The Three Johns - Live in Chicago LP

Label: Last Time Round Records; Year: 1986; Format: Vinyl LP

I have heard of The Three Johns many times before but never had any record in my collection until I found a copy of their 1986 released Live LP for next to nothing at the record shop around the corner from my home. The band seems to always have had a core of die-hard fans, some of them without a doubt also big Mekons fans. The Three Johns started out in Leeds in 1981 consisting of Jon Langford (the Mekons) on guitar, vocalist John Hyatt and Phillip "John" Brennan on bass guitar. There was also a drum machine the band named "Hugo". I may have said this before but I am really no fan of live records but there are exceptions to the rule and this one recorded in June of 1985 at Chicago's Metro is definitely an exception as it just rocks from beginning to end. This was the band's first US release and the quality of the live recording is excellent making this a highly enjoyable record which can still be found for a few dollars reminding you of the fact that good music is not always to be found on some rare and excessively expensive records. Songs like 'AWOL', 'Death of the European' or 'The World of the Worker' to name a few are timeless classics from a time when bands such as the Three Johns were labelled as Indie Rock, something that stands for lame music mostly performed by bearded hipsters these days. Back in the '80s though Indie Rock stood for quality and The Three Johns were a talented bunch drawing influences from Post-Punk, Goth-Rock, Cow-Punk and other genres prevalent in the late '70s and early '80s. They combined their eclectic mix of different genres with intelligent and humorous lyrics, often with a political message taking a stand against Margaret Thatcher and the likes. If you want to listen to songs that are equally dark and funny and sound like a mixture between Killing Joke, Sisters of Mercy and the Cramps then check out these lads from Leeds. I shall look out for more of their releases and will post about this band again. Good stuff!

V/A - I've Got An Attitude Problem EP

Label(s): BC Tapes & Records and Loony Tunes Records; Year: 1987; Format: 33RPM 7" EP

Back in 1987 the world seemed to be just absolutely fine. I was in the midst of discovering exciting and new sounds from around the world and bands as the ones found on this little EP ruled my little suburban world of Zurich, Switzerland. Beer, friends, gigs and thrashing in a park to the noises coming out of a cheap tape recorder was all that was needed to make me happy, that's how simple life was for a teenager like myself back then. Thirty six years later on another continent and feeling somewhat older I can still appreciate good old '80s Hardcore from Europe, which dominates this EP released as a collaboration between San Diego based BC Tapes & Records and UK label Loony Tunes Records. Seven bands from six different countries are represented and take you on a noisy ride with Side B being the winner for me. Sweden's Mob 47 actually provide two exclusive tracks for this release and as to be expected they deliver the goods in typical fashion. The real winner though are Quod Massacre from Beograd, Ex-Yugoslavia bringing you a really well crafted, melodic yet rough hardcore punk gem reminiscent of bands like HDQ or Frites Modern. Speaking of Holland Funeral Oration round off Side B with two ultra fast thrashers delivered with quality as good as Gouda cheese. Don't get me wrong, Side A is also good with Italian power horses Wretched and Raw Power pulling their weight while Boston's Psycho and UK's Satanic Malfunctions don't disappoint either. If you like myself grew up with these type of bands this will be very familiar territory for you, but should you not be as familiar with these bands pick this one up as it generally doesn't go anywhere near silly money and is a nice introduction to international '80s Hardcore Punk. 

