Sozz - Patrol Car and Law N' Order Singles

Label: Farmer Records; Year: 1979; Format: 7" Single

It's about time to pump some life into this blog, and since the sun has come out here in Buffalo for the first time in some time today my mood is a little better after having suffered through too many grey days when it becomes just too hard to do anything besides going to work. Back in the late '70s punk rock reached the most peculiar places on earth by infecting the local youth with a virus that would have long lasting effects on music and society in general. Switzerland, a beautiful and peaceful country in the middle of Europe, and the country where I lived most of my life, gave the world some wonderful early punk rock 7"s that are sought after around the world. Many of the early Swiss punk acts came from Zurich, but there were some notable exceptions, and Sozz is most certainly one of them. Out of the ashes of No Fun, founded in 1978, came a quartet which consisted of three brothers (Andreas, Ernest and Stefan Maeschi) and hailed from the small village of Bueren an der Aare in the Kanton of Bern. In April of 1979 the band entered the Sunrise Studios in Kirchberg where many early Swiss punk records were recorded resulting in the 'Patrol Car' single with 'Lurch Gang' being the other track. I don't think the first single is as good as the second one, but Patrol Car is a cracking song and provides a hint as to what direction the band was going to take. Influenced heavily by the Clash it is a melodic yet hard stomping song with lyrics depicting problems of urban nature and far removed from the idyllic views of village life, yet unsurprisingly appealing to a bunch of punk rockers literally lost in Heidi-Land. Lurch Gang on the other hand is the weakest song to be found on either of the two singles, but despite sounding disjointed it maintains high levels of that certain charme of late '70s rudimentary punk rock. 

Sozz band photo (Source: Patrol Car 7" fold out cover)

Label: Farmer Records; Year: 1980; Format: 7" Single

Just like with the first single Sozz self-released their second singe on their own Farmer Records after entering the studio in January of 1980. While 'Patrol Car' pre-shadowed the potential the band had, the two tracks on this single are both smashers. 'Law N' Order' is by far my favorite Sozz track and a perfect '77 punk cracker, again not shy of a heavy Clash influence. If melodic and anthemic punk rock is your thing, you will want to hear this song as well as 'All the cops in the streets' on the flipside. I really wish I could write more about Sozz as they are often somewhat forgotten when it comes to early Swiss punk history. Over the years I've gotten to know one of the three brothers, bass player Buzz, to a lesser degree. In the early '90s he opened up a small record shop in Zurich selling mostly punk vinyl and also vintage clothes and I was lucky to find some really great records there but was never able to strike up much of a conversation with the proprietor. It is a shame as I am pretty certain that Sozz were approached to participate in the making of Lurker Grand's great book on early Swiss punk - Hot Love, but turned down not just that, but also subsequent interest in reissuing these two rare examples of great early Swiss punk. You can find their songs on Youtube and if I am not mistaken some of the songs have made it onto some KBD comps, but don't quote me on that. I was lucky in the sense that a friend of mine gifted me these two records years ago, but the hope remains that one day a reissue of sorts will become reality. I should note that out of the ashes of Sozz came Last Romance and especially Hungry For What, a band that gained more international recognitinon and will be reviewed on this blog in the future. Members of Sozz also ended up in Sophisticated Boom Boom and nurtured and released records by the all-female band Chin Chin.

Old gig poster and other Sozz related material. Source: Hot Love (Swiss Punk & Wave 1976-80); Book by Lurker Grand and many others

