Tuesday, December 28, 2010


The first few months of 2011 will be an ecstatic time to be doing More Than a Witness. I’m thrilled to announce that I will be doing an official reissue for the classic Washington DC hardcore group, United Mutation.

United Mutation were the ultimate demented outsiders of DC hardcore. When you consider the crop of other first wave DC (well, okay, Northern Virginia) hardcore acts who’ve made a name for themselves, only the mighty Void matched United Mutation when it came to playing sheer acid-thrash and freak out, face-melting ‘core. Perhaps the greatest thing about United Mutation is that they sounded truthfully damaged and isolated in the increasingly melodic and straight edged DC hardcore scene. This stuff was revolting, fuzzed-out noise pollution for true punks, the uniquely damaged, and those still turning on, tuning in, and dropping out well into the 1980s.

This is music that was so uniquely ahead of the curve when it came to truly unhinged hardcore punk of the 1980s. Michael Brown’s idiosyncratic vocal style was unquestionably the most deranged in hardcore (or any other style of music for that matter) up until that point. The lyrical themes (thankfully) didn’t manifest themselves in sloganeering or championing vacant leftist political causes like most forgettable bands of the era. Instead the band allowed a vision of their sick, introverted worldview with such a painfully unique and imaginative representation.

This LP (MTAWP 003, my third release) will feature the classic debut 7” EP “Fugitive Family” (originally issued in 1983 as a split release between DSI/Dischord), as well as essential demo recordings, compilation tracks, and unreleased recordings. I’m working closely with the band to assemble the best track list possible. This release will be totally different than and superior to the “Freaks Out” LP that released on European label Bitzcore in the late 80s.

Check back for updates on this release. I’d imagine this will be ready to drop around late February or early March. And of course, this release will be done right: the tracks will be remastered from the original masters, it’ll have an excellent gatefold jacket (I’d imagine with some kind of odd feature that will put me into further credit card debt for at least a little while) packed with liner notes, photos, flyers, and other relevant ephemera.

Monday, December 13, 2010


Despite their ubiquitous presence in the annals of new wave and 1980s cultural consciousness, the Go-Go’s began life as a punk rock group. Sharing the same circuit as influential Los Angeles punk groups such as X (they shared a rehearsal spot with them early on), the Germs (Belinda Carlisle was even a transitional early member under the pseudonym of “Dottie Danger”), the first 18 months of the band showed they hadn’t yet reached the seraphic lullabies of their debut album and what was to follow. This lineup featured Belinda Carlisle (vocals), Jane Wiedlin (guitar, vocals), Margot Olaverra (bass), and Elissa Bello (drums). They were a Masque stage mainstay and lived at the Canterbury Apartments, a Los Angeles punk flophouse hangout for key scene players and a variety of criminals, pimps, junkies, newly arrived immigrants, and crazies.

Here they are in all of their coats of glorious baby fat, the Go-Go’s in their infancy, way before they were a visual 1980s new wave affirmative action outfit featuring an array of two sassy punk rockers, two cheerleaders, and one tomboyish metalhead. This performance was recorded live on stage at the world famous Whiskey a Go-Go (fitting, isn’t it?) located in West Hollywood. Perhaps what is most interesting is how this shows you the great contrast between what the group was when they started when compared to when they gained mainstream prominence.

The recording is from an audience source and the quality is rough but listenable. This show consists of several unreleased tracks that have not been (officially) reissued in any form. Part of this show has been bootlegged onto vinyl as a double 7” entitled “Kellogg’s Punk Tarts”.

Track list:

1. We're Here Now
2. B-Movie
3. London Boys
4. Robert Hilburn
5. (Remember) Walking In The Sand
6. Don't Hang Up
7. Fashion Seeker
8. Screaming
9. Party Pose
10. Our Time Has Come
11. Just A Number
12. Living at the Canterbury

Friday, December 10, 2010


The Freeze were permanently misfits in their own time and place; they originated from the isolated location of Cape Cod, were not clandestine about their consumption of party favors contrasted with a fervid Boston straightedge scene, and never became an overt heavy metal failure. I suppose it’s these differences that allocated these guys the independence necessary to the defining their sound and image in their own terms. Cliff Hanger’s lyrics often packed a clever tongue-in-cheek sarcasm whilst more hard line Boston groups took themselves way too seriously and couldn’t write self-referential material to save themselves from the oncoming hard rock fatality. This so called crew (read: clique) considered the Freeze to be Cape Cod high school townies that weren’t hard because they didn’t live in the big city life. Although the Freeze’s lineup over the last 30 years hasn’t remained consistent (Hanger is the only current original member in the outfit), they have outlasted nearly every one of these naysayer groups, performing live with regularity, not simply for chic reminiscence-trip gigs like some of the other classic Boston hardcore groups.

This excellent soundboard recording was captured on September 18. 1983 when the Freeze played Harrisburg, PA, presumably right before their killer “Land of the Lost” debut album was released in ’84 on Modern Method. The performance here is solid; I think this gig is a really accurate sketch of what the Freeze were like live on stage during the early (and best) part of their career.