The Jam - In the City LP

Label: Polydor (Spain); Year: 1977; Format: Vinyl LP

Many, many years ago when I got into Punk/Hardcore Punk I scoffed at bands like the Jam or even the Clash for that matter. I was of the opinion that those were nothing else than boring rock bands trying to sound somewhat punk rock. Throughout the decades though my taste and understanding of music has gradually changed to the point where I eventually reached the point of exploring the Jam catalogue. The band's history is interesting in the sense that it starts as far back as 1972 when school friends Paul Weller and Steve Brookes set out to start a band in the unassuming London suburbs of Woking in Surrey. Their early live shows often happened at youth clubs or workin men's clubs and consisted of mainly covers of fifties rock'n'roll acts, but they did have some of their own original numbers as well. Another intriguing fact is that from very early on Paul's father, John Weller, a featherweight champion and cabbie, was heavily involved in the music career his son would go on to have. Unlike many other parents of that time he was very supportive of what Paul was doing and through some of his boxing contacts things started to come together for the band as by 1974 the band started to play in London and landed a supporting slot for Thin Lizzy at Croydon's Greyhound. By 1976 Paul Weller was exposed to the nascent Punk Rock explosion happening in London and things started to take off for the Jam, now a trio of Paul Weller on guitar/vocals, Bruce Foxton on bass guitar and Rick Buckler on drums. According to Alex Ogg's punk bible "no more heroes" it was actually devoted fan Shane MacGowan of Nipple Erectors and later the Pogues who pushed the Jam to Chris Parry of Polydor. Their first LP, released in 1977 is in some ways an odd record in the sense that it is definitely not a pure punk rock record, but neither is it a Mod record. Nevertheless what counts most is that it is a good record, built on the Jam's live performances and recorded in just eleven days. Paul Weller has never made it a secret that he will forever be loyal to his love of '60s music, be it the Who, the Beatles or Motown. And that's exactly what you can expect from this album as the raw energy of punk rock collide with the pop sentimentality of Paul Weller's songwriting resulting in great songs such as "In The City" or my favorite "Away From The Numbers". In many ways this first album only foreshadows as to what was to come and should be viewed merely as an appetizer when it comes to the talent the Jam had. Stay tuned for more from the Jam down the road. 

Sperma - Zuri Punx Single and S/T 12" EP

Label: Another Swiss Label; Year: 1979; Format: 7" 45RPM Single

Some of you will know that Switzerland and in particular Zurich had a thriving and very active Punk scene back in the late '70s. As soon as the punk virus from London caught on in the land of cheese and chocolate bands and fanzines started to spring up, at first mainly in Zurich. Sperma started off as an idea in late '77 after The Clash played a gig in Zurich and then became reality in '78 as a strong bond between TNT and Sperma evolved into not just a friendship but also sharing of a practice space. Urs Steiger, the main force behind so much in the early days of Swiss Punk, started to not just manage Sperma but enabled them also to get into a studio which resulted in two sessions in March and May of 1979. Two of the March tracks ended up on the famous Zuri Punx/Bombs Single, which I have bought decades ago from an ex-Punk for little to nothing and who was happy it found a new home. The song Zuri Punx was featured on one of the first Boot Comp LPs highlighting KBD Punk from around the world, but don't ask me which one. It's a neat little song, but in my opinion much more enjoyable if you understand Schwizer Duetsch (Swiss German). The lyrics deal with the frustration of being stuck in a dead end job from Monday to Friday only to come alive Friday night and go see the local punk bands performing while dreaming of punk and anarchy. That dream doesn't last too long before it's Monday and the shit starts all over again. Probably my favorite Sperma song is the B-Side 'Bombs', an excellent upbeat bass driven cracker of a track sung in English. Should you not have this then get it, and no worries it's been reissued by the nice gentleman behind Static Shock in Berlin so you'll only have to spend the price of a beer. 

Photo of early Zurich Punx including Urs Steiger (No Fun Fanzine, Another Swiss Label), Sara (TNT), Sylvia (Mother's Ruin), Sperma etc - Source: Hot Love (Swiss Punk & Wave 1976-80); Book by Lurker Grand and many others

Label: Static Shock; Year: 2020; Format: 12" RMP EP

A long, long time ago I reviewed the three songs contained on this 12" as they are also to be found on the 1981 released "Rough Mixes from Switzerland" 10" released in Germany. And also a long time ago I was a happy owner of an original of this 12" but that's another story. Regardless I really wanted to have this one again as a 12" and the way it was originally released back in 1979 and Static Shock has done a wonderful job at doing just that including a nice little fanzine like booklet. Unlike the time I reviewed the above mentioned 10" tonight I really enjoyed listening to these three songs. If you are not too familiar with Sperma or early Swiss punk in general do know that Sperma were known for their great punky looks, but there were - at least in my opinion - musically tighter and better acts from Switzerland. Still, they certainly had their heart in the right place and recorded songs that are full of great humor and the spirit of '77. While Sperma's recorded material could be viewed as quite rudimentary, all of their early songs are nevertheless catchy and well produced three chord anthems. Sperma fizzled out by 1980 and released one more Single which is not even worth mentioning as it was an attempt to sound and look poppier and New Wave. I highly recommend getting these two European punk rock nuggets to get your appetite up for more cheese, chocolate and Swiss Punk. 