The Brat - Attitudes LP

Label: Radiation Records; Year: 2023; Format: Vinyl LP

Firstly my apologies to the few regular readers I have for not having posted any new content in a while but that's how it is going to be until December due to a work related exam I am studying for. The good news though is that thanks to the two incompetent and useless political parties running and ruining our lives here in the U$ of A and the avoidance of a government shutdown this blog here gets funded for at least another forty five days. I hope everyone is enjoying the last few warm days before we shall bundle up again as I sure as hell am, and today was a perfect day to put on a recently purchased reissue I have been patiently waiting for some time. East LA's the Brat formed in 1978 when lead guitarist Rudy Medina and his guitarist-nephew Sid Medina met Teresa Covarrubias from Boyle Heights. In the highly recommended and excellent book "We Were Going To Change The World" by Stacy Russo (this will get an extensive review/interview in the near future) Teresa is featured as one of the women having been part of the '70s and '80s Southern California Punk Scene where she goes to explain that despite the widespread belief that Punk Rock was all inclusive she did not think it mirrored the experience the Brat had having felt rather marginalized and isolated from the Hollywood Punk scene on the West Side of LA. Teresa further explores: "I think the first show that we did that was a real concert was probably at Madam Wong's in '78, '79. Actually, it was kind of important. I think John Doe and Exene were there that night, and they really dug the band. I always say that I think they had a lot do to with helping us break that barrier, because I always felt there was a barrier. After Exene and John came and they met us afterwards, they really helped us try to break into the whole scene on the Westside. We opened for X many times, because they requested that we did." But not only did X help the Brat to achieve more exposure, the East Side of LA also got its own venue in the shape of the Vex as a result of Chicano muralist Willie Herron teaming up with Self-Help Graphics founder Sister Karen Boccalero concluding that the space they were using could as well be used to put on shows. The Vex became crucial to the development of the Brat and it must have been at said venue where Tito Larriva of the Plugz discovered the band and liked them so much that he offered to produce and release their 10" on his newly created Fatima Recordz back in 1980. A year later the five song EP titled "Attitude" was reissued as a 12" and thereafter it disappeared into obscurity as many great records have. Fortunately Radiation Records has decided to put out the original five songs that appeared on the first record plus eight more track recorded between 1981 and 1985 on this neatly packaged LP fittingly called "Attitudes". If you have never heard of the Brat you are in for a nice surprise if you like well crafted punk songs with a good dose of pop sentimentality. On top of that I would go as far as saying that the Brat created a unique sound by blending punk rock's energy with influences ranging from pop, new wave, and country music backed with intelligent lyrics tackling political and societal issues. After the release of "Attitude" the band was planning on releasing a further record on a Major Label, but it is to be assumed that the suited men and ladies were not fond of the band's critical lyrics hence by 1985 the band disbanded. If you want to get a taste for the Brat I suggest you listen to my personal favorite track "The Wolf", recorded in 1982 at Santa Barbara Sound, as it can only be described as an incredibly powerful and brilliant song dealing with the hypocrisy we call democracy in this country. It is without a doubt that the Brat were more than talented enough to write excellent punk songs with a pop edge, or pop songs with a punk edge, but as was the case for many of their peers it wasn't meant to happen for them. It is never too late and I can only hope that this excellent reissue reaches new fans of the band as they truly deserve more recognition. Grab a copy while they last! 

Photos borrowed from https://thebrat.net

Interterror - Sublevacion LP

Label: Tonto Records; Year: 2001; Format: Vinyl LP

About time I do another entry as summer is dragging along and is soon coming to an end, which quite frankly I don't mind. For fans of international punk rock like myself I have a nugget in form of Interterror, a band that probably not too many out there will be familiar with and definitely deserving of wider recognition. It's a real shame I don't understand Spanish as the Sublevacion LP from 2001 comes with a 16-page booklet containing a lengthy interview with bassist Xavi Garcia, also known as "El Enano Infiltrado" (the infiltrated dwarf), the founding member of Valencia's punk rockers Interterror. So, in that sense I had to look elsewhere for information about the band as the info sheet in English that came with the LP is only about 500 words long. Through Discogs I was directed to a Spanish blog where one can find a pretty detailed band history, again in Spanish only (link at the end of this entry). I was under the impression that in this day and age it's easy to translate just about anything but apparently not until I eventually copied the text into an email enabling me to translate it through Google translator. Not that I am overly impressed with the translation but it is something and better than nothing. Interterror formed as early as 1980 but things didn't really starting to take shape until late in 1981 when Xavi was able to add Victor on drums, Guillermo on vocals and Miguel on guitar. The band recorded their 1st demo in 1982 containing four songs that would eventually be reissued a few years ago on Radikal 1977 Records. Side A on this LP contains the entire 1982 master tape which led to the release of Interterror's 12" back in 1985, a record that was quite well received in Spain at the time, well at least in punk circles. Side B on this LP contains the entire live set recorded at Club Zeleste in Barcelona on June 30th of 1983. This specific LP was made possible through the detective work of David at Tonto Records who after several years of searching was finally able to establish contact with Xavi. Through Xavi the band's producer Toni Pep Rodrigues Selles was brought into the fold as well and the archival work began leading eventually to this release back in 2001. If I am not mistaken this was the first reissue of Interterror's material so the subsequent reissues that have come out since then were most likely all the result of an increased interest in the band considering that this LP was also released in Mexico on CD. And in all fairness it should come as no surprise that after all those years Interterror is getting some international recognition for the songs they recorded decades ago. Did I tell you I love Spanish Punk? As with a lot of early '80s bands from Spain Interterror's sound can best be described as aggressive yet melodic straight forward punk rock carried by a singer full of conviction, a loud and dominant bass sound, and last but not least an irresistible guitar sound reminiscent of bands like Cockney Rejects, D.O.A or Argentina's Los Violadores. Tracks like "Problemas de estado" or "1984, el fin del mundo ya esta aqui" are just two examples why Interterror's songs should be heard by more people outside the Spanish speaking world. To be honest the live recording on the flip side isn't the greatest, but it's not bad either. More importantly it's of great historic value as the band rarely played outside of their hometown of Valencia and the band members themselves didn't even have a copy of the tape from back in the day. As is common these days Interterror's music can be found on several music platforms on the intranet, so do yourself a favor and discover this lost gem of a band from the golden era of punk rock. For all you vinyl freaks get your hands on anything you can find! Adios Lili Marleen!

