song 17-minute hardcore album, Back from Samoa, released in 1982, featured lyrics on such themes as the trendiness of poking your eyes out ("Lights Out"), finding Adolf Hitler's penis ("They Saved Hitler's Cock"), and ranking on your old man ("My Old Man's A Fatso"), over hyper-distorted guitars and "early LA/OC hardcore" drum beats.
    In the mid-1980s, the Angry Samoans returned to their roots/influences from mid-60's American garage rock (they had long cited many 1966 bands such as The Velvet Underground, the 13th Floor Elevators and Shadows of Knight as among their musical influences). The next two releases recorded during 1986-87, Yesterday Started Tomorrow EP and STP Not LSD, were largely in this neo-1960s garage/psych style. Singer/bassist Todd Homer left at the end of 1988, and formed The Mooseheart Faith Stellar Groove Band with Larry Robinson, formerly of 1970s teen pop-soul band Apollo. And in 2005 Homer co-formed, The Hollywood Squaretet, a free-jazz band with comedian/drummer Larry "Copcar" Scarano, formerly of Comedy's Dirtiest Dozen for HBO and the 1960s New York rock band The Bougalieu.[disambiguation needed ] Turner left in early 1992, putting out an album in 1993 with the Mistaken before forming his next band, the Blood Drained Cows (two albums issued to date), occasionally featuring autoharp player Billy Angel (née Miller) from the Aliens. During the mid-to-late 1980s Saunders moonlighted in several electric/acoustic two-guitar duos (only, no rhythm section) such as the Clash Brothers (with Bob Fagan in SF), the Sons of Mellencamp (with Turner), and the Gizmo Brothers (with Kenne Highland), with various small-club performances during that period in San Francisco, LA/OC, and even Boston (with Krazee Ken Highland from the Gizmos/Hopelessly Obscure/etc).
    [edit]Recent activity

    The Angry Samoans continued with Saunders, original drummer Bill Vockeroth, and a wide variety of other individuals, and gigging steadily from early 1996 into the new millennium. They have performed mainly along the West Coast, besides occasional out-of-state weekend trips and three short/successful tours of mainland Europe in 2003/2007/2008. At present the band is still playing weekend gigs once a month, usually all-ages shows around all of Southern California like the many other old LA/OC bands (from 1977–1982) who have been active during the 21st century—the Adolescents, the Dickies, the Crowd, Circle Jerks, Agent Orange, CH3, the Germs, Redd Kross, TSOL, Fear, the Weirdos, the Skulls, D.I., not to mention one-time major-label acts Social Distortion, X, and Bad Religion.
    In 2010, they played at the Van's Warped Tour for 4 dates on the legends stage.
    Studio albums
    Inside My Brain (1980)
    Back from Samoa (1982)
    STP Not LSD (1988)
    The '90s Suck and So Do You (1999)
    Queer Pills (1981) – EP (Pseudonymous release)
    Yesterday Started Tomorrow (1987) – EP
    Fuck the War EP (2006) – EP
    I'm In Love With Your Mom (2010, recorded in September 1978) - EP
    Other releases
    Return to Samoa (1990) (unauthorized bootleg)
    Live at Rhino Records (1992, recorded in May 1979)
    The Unboxed Set (1995)
    Band members
    "Metal Mike" Saunders – vocals, guitar, drums/1978–present
    Gregg Turner – vocals, guitar/1978-1991
    Todd Homer – vocals, bass/1978-1988
    Bill Vockeroth – vocals, drums/1978–present
    Jeff Dahl – vocals/1981
    bonze blayk[1] – lead guitar/1978-79
    P.J. Galligan – lead guitar/1979-1984
    Steve Drojensky – lead guitar/1984-1988
    Alison Victor – lead guitar/1996
    Mark Byrne – guitar/1996-1998
    Jonathan Hall – lead guitar/1998-2003
    Kevin Joseph – lead guitar/2006-2010
    Landon Gale-George – guitar/2007
    Colin Alflen – lead guitar/2011
    Bass Guitarists:
    Scott Greer – bass/1988-1990
    Heith Seifert – bass/1990-1991
    Mike "Cyco Loco" Avilez – bass/1996
    Adrianne Harmon – bass/1997
    Rick Dasher – bass/2005
    Dan Siegal – bass/2007
    Matt "Malice" Vicknair – bass/2009–present

  15. Adrenalin O.D.

    Adrenalin O.D. formed in 1981 from the ashes of late '70s punk band The East Paterson Boys Choir. A.O.D.'s first recordings saw release on the widely distributed New York Thrash cassette compilation released on ROIR cassettes in 1982. The compilation also featured the first recordings of the Beastie Boys, as well as prominent NYC punk bands like the Bad Brains and Kraut. The comedic and speedy "Paul's Not Home" became an instant college radio hit. A.O.D.'s first vinyl release, a six song (EP) entitled Let's Barbeque, was released on their own Buy Our Records label. Because the budget was so tight, the band could only afford 15 minutes of studio time. They recorded all six tracks in one take with no overdubs. Buy Our Records became one of New Jersey's largest indie punk labels and springboarded the careers of many bands including Flag Of Democracy, Raging Slab, and Pussy Galore. Adrenalin O.D. toured nationally and created a loyal following via their live shows (described by some as an experience somewhere between Minor Threat and Don Rickles.) The band's quick wit and on-stage banter was at times as much of an improv stand-up comedy act as a hardcore punk band, and fans coined the term "funny-punk" to describe their performances. Tracks that exhibit the band's quirky sense of humor include a punk rock cover of Henry Mancini's "Baby Elephant Walk", a surf rock version of "Hava Nagila" entitled "Surfin' Jew". Bands that have cited A.O.D. as an influence include NOFX, Screeching Weasel, Anthrax, S.O.D, Bouncing Souls, and Lifetime.

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