Sperma/Technycolor/Glueams Poster courtesy of "Hot Love" Swiss Punk & Wave 1976-1980 book by Lurker Grand and many others

Visage - S/T LP

Label: Polydor (Germany); Year: 1980; Format: Vinyl LP

Back in 1980 I turned 10 years old and was too young to understand the complex and culturally interesting background of Visage and the emerging New Romantic scene. Music just grabbed me and when I liked something I liked it and I think my parents understood that as for some reason every Christmas and Birthday I would get a record as a gift. I come from quite a poor and working class immigrant family background hence I never had much as a kid, and what I did have I cherished endlessly. Visage somewhat unexpectedly landed a huge hit with "Fade To Grey" in 1980 and it was either that year or 1981 that my parents bought me their first LP. By that point I was a typical little kid loving AC/DC and Iron Maiden but somehow Visage got through to me and ever since I've always had an open mind for electronic music even though I never fully immersed myself in it. But, even more importantly and historically of importance is the fact that Visage very much came out of the punk rock scene with some rather intriguing connections. I think what some people might not realize is how much punk rock opened the doors for musicians and artists in general to pursue their own vision of what they wanted to create, which wasn't always just three chords. Scottish born musician Midge Ure (nee James Ure) for instance has been involved in bands since the early '70s and in 1975 landed a big hit with Slik's "Forever and Ever". With the booming punk scene at the door step Ure's Slik decided to go in a different direction and changed their name to P.V.C. 2 releasing a punk rock single on Zoom Records (to be reviewed in the future). In late '77 Ure moved to London and briefly joined Glen Matlock's Rich Kids. After having left Rich Kids but with a newly acquired Yamaha Synthesizer Ure along with former Rich Kid drummer Rusty Egan set out to find someone who would share their passion to create something different than punk rock, but not a million miles away. They found the right man in Steve Strange (RIP) who would become the singer and along with former members of Magazine Visage expanded the line-up in 1979. Visage's first single released on Radar Records was not successful but as mentioned above "Fade To Grey" now on Polydor got them the breakthrough and the rest is history as they say. With Steve Strange and Rusty Egan aka DJ Egan setting up the Blitz Club in London New Romantic took off and just like punk rock a few years prior transitioned from a subculture into the mainstream. Visage's first self-titled LP is at least in my opinion a milestone when it comes to electronic music, synth-pop, new wave or however you want to brand it. It's an album with a beginning, a middle and an end encouraging the listener to have a full listening experience which back then was the absolute norm as the way music is consumed has changed over the decades since. I sat down this morning with my coffee and listened to the album and couldn't tell you a weak song on it. The title track "Visage" starts you off and is the perfect track for a new decade enabling to see with the benefit of hindsight how well positioned Visage were on their path to Synth-Pop stardom. It truly was the sound of the future and for things to come, that much is for sure. Personally I love "The Dancer", an absolute cracker of an instrumental. It's a well executed album that doesn't sound outdated in 2023, forty-three years after its release, and that means something. 

Kafka Prosess - One Day Son All This Will Be Yourz (Split w/ Disorder) and Ingen Fattige, Ingen Rike LPs