Link to the band's history in Spanish: http://no80s-gruposnacionales.blogspot.com/2008/08/interterror.html

V/A - The End of an Era (The Best of Rot Records) 2-LP

Label: Rot Records; Year: 1988; Format: Vinyl 2-LP

Rot Records was started in late '83 by members of Mansfield band Riot Squad and my assumption is that first and foremost the goal was to release their own music as the first three Rot Releases were Riot Squad EP's, all classics in my opinion. The label went on to release an array of interesting and diverse releases from bands such as Paranoia (see blog entry for review of their LP), Resistance 77, Varukers, English Dogs etc.. In my opinion Rot Records sought out the bands that were maybe being ignored by labels such as No Future or Riot City but were equally good as the bands on said labels. In that sense Rot Records filled a gap and had quite a few of their releases played on Radio One, such as in the case of East London Act Animal Farm who were scheduled to support New Model Army on their tour only for it to be canceled last minute. The label was also in the right place at the right time to pick up the highly talented English Dogs and releasing their excellent "To The Ends Of The Earth" 12" but ultimately losing the band to Under One Flag Records. It is needless to say that Rot Records had a good run and released a slew of under appreciated minor indie hits, but by 1988 it was all over with and the label came to an end. I remember vividly that it was in that year when I picked up my copy of this 32 track Double LP at Jama Rico Records in Zurich, Switzerland. As you can see on the photo of the back cover I even marked which tracks I liked more or less, but that was in 1988 when I was first and foremost into faster hardcore punk stuff. Yesterday I sat down to listen to all four sides and loved each and every track leading me to the conclusion that Rot's catalogue has aged rather well. While thirty five years ago for the most part I enjoyed bands like Riot Squad, Varukers, Oi Polloi, Rattus et al yesterday I made a mental note to myself that I must dig deeper into the catalogues of bands such as Reality from East Anglia, Butcher from posh coastal town Bournemouth, Picture Frame Seduction, Cult Maniax as well as above mentioned Animal Farm. Said bands have all a unique style on their own and deserve more attention in the wider sense. The truth of the matter is that most of the Rot releases have become very collectible and expensive to buy but some of the material has been reissued. I am always shocked to see the prices on Discogs and for how much these records go for, it's pure insanity. I suppose that over the decades more and more people all over the world have caught up to these records pushing up prices. My guess is that many of you folks out there don't mind streaming music and I am pretty sure you can find this Double-LP online as I highly recommend it if you are not so familiar with Rot's catalogue. Whether you like UK82 punk, more melodic '77 punk inspired '80s punk rock or Metal influenced hardcore punk you'll find plenty of it on this collection. Last but not least I think Rot Records should be more in the conversation when recollecting early '80s UK punk history as they sure as hell released some forgotten gems. Cheers!

Deborah Curtis - Touching from a Distance (Ian Curtis and Joy Division)

Publisher: Faber and Faber Limited; Year: 1995; Format: Softcover book

Very recently when reviewing the Warsaw "An Ideal For Killing" LP I had mentioned that I was reading Deborah Curtis' book about her life with Ian and of course Joy Division. Since it's a short read I thought I better review it immediately before my memory lets me down and my brain's hard drive gets too overloaded with information nobody really needs to know, including myself. Back in 2007 when I moved to London from Switzerland I remember that the movie 'Control' was just about to come out and was highly anticipated by the movie and music press alike. It was then when I became more intrigued about Joy Division's history and music alike as I have to be honest but throughout the decades somehow I never caught on the hype about the band which in retrospect is a shame but then again it's never too late and it's not like I have missed some great re-union show because of the laziness on my part. A good while ago I read Jon Savage's "This Searing Light..." book about Joy Division and highly enjoyed it hence I can recommend that one if you want to get a good feel about those particular times in Manchester's music history. Deborah's book is much older than the Savage one and was recently given to me by my favorite local record store proprietor (Cheers Jerid!). In all fairness it's a great short read if you are interested in the relationship between husband and wife and really how conflicted it was from the very beginning. Of course one could say that with Ian having died the reader gets to hear just one side, but I have no doubt that Deborah did not see any reason to lie or exaggerate. To be very fair to her I did not find her tone to be condescending or unfair in any shape or form. Actually it is quite the opposite where Deborah clearly has a feeling that she and others could have helped to prevent the tragic death of Ian. What I found most fascinating about the book is Deborah's very detail oriented memory where she would remember exactly what happened on a certain day or night or what record Ian would be crazy about in the year 1975 for instance. If time travel was possible then going back to '70s Manchester would be a highly fascinating trip, albeit a depressing one in many ways. Judging from the book and how serious Ian was about music and the bands he adored it all makes sense why Joy Division sounded the way they did. One thing must be said and that is that Ian knew very early on that the band he was to front will stand apart from others and I think we all agree that Joy Division achieved that. Something I can read about over and over are those very early days of punk where a handful of people were in the know and aware that something was bubbling under the surface waiting to explode and Deborah's book gives you a really good idea as to how everything evolved in and around Manchester. Of course you also get Deborah's view about how Ian connected with Annik and eventually destroyed their marriage, and even there Deborah takes a very fair and distant approach. If you are interested in the history of Ian Curtis and Joy Division than this is a must-read, but even from an outsider point of view this is a great read about a very unique time period in music history. 

Warsaw - An Ideal For Killing LP

Label: Galaor Records (Unofficial); Year: 2002; Format: Vinyl LP

I am currently reading Deborah Curtis' "Touching from a Distance" book which was published a long time ago and was gifted to me a few days ago. More about the book when I do a review, so stay tuned. When I woke up this morning I scratched my bald head and was wondering what record I should review today as I intend to put in a shift for the blog. It then dawned on me that I have an old Warsaw bootleg LP and that it would make an ideal soundtrack to what I am reading, so here we go. As many of you will certainly know before Joy Division became known under said name they went by the name Warsaw, which in turn they took from David Bowie's 'Low' album song "Warsawa". Ian Curtis missed the first Sex Pistols gig in June of '76 but attended the second Lesser Free Trade Hall gig on July 20th of the same year. Peter Hook, Bernard Sumner and Terry Mason were also at that gig and were eager to start a band of their own. After Bernard had bumped into Ian at several local gigs they decided to recruit Ian as their singer after having placed an ad at Virgin Records. Judging by what Bernard had to say about recruiting Ian it could definitely be argued that his decision was based on pure instinct and gut feeling:

"Because I knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."

Now with a band in place Ian had finally achieved what he always wanted to be: a singer in a band that had a vision setting themselves apart from the rest. "An Ideal For Killing" is a bootleg compiling different sessions, two of which were recorded as Warsaw, and two other ones when the band had already changed their name to Joy Division. The first five tracks on the first side are also known as "The Ideal Beginning" Demo Sessions and the first four tracks on the second side ended up being the "An Ideal For Living" EP. But enough of all these nuanced details as the music is what matters the most and there isn't a single dull track to be found on this LP. Sure, the first Side (Tension-Side) sounds a bit rough but even at this very early stage of the band's career one can already detect the sheer talent of which these Manchester lads had in abundance. Without a doubt those July '77 sessions were influenced by the Sex Pistols and Johnny Thunders and the Heartbreakers but Warsaw's style had already a twist of its own setting them apart from many other '77 Punk acts with tracks like 'At a later Date' or 'You're no good for me'. The second side (Reaction Side) is where the change in style and the growth as a band become tangible and loud and clear. At the end of '77 Warsaw played the last gig under said name and most of the tracks on the second side were recorded a few weeks prior to said gig. This side is filled with absolute killer tracks including 'Ice Age' and 'Walked in Line'. As is common with bootlegs not all information is correct but at least the person behind this boot put some love into it and printed up a glossy insert. I am pretty sure that all the tracks are to be found on other records, but if you can hunt down a copy of this particular LP do yourself a favor and grab it as it's worth every penny. 