Label: Disorder Records; Year: 1986; Format: Vinyl LP

My introduction to Hardcore Punk from Norway arrived via a Mix-Tape in 1987 that a friend of mine made for me. The bands I remember being on said tape were Malinheads, HDQ, Rattus, Bluttat and a whole lot more, but more importantly one of my favorite tracks on the tape was "Mentalt Ute Av Balanse" by Kafka Prosess. Said song I will forever associate with the arrival of a cold fall breeze and with me blasting it through my walk man riding my bike to god knows where. It brings back memories of gigs from that time, of people going wild to the loud blasts of European Hardcore and togetherness through a common spirit. When it comes to Hardcore Punk from the European North then bands from Finland and Sweden definitely top the list while Norwegian bands tend to be sadly overlooked. I wasn't any different and it wasn't until I learned about Kafka Prosess and shortly after So Much Hate that I realized that I should probably pay more attention to what was coming out of Norge. It must be said though that Norway never gifted us with the amount of records the other two countries did, and on top of that they tended to be hard to get in Central Europe where I was living at the time. The Kafka Prosess/Disorder Split was an easy find though as I was visiting London in late '87 if I remember correctly and found a copy of the Split at the Tower Records right next to Piccadilly Circus setting me back a whole 3.99 in UK Sterling, no more than the bands had asked for (see sticker on my copy pictured above). But who gives a damn about a sticker hence let's move to the music on this record. The six songs on the Kafka Prosess side of the record are without doubt some of my favorite tracks when it comes to '80s Hardcore from Europe. The Norwegian bands had a very unique and different approach to the sound compared to their comrades from Sweden or Finland. A heavy Discharge influence can be heard in many bands from Sweden or Finland but not so much with the Norwegians. Kafka Prosess came out of the ashes of Svart Framtid and Bannlyst and played a relatively melodic style of Hardcore Punk, equally influenced by bands such as HDQ, Instigators and/or "Lo Spirito.." era Negazione. All songs are well structured with great hooks, changes in tempo and brilliant backing vocals. Out of the six songs I couldn't really tell you which one I like the most as they are all European Hardcore Punk master pieces in their own way. As for Disorder I can attest that I have never been a big fan of this Bristol outfit but they are quite an important part of '80s UK Punk history and shouldn't be frowned upon. As a matter of fact they struck up a friendship with Kafka Prosess and ended up moving to Oslo in the Mid-80s for some time and this Split surely was a collaboration as a result of that. I must say though, and much to my surprise, that at least to a degree I enjoyed listening to their chaotic and hectic songs today as I remember being rather turned off by their contribution to this Split, at least musically. Their songs don't even come close to the quality of Kafka's but in their own way they are a good laugh and delivered in typical Disorder style, if you know what I mean. Kafka Prosess disbanded in 1987 and singer Gunnar went on to form So Much Hate, a band I saw live and will write about at another time here, so stay tuned. 

Label: Skuld Releases; Year: 2000; Format: Vinyl LP

Thanks to people like Kleister who ran Skuld Releases until his death in 2015 (RIP) bands like Kafka Prosess get to be heard by people who missed them back in the day. I picked up a copy of "Ingen Fattige, Ingen Rike" when it came out as it collects all Studio Tracks Kafka have ever recorded aside from the tracks for the Split w/ Disorder (see above). It shouldn't come as a surprise that those tracks are equally strong as the band was just a force to be reckoned with. Kafka Prosess were a truly integral part of a blossoming European Hardcore Punk scene during their existence from 1984 through 1987 and have contributed to Tape Compilations, toured twice in Germany and at least once in the UK while also running the important X-Port Plater label. The song quality on some of the songs on this record is sadly not up to the standard of the Split LP songs, but it sure as hell doesn't take anything away from the quality of the songs. Apparently there are also tracks to be found on here that were originally planned to come out as an EP, something that never came to fruition due to the bands break-up. As mentioned above Gunnar went on to form So Much Hate and many other bands thereafter his relocation to Karlsruhe, Germany while one of the guitar players, Nils, joined Raga Rockers, a relatively big name in Norway. Get this one even if you already have the Split-LP. 

V/A - The Anthology Of British Blues LP

Label: Imperial Records; Year: 1968; Format: Vinyl LP

It's not like I need more artists or genres to get my teeth into as I sure as hell have enough I am trying to get through and to learn about when it comes to music from the past, but sometimes the records seem to find me instead of the other way around. Last week I walked to a small local independent book store in Downtown Buffalo during my lunch and in the few boxes stuffed with second hand records the cover of an old British Blues record struck my interest. After having listened to the record last night and having done some research about the artists themselves I have the slight suspicion that in the future I will want to grab more of old British Blues records and to immerse myself in its history. And in that sense this record is a good introduction as it is a highly enjoyable compilation that was recorded in 1968 highlighting tracks by known and not so known British Blues artists of that time. Tony McPhee for instance - the sole constant member of the Groundhogs - is to be found on this LP with three outstanding tracks, one of them a great take on "Death Letter" by Mississippi legend Son House. The one artist I found most compelling on this record and naturally dug deeper into the history of though is Andy Fernbach from Bournemouth on the sunny coast of England. None of the three tracks Andy contributes to the album are his own but we are talking 1960's here where that was standard with Andy paying tribute to some great US blues players including Skip James whom Andy had the pleasure to tour with shortly before James' had passed away. For a much more detailed biography and history of the Blues in Bournemouth please see the link at the end of this blog entry. Also to be found on this LP are sister and brother Jo-Ann Kelly and Dave Kelly, equally fascinating when it comes to their personal histories with Jo-Ann having been a much wanted pursuit by Canned Heat from Los Angeles. If you are like me and just start out getting interested in British Blues then seek this one out and I have the feeling that just like me you'll get the bug to be wanting to find out more. The liner notes on the back of my US pressing state the following: "It's music to nurse two jiggers of Scotch by in the lonely wee hours. It provokes melancholy reflections of reality, and gives glimpses of life as it really is. Here, without pretense, is basic blues."