Hans-A-Plast - S/T LP

Label: Re-Force Records; Year: 2005; Format: Vinyl LP

Timing is everything they say and was also the title to an album by Chris DeBurgh. But don't you worry I am not at the point in my life to review Chris DeBurgh records, at least not yet. Timing is right to review Hans-A-Plast's first LP originally released in 1979 on Lava Records. I have been meaning to pull this one from my shelves for quite some time now as the band has been mentioned so many times on my favorite German speaking podcast "Und Dann Kam Punk" that it basically begged to be reviewed. And so it happened that this week Annette Benjamin who fronted Hans-A-Plast was a guest for said podcast hence everything I wanted to ever know about the Hanover band was answered, or at least most of it (Link to podcast for German speakers at the bottom of this entry). What I found most fascinating about the interview with Annette is that she hasn't lost her wit and sense of humor one single bit. Now in her early sixties she talked about her formative years and how she ended up joining Hans-A-Plast as the last member of the original line-up. Born in Braunschweig and not far from Hanover in Northern Germany Annette had a somewhat unhappy childhood and at the sweet age of seventeen she decided to take matters into her own hands and via Amsterdam she ended up in London in 1977 where she spent several months. She was lucky enough to experience the punk rock explosion firsthand, and in early '78 she struck gold by seeing X-Ray Spex live on stage. According to Annette it was a life-changing moment in the sense that after having seen Poly Styrene on stage Annette knew what she wanted to do in her life, yep you guessed it right: she wanted to be a singer in a band. After having returned to Braunschweig fate was very much in her favor as she met Hans-A-Plast during a gig in a small venue in Hanover. Annette was singing in a different band during said gig and because Hans-A-Plast were initially a quartet with drummer Betty also taking up singing duties, the band approached Annette whether she would like to be their lead singer, and the rest is history. Things moved quickly from there onwards and in September of 1979 the band entered the studio to record their first full length. When I say that this record should be in the Top 50 of the best Punk records ever then I not only mean it, but I have reasons as to why I think so. First and foremost up to this day unfortunately too many people still think that Punk records either having been released in the UK or the United States are the non plus ultra and nothing beyond is of importance, very wrong. Secondly, punk rock took a while to develop and depending on the geographical location things might have been moving slower, but not necessarily in a less interesting way. Whereas in 1979 punk in London might have been forgotten to a degree, in Hanover that was certainly not the case. The thirteen songs on this record are all brilliant in their own way as they just scream youth and loud abrasive rock'n'roll. The three women and two men in Hans-A-Plast were simply put very gifted songwriters, capable of writing funny and edgy songs having taken clues from the '77 punk explosion as well as the more angular sounds of post-punk while backing it with socio-critical lyrics dealing with sexism or police brutality as well as issues as simple as having fuck all to do on a Friday night in 'Rock'N'Roll Freitag'. It really is not a surprise that the album sold in the thousands and was reissued as early as 1980 on Hanover's No Fun Records selling again in the thousands. The band toured extensively through Germany as well as Austria and Switzerland, and went on to release two more LPs until they split up in 1984. Spontaneously Lost Kids from Denmark came to my mind today as a comparison and I think that either band wouldn't disagree with said comparison. Do yourself a favor and get this LP, no matter which pressing. Grandiose Platte!

Link to Podcast interview with Annette (in German): https://www.audible.com/pd/Podcast/B08K56W8WJ

Paranoia - Shattered Glass LP

Label: Rot Records; Year: 1984; Format: Vinyl LP

Stoke-On-Trent in the West Midlands gifted us one of the most prolific Rock'N'Rollers ever, being the one and only Lemmy of Motorhead. But said city also gave us Paranoia, a band I assume not many are familiar with. I for one came across Paranoia around 1988 when I bought a copy of the Double-LP "The End of an Era - The Best of Rot Records". Said two-record set which I shall review here at some point is a representation as to what Rot Records released until it ceased to exist with bands like Riot Squad, English Dogs, The Varukers or Skeptix kind of representative of what the label's sound stood for. Even though at the age of eighteen I was very much into the more chaotic and fast sounds of above mentioned acts the two Paranoia tracks "Dead Man's Dreams" and "1984" really stood out to me and I instantly fell in love with the female-fronted melodic punk sound equally influenced by gothic rock and post-punk. Ever since those days back in the late '80s I set out to find a copy of the "Shattered Glass" LP released in 1984 but it would take more than twenty years to do so. In 2007 when I moved to London from Switzerland I thought I'd have a better chance finding a copy but I was proven very wrong. Even in England the band was not known, not even to some of the older Punks I had gotten to know. In 2008 I started a job for an EU Government Agency located in East London (thanks to Brexit no longer there) and one of my co-workers in the Archives was a fellow from Spain who was funny as hell and let's just say crazy at times too. One day he asked me what I liked to do in my free-time and I told him about my passion for records. He then proceeded to ask me whether there were any records I really liked to have and I told him about Paranoia's "Shattered Glass" and that they were from Stoke-On-Trent. Daniel (the co-worker) immediately googled Stoke-On-Trent's record stores and came up with some geezer's stall in Stoke. He picked up the phone and called the fella in Stoke and told him in somewhat broken English the following: "Hey, I am Daniel and calling you from London. My friend here is looking for a record by a band from your city, Paranoia. Do you know them?" Record Stall guy: "Yes mate, I do know them but that LP is rare as hell and I sure don't have a copy. Sorry mate and good luck finding one". It must have been around 2011 that I not only won my copy through eBay for about forty bucks, but pretty much at the same time found another copy for a similar price through a used record site. So, after all those years I ended up with not one but two copies and gave one to a good friend of mine in Switzerland who was after the record for a long time as well. 

So, at this point you probably ask yourself what the deal is with this LP. Paranoia came out of the remnants of Civil Defense, a band that was started by the two brothers Paul on Guitar and Phil on Drums. At some point their sister Janet or 'Jan' joined the band along her husband Mick and by 1983 changed their name from Civil Defense to Paranoia. "Shattered Glass" is a truly outstanding LP in the sense that it effortlessly combines melodic punk rock with elements of goth rock and post-punk drawing influences from bands such as Siouxsie and the Banshees, Penetration and Joy Division to name a few. The ten tracks on the LP are all winners in their own way, be it the absolutely brilliant opener "Dead Man's Dreams" the fast and furious "Graveyards from Hell" or the more subtle and tribal sounding songs such as "Vietnam", "Man in Black" or "The Gig". What you get on this LP are songs that will draw you into a post-apocalyptic world through their lyrics but will leave you with hope at the other end. At some point I will want to interview Phil and hopefully other band members about the band's past but for now I will leave you with Phil's thoughts about how they ended up on Rot Records after having reached out to him over e-mail. 

"We came to be on Rot Records when I saw an advert ‘Punk Bands Wanted’. If I remember correctly, the ad was in the classifieds of SOUNDS, the national, weekly music publication. We had just recorded a demo tape, so I just thought I’d send one to see what the feedback was.

The advert had been placed by Dunk of Rot Records and formerly of Riot Squad.

We had previously been a 6 piece band with keyboards and an additional guitarist, under the name of Civil Defence. The guitarist decided to leave the band and so his wife (keyboard player) also left. So we were now a 4 piece, changed our name to Paranoia, and had started to experiment with a different style. So sending the tape to Dunk was mainly to see what people thought about the new style and new songs, cos although we’d done lots of gigs as ‘Civil Defence’, we’d not done any gigs as Paranoia.

We got a reply from Dunk, a letter saying that he liked the demo tape and asking if he could include one or two of the tracks on a new compilation album (Wet Dreams) that was to be released by his label. Of course, we agreed, as we had still not done any gigs and would be a good opportunity for more feedback. 

The compilation was released and the feedback was awesome! We received so many letters, from all over the world, asking about the band, fanzines wanting to do interviews and people asking if there was more material/tapes available of Paranoia. It was at this point Dunk wanted us to sign up to the label, go into the studio to record an album and a single to be released on Rot Records. We signed to Rot Records, still having done no gigs as Paranoia.  Now signed to Rot Records, that changed quickly as Dunk set up gigs for us in Nottingham and London aswell as a gig we set up locally with Resistance 77, who were also on the compilation album.

Our single was getting ‘AirPlay’ on radio stations including John Peel’s BBC Radio 1 show.

I remember the day that the single was released. Dunk said he would send us a few complimentary copies of the single but we hadn’t received them yet and we couldn’t wait to hear it.  So me and my brother took a trip over to the local record shop to buy a copy of ‘Dead Man’s Dreams’ and walked up to the counter…

“Have you got a copy of Dead Man’s Dreams by Paranoia?”

“Sorry no, we’ve just sold the last copy”.

That was the only time ever I’ve had the feeling of disappointment and buzzing at the same time!"

Well folks, good news is that the LP has finally been reissued and has just very recently come out through Radiation Records from Italy. It just proves it's never too late and I can only hope that Paranoia will find a new generation of fans as they bloody deserve it! Grab a copy while they last! 