Link to fantastic article about Andy Fernbach and Blues in Bournemouth: https://bournemouthbeatboom.wordpress.com/andy-fernbach/

Legionaire's Disease - Catch The Disease 10"

Label: Lunar Lab; Year: 1995; Format: 10" Vinyl 

The sleeve notes on the back of this brilliant piece of vinyl and Texas punk rock history start of like this: Q: What do you get when you cross a pimp, a whore, a Ferris wheel operator, and a dog trainer? A: One of Houston's most infamous early punk bands - Legionaire's Disease. Whereas in today's world I would assume bands are often started through some ideas on some social media platform back in the late '70s Legionaire's Disease were pretty much an idea that originated while singer Jerry and guitarist Mike met in a jail cell and the conversation turned to music. But, not only did the two of them meet there but their original drummer Rick was also shoved into the cell for operating a Ferris wheel while being drunk and thinking it would be fun to keep it spinning for beyond 20 minutes. The Legionaire's live shows were said to have attracted more attention than any of their contemporaries such as the Hates or Really Red and one could always count on seeing outrageous outfits, some nudity, a bit of destruction, and almost always some boys in blue. It was actually a fan of the band that helped get the band into the studio resulting in the 1979 single "Rather See You Dead" b/w "Downtown". The eight tracks on this 10" are all from said studio session and the world is a better place and should be forever thankful to Lunar Lab for having released the material back in 1995. I will keep it simple and promise you that if you like your punk raw, primitive and with a good dose of humor and goofiness you will simply love this record. All eight songs are pure pogo hits and as stated in the sleeve notes "there's some obvious aping of the Sex Pistols and other well known punk bands of the era, but the Disease couldn't help but infuse the tunes with their sick sense of style. Hey Punk, you want some jailhouse rock? Drop the needle and turn it up!" Killer release.

Houston Press Article about the band: https://www.houstonpress.com/music/houston-punks-legionaires-disease-band-gone-but-hardly-forgotten-6568274

Fuck-Ups - FU82 EP

Label: PukeN'Vomit; Year: 2023; Format: 33RPM 7" EP

About time this piece of wax has been reissued as it's only been forty years since this came out originally in 1982. According to everything I have read about the band's reputation S.F. Punks at the time were really split as to whether they liked or sincerely disliked the Fuck-Ups. In the Boulware/Tudor book "Gimme Something Better" about punk and hardcore in the Bay Area I remembered that a nice little chapter is dedicated to Bob Noxious and the Fuck-Ups which I happily revisited for this review. Back in the early '80s San Francisco and many other major cities in North America and beyond attracted young people for multiple reasons. The streets were filled with excitement, life was much cheaper than these days and one could squeeze out a living by scamming the government and pan handling during the day. The punk scenes absorbed some of those colorful characters and I mean that in a positive way. Dave Dictor of MDC claims in the above mentioned book that "The Biafra-Tim Yohannan world really didn't know what it was like to live that way." The song "White Boy" didn't sit well with the more educated and politically correct part of the S.F. punk scene and Dictor further explains; "Sometimes they have a racial attitude but it's not deep. It was like, you get jumped by people coming back from the soup kitchen or some girl gets threatened in an alley, and something get ingrained in you, this tough thing. The Food stamp workers weren't much more sympathetic - 'You're a white kid from the suburbs. Why don't you go home to your momma and finish your college and get a real job?' Dictor concludes "We had to deal with prejudice on that level". But no worries this entry is not going to end up being just about the circumstances of life on the streets in the Mission District of S.F at the time but also about the record itself. If you like your punk mean, nihilistic, pissed-off and obnoxious then this EP will definitely be up your alley. I personally love the record as amongst the six songs you'll find both, the fast and abrasive tracks as well as the slower and in a sense artier yet still very fucked up songs. It's hardcore punk the way it was meant to be and that is never a bad thing. The Fuck-Ups had three back up singers which went by the name of the Fuckettes. Two of them were originally from France and Leslie explains the main reason for becoming involved with the Fuck-Ups: "We grew up in a nice little house outside of Paris and went to a terrible nun school for 12 years. My parents uprooted us and moved us to the States when I was almost 18. We became the Fuckettes because the Fuck-Ups were playing the Sound of Music in the Tenderloin. You had to be 21 to get in the show, unless you were in the band. So we did backup vocals on one song." You may argue that some of the stuff the Fuck-Ups came up with went too far and isn't funny but so be it, punk was meant to piss people off and not to be taken so seriously. Grab a copy before you'll have to wait another forty freakin' years. 

Photo Source: 'Gimme Something Better' by Jack Boulware and Silke Tudor

Larry Williams - Unreleased LP

Label: Specialty Records; Year: 1986; Format: Vinyl LP

The beauty of walking into a record store and hearing instantly something played over the stereo that I like is a feeling that I have always cherished, and that will hopefully never die out. So, it was only a week ago when I took a long walk in my neighborhood and stopped at my local record store up the road from the house. Over the stereo was blasting Larry Williams, an artist I had not been familiar with but instantly fell in love with. This week I was also thinking that at some point in the not so distant future I will introduce you to the two record stores here in Buffalo, NY that I mainly use for record shopping these days. I don't buy many records, and as you will have noticed if you read this blog, only old stuff and reissues, but I thought especially for people traveling through Buffalo it might be good knowledge to have hence stay tuned. On to Mr. Williams (nee Lawrence Eugene Williams) then, born 1935 in New Orleans, Louisiana. After having been uprooted by his parents' move to Oakland, California Larry returned to New Orleans in 1954 where he began working for his cousin Lloyd Price as a valet. Larry was eventually introduced to Little Richard and with being a piano player for Lloyd, Williams eventually signed his own record deal with Art Rupe's Specialty Records. This record collects quite a few previously unreleased or alternate version of songs from the label's vast vault. According to the sleeve notes by Joey Mattia the LP was compiled and mastered by Little Walter of Boston, a prominent DJ and expert in the field of 50's and 60's rock'n'roll: "We have compiled this album with some of the most rocking tunes you'll hear. Some of the songs are alternate takes from the sessions where the original hit was recorded. These alternates are every bit as exciting as the ones that were originally released. At the time, Art Rupe, founder of Specialty Records, felt that maybe these sides were not as good as they could have been, but hearing them anew, we all felt they were dynamite!"

While researching for this entry this morning I came across the fascinating history of Specialty Records and the fact that Art Rupe just died recently at the age of 104. It could very well be argued that without artists and independent record label owners such as Rupe the DIY punk rock explosion would have never taken off the way it did as inspiration has to always come from somewhere. It could also be argued that sadly it is often the case that record labels try to cash in on artists that are no longer with us and by 1986 when this record had come out Larry was already dead for several years after having committed suicide in 1980. Williams' later life was plagued by drug abuse and violence, sadly nothing uncommon with a lot of artists from his generation. If you appreciate well crafted and wild' '50s rock'n'roll then you will not be disappointed with this record and should get your greedy hands on a copy of this. Rockin' Pneumonia it is!!!

Art Rupe obituary from The Guardian: https://www.theguardian.com/music/2022/apr/18/art-rupe-obituar

Keith Morris with Jim Ruland - My Damage (The Story Of A Punk Rock Survivor)