Kevin Mattson - We're Not Here To Entertain (Punk Rock, Ronald Reagan, and The Real Culture War of 1980s America)

Publisher: Oxford University Press; Year: 2020; Format: Hardcover Book

Let me tell you that between last night and this morning I spent probably two to three hours preparing for this entry as Kevin Mattson's book not only deserves that, but literally requires that in terms of the depth of his book. Mattson's book was published in the middle of the pandemic and I remember being instantly drawn to it. At the time I also listened to the New Books Network podcast interview (see link at the bottom) with the author and knew that I had to get the book immediately, which I did. I read it a while ago and last night I re-read bits and pieces of certain chapters on top of listening to above mentioned podcast again as well. I think by now you get the drift that Mattson's book is packed with information and with that I mean historical facts that are the result of probably hundreds of hours of research the author has put into for this tome. I am of the firm belief that more books such as this one need to be published in order for us fans of '80s hardcore punk, scholars and curious minded people out there to be able to gain a better understanding as to what really happened across America between 1979 and 1985 to be specific about the years Kevin covers for his book. I didn't grow up in America, so to this day after having lived here for something over a decade now, I still learn a lot about cultural history, and for that this book is just significant. It is important to point out that Kevin Mattson is a Professor of U.S. cultural and intellectual history at a University in Ohio and was an active participant of the early '80s Washington D.C. hardcore punk scene, as well as being one of the cofounders of Positive Force in 1985. When we think of punk books then most of the time oral histories come to mind and an endless amount of books have been published in such way, some more interesting than others. This book is a very different proposition in the sense that Mattson succeeds to juxtapose the punk rock world versus the 'Entertainer In Chief' Ronald Reagan highlighting in detailed chapters how the death of the 1st wave of punk rock and the record industry opened up the doors for an energized and politically minded youth across the U.S. to take matters into their own hands to counter the mainstream culture and the advent of MTV. What's outstanding about Mattson's approach and research into this matter is the inclusion of film, art, poetry, fanzines and other forms of communication that helped to spread DIY culture outside of the cultural epicenters on either Coast. Vic Bondi of Articles of Faith sums up the book as follows: "Firmly establishes American hardcore in the politics of the moment and the economics of the music industry at the time. An essential read for anyone wanting to understand the cultural history of the 1980s." I couldn't agree more with the statement and will have to revisit the book again soon to dig deeper into certain sections of it to learn more, and more. Highly recommended! 

New Books Network Podcast Link: https://newbooksnetwork.com/were-not-here-to-entertain-1

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

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

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. 

Frites Modern - Veel, Vet, Goor En Duur LP

Label: Boy Bensdorp Platen; Year: 1984; Format: Vinyl LP

Sometimes you can't help but to miss the good ole' days of record hunting. I got my copy of this Dutch classic back in 1991 for $1.99 at the Record Peddler in Toronto on Yonge Street during my first longer spell of living in T.O. during the '90s. Unfortunately those sort of finds just don't happen anymore these days, mainly thanks to the intranet. But, let me just move on with the record as it is one of the best when it comes to European and Dutch hardcore punk. Frites Modern formed in Amsterdam in 1981 when singer/guitar player Arjan Boonacker left legendary punk act Trockener Kecks. Frites Modern contributed to the "Als Je Haar Maar Goed Zit" Compilation LP in 1982 before self-releasing the 6-Met Cassette in 1983, which has somewhat recently been reissued as a 10" and I definitely need to get. In 1984 the band released their one and only full-length and on so many levels it is just a true classic. First and foremost what strikes me as extraordinary and definitely not something that happened very often is the fact that Frites Modern were a trio yet their sound is so powerful you would think they consisted of five members. All, and I mean really all songs are well crafted, tuneful and for the most part mid-tempo punk rock smashers. There are two to three fast US hardcore influenced songs but the band never loses themselves in playing fast without melody. The other thing that strikes me is how well produced this record is just adding to the power of the songs. Maximum RockNRoll was pushing Frites Modern hard and it is no wonder they were included on the famous "Welcome to 1984" Compilation LP where I must have discovered them myself. Luckily the LP has been reissued a few years back so should you not be a lucky owner of an original copy you have absolutely no excuse not to grab a copy before they're all gone. Whether your thing is '80s hardcore or you are stuck in 1977 this record definitely ticks all the right boxes for everyone to love it. A true gem! 

Flyer stolen from the excellent Frites Modern website at www.fritesmodern.nl

Penetration - Don't Dictate and Life's A Gamble Singles

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

When it comes to the very early UK punk bands that set Britain burning so to speak Penetration from the North-East are not mentioned often enough. Their story is a particularly interesting one and thanks to Alex Ogg's "No More Heroes" book I refreshed my memory about the early days of the band hailing from the mining village of Ferryhill in County Durham. If you were a teenager in 1976 and lived in London no matter how different the world was compared to today, chances were that you caught on to the latest music trend rather sooner than later due to the music press being so London centric. On the other hand if you lived in a small village in the North-East far removed from London things were very different and moved at a much slower pace. That's why I find bands like Penetration fascinating as they made it happen despite the geographical and cultural disadvantage. As a matter of fact Pauline Murray, the lead singer, can without doubt be described as one of the most talented and charismatic singers of the early punk days, and I am sure many would agree with that statement. It should therefore not come as a surprise that at some point Virgin Records sent the band into a studio to record demos which initially resulted in a one-off single deal in the form of the herein reviewed "Don't Dictate" b/w "Money Talks" single. Both tracks are wonderful examples of early punk rock written with a strong pop sentiment that will instantly lift your mood and put a big smile on your face. As soppy as that may sound go out there and find out for yourself should you not be familiar with this bunch. 

Label: Virgin Records; Year: 1978; Format: 7" Single

While "Don't Dictate" was recorded as a quartet with Gary Chaplin being the guitar player and main song writer things changed drastically after Gary's sudden departure in 1978. After the band gained more traction and Virgin Records extended their relationship with the band Penetration also signed a management deal with Quarry, the same company that looked after Status Quo and Rory Gallagher. Needless to say that those two acts attracted a different type of clientele and while on tour supporting Gallagher in France Penetration got bottled off stage nearly every night. According to Murray Chaplin got cold feet and felt under pressure and left the band. The band had very little time replacing him and found not just one but two guitar players in the form of Neal Floyd and Fred Purser. Without a shadow of a doubt their addition added a whole new dynamic to the song writing as the melodic and powerful yet somewhat unfinished song writing of the year passed turned into a real hit machine with "Life's A Gamble" being the best example of said progress. This is actually the band's third single, released a few months after "Firing Squad". Of course it's not the same as having seen the band in their hay day but I consider myself still lucky having witnessed Penetration live on stage in London during my period living there about fifteen years ago. Their gig at the 100 Club I still consider one of my favorite live music memories from London and rest assured that there will be more reviews of Penetration records in the future. 

V/A - 415 Music LP

Label: 415 Records; Year: 1980; Format: Vinyl LP

During lunch time I often either take a good walk or if the weather is not so great, which can be the case often here in Buffalo, I at least trudge up to the main library to check out the latest books. Such was the case last week when I stumbled upon "Kalifornia Kool Photographs 1976 - 1982" by Ruby Ray. After spending the entire lunch looking at the photos I decided to take the book out and inspect the wonderful photography of Ruby at home. A lot of the photos were either taken at the Mabuhay Gardens or in people's homes and are wonderful snapshots of a time that this world will never experience again. Everything seemed possible and the spontaneity in music and the arts seemed endless. While leafing through the book this past weekend it occurred to me that to round up this San Francisco centered weekend I should spin my copy of 415 Music, a compilation from 1980. Now, as always with compilations that document a particular scene and a particular time keep in mind that most of the time not all the bands are worth checking out but 415 Music gives you actually not just good value for your hard earned dollar but also a nice oversight as to what was going on in S.F at the time. Of course by 1980 the underground music scene was at a crossroads with the first wave of punk already gone and New Wave and Power Pop on the rise. What you get on this compilation is a bit of everything above with maybe two to three songs that can be categorized as lame New Wave and a waste of vinyl. The rest though is good, if not great Power Pop or New Wave of the sort I can definitely dig. Winners are The Readymates with "415 Music", The Mutants with "Baby's No Good", SVT "Always Come Back For More" and above all The VIPs with "She's a Put On", an incredibly catchy Synth Power Pop smasher. Overall this is well worth tracking down and if you want to dig even deeper into 415 and the Rise of New Wave in S.F. Hozac Books will sort you out with a book dedicated to said label. I should really order a copy for myself as well! As written on the back cover: 415 is the police code for disturbing the peace. Turn this record up and DO IT! 

Source for the Photos of the Mutants and the Offs: Ruby Ray - Kalifornia Kool Photographs 1978-1982 book.