Publisher: Da Capo Press; Year: 2016; Format: Hardcover Book

It's not surprising that I remember more about the circumstances as to when and how I bought this book instead of the contents. Back in 2017 when I was still living in Brooklyn I recall taking the R Train on a sunny Sunday afternoon from Bay Ridge where my wife and I lived at that time to lower Manhattan where the big Strand Book Store is located to this day. I spotted Keith Morris' book was priced at $11.95 instead of the $25.00 list price and I sure as hell didn't think twice picking up a copy. Later said afternoon I sat outside in Union Square Park and read several of the short chapters of this great book and a few days later I was done with it. Some time ago I reviewed Jim Ruland's "Corporate Rock Sucks" book, another really fascinating book, but before Jim got to write that he spent quite some time with one of the founding members of the Southern California punk and hardcore sound, Keith Morris. According to a Decibel interview Jim and Keith would drive around in a car and visit places pertinent to the rich punk and hardcore history of Los Angeles and its surrounding areas in order to coax memories out of Keith. The book takes the readers on a wild ride from Keith's childhood days in his hometown of Hermosa Beach in the South Bay to him fronting Black Flag and Circle Jerks all the way to the days of OFF!. One thing's for sure and that is that Keith does not hold back one single bit about his own life and how happy he is to be still alive after having gone sober in 1988. We further learn how Keith's dad was a thug having been kicked out of Inglewood High for kidnapping the principal and how Keith got exposed to music at an early age when seeing Arthur Lee and Love perform at a matinee show in the South Bay. What most of us probably didn't know is that at one point in his life Keith worked as an A&R for Richard Branson's V2 label, an experience Keith has some salty words to tell you about. It truly is everything you would expect from a man that has lived an interesting and fast life. The book was apparently the result of Keith and Brendan Mullen (RIP) having become good friends over the years and Brendan pushing Keith to write about his life. A good thing he did as this is without a doubt one of the better autobiographies and comes highly recommended. 

Keith and a few beers. Photo by Spot (RIP). 

A more recent photo of Keith ;-)

The Stiffs - "Volume Control", "Goodbye My Love" and "Four Winds" Singles

Label: 1977 Records; Year: 2002; Format: 7" Single

As you will all know Punk wasn't just a London thing as some will want you to believe, but was very much happening anywhere in the UK during the initial explosion in the late '70s. The Stiffs for instance hailed from Blackburn in the North-West and formed in 1976 by two 14-year old school friends as described in my go to UK punk bible "no more heroes" by Alex Ogg (see also Wikipedia entry for the band). In July 1978 the band was ready to record some of their own songs and early versions of "Inside Out" and "Volume Control" were the results of those sessions that took place in Oldham. Personally I don't own the "Inside Out" single hence I can't have any opinion but according to the sources I have used the single was well received after their very first "Brookside Riot Squad" EP had failed to materialize the desired results. The single reviewed herein "Volume Control" was originally released in 1980 on EMI subsidiary Zonophone. Of the three singles I have this one is the clear winner with the A-Side being a really strong and well crafted '77 Punk influenced smasher backed by loud guitars and a great production. The B-Side is almost equally good with the Jam influenced Mod stomper "Nothing To Lose". Definitely a great single!

Label: 1977 Records; Year: 2002; Format: 7" Single

Tokyo based reissue label 1977 Records was also responsible for reissuing the originally in 1981 released single "Goodby My Love" backed by "Magic Roundabout" on the B-Side. The Gary Glitter cover on the A-Side really didn't need to be recorded at all and I am not just referring to Glitter here, but the music itself as well as it's just a cheesy overblown glam rock song. The B-Side on this one is in that sense better but in all fairness the band never got to the strength of songs like 'Volume Control'. As musicians they certainly made progress and were a tight-sounding unit but at least for me it lead to sounding more lame, more poppy and more mainstream oriented lacking drive and conviction. I don't know the band's entire catalogue but for me this would be the cut off as I can't see them ever getting any more interesting unless you are a die-hard Powerpop fan, which I am not. Even a tour supporting the UK Subs did not help elevating their status and in all fairness I am not surprised. Solid but that's about it. 

Label: 1977 Records; Year: 2002; Format: 7" Single

The Stiffs continued to perform and released one last single in 1985 until 1977 Records decided to release new material when the Stiffs flew over to Japan for four dates in 2002. According to Ogg's book and the band's recollection the dates went really well and the crowds loved every second of their performances. I am not surprised that the Stiffs got such a positive reaction in Japan as the fans over there tend to be loyal and just genuine. As for the two songs recorded in 2002 I can't say I have much time for them. Both songs are well played and solid, but lack any recognition or hit potential. As with many Mod/Powerpop bands the songs have a tendency for too many hooks as well as too many breaks while nothing seems to stick. Not a bad release per se but definitely nothing worthwhile. In a way it seems the band has at times tried too hard to achieve success and failed miserably, that's at least the way I see it.