Track list:

1. Sickly Sweet
2. Nazi Fun
3. The Megawaki Cult
4. Time Bomb
5. Violent Arrest
6. No Exposure
7. Gardener and the Maid
8. Days of Desperation
9. Broken Bones
10. Refrigerator Heaven
11. Go Team Go
12. Neat Neat Neat (The Damned)


Sunday, November 28, 2010


Late last week I picked up the first pressing of the Young Republicans "Sabotage Your Cookout" 7" EP, the second release on the house label here at More Than a Witness. I was incredibly impressed with how this release turned out except the fact that the 7" jacket had a small (but distracting and unacceptable) printing error on the back of the jacket.

New replacement jackets for this release are going to printed this week and I will hopefully receive them sometime early next week. I will send out all remaining personal orders that did not qualify for the limited edition as soon as I get these replacement jackets. I have not forgotten about you and will send your order as soon as I can.

All limited red vinyl "Cookout Edition" sleeves have been sent out. If you did not receive one, you will be receiving a regular (and far superior) version shortly.

The same goes for all wholesale orders for distributors, labels, web stores, shops, etc. These will be sent out as soon as everything comes in.

I apologize greatly for the delay in receiving orders for this release. It has never been my intention to have it take this long for it to be completed but it's also deeply imperative that this release is exactly how I want it: ultra high-quality and correct, because that's what this material and the buyer of it deserves.

I had this job printed by Imprint, a company that specializes in manufacturing pretty much everything you'd ever need for releasing a record at totally affordable prices. The guys at Imprint are incredibly nice, helpful, highly committed to helping you produce exactly what you need, will get your job done as quickly as possible, their output is high quality and professional.

You can check out the Imprint site here: http://iloveimprint.com/

Thursday, November 11, 2010


Many of you have written about ordering just the Young Republicans "Sabotage Your Cookout" 7". I had this record listed in the recent distro update list but failed to realize that many people would simply just want to order this conveniently via Paypal. Sorry about that.

Here's some information about the release:

The Young Republicans were a snot-nosed foursome of skinheads who lived in suburban upstate New York near the Connecticut border. Their demo cassette from late 1983 has been one of the most speculated upon and infamous demos in the history of hardcore; some claimed to have heard it, some old-timers claimed they had the demo cassette in their closet only to not deliver anything, and previously the only known copy was hoarded by the owner, refusing to tape it for anyone, including band members.

Perhaps the Young Republicans are best known for what they'd become: 75% of the band (Porcell, Darren Pesce, & Graham Phillips) would later form Youth of Today with Ray Cappo who was playing in Violent Children & Reflex From Pain at the time. The Young Republicans formed the majority of Youth of Today and this lineup recorded the "Can't Close My Eyes" 7" and the rest is history...

This 9 song EP captures the absolute essence of spirited hardcore under the shroud of Reagan: snot-nosed teens going faster MPH while standing in opposition to teachers, parents, rednecks, & suburbia. Highly catchy & classic sounding, this could easily be considered the crucial missing NYHC or CT 7” EP from 1983.

Three tracks on this Young Republicans 7" EP would later be reworked and rerecorded for the debut Youth of Today "Can't Close My Eyes" 7” on Positive Force; “Respect For Authority (None)” became “Stabbed In The Back”, “Backyard Bomb” became “Expectations”, and “High School Rednecks” became Project X's “Straightedge Revenge” note for note on their sole 7" EP on Schism.

I strived to give this the packaging I felt a release like this deserves: a thicker 14 pt glued 7" jacket with an old school style "dip cut" (like a late 70's UK punk 45) along with a nicely done 2-sided 14" x 7" insert that includes lyrics and tons of photos that Porcell excavated from his archive.

The limited "Cookout Edition" sleeve version on red vinyl sold out within a few hours so it's safe to say that it's long gone. The first 150 orders will receive that variation of this release. I wanted a way in which I could show how much I respect when people make the effort to order directly from the label like it was done in the good old days.


USA: $7.25 PPD
WORLD: $10.75 PPD


Tuesday, October 19, 2010


Without any further delay, here's the information regarding pre-ordering the second release on my label, the long-awaited Young Republicans "Sabotage Your Cookout" 7" EP.

Finally found after going missing for nearly 25 years, the Young Republicans demo cassette is certainly one of the most elusive and infamous artifacts in the history of hardcore and is truly a special item. Some have claimed that it never existed while others have referred to it as a "holy grail" item. Recorded in ’83 and only given to a handful of close friends, ¾ of the band would later go on to form the initial lineup of the influential group YOUTH OF TODAY. This 9 song EP captures the absolute essence of spirited hardcore under the shroud of Reagan: snot-nosed teens going faster MPH while standing in opposition to teachers, parents, rednecks, & suburbia. Highly catchy & classic sounding, this could easily be considered the crucial missing NYHC or CT 7” EP from 1983.

Three tracks on this Young Republicans 7" EP would later be reworked and rerecorded for the debut Youth of Today "Can't Close My Eyes" 7” on Positive Force; “Respect For Authority (None)” became “Stabbed In The Back”, “Backyard Bomb” became “Expectations”, and “High School Rednecks” became Project X's “Straightedge Revenge” note for note on their sole EP on Schism.

I strived to give this the packaging I felt a release like this deserves: a thicker 14 pt glued 7" jacket with an old school style "dip cut" (like a late 70's UK punk 45) along with a nicely done 2-sided 14" x 7" inserts that includes lyrics and tons of photos that Porcell excavated from his archive.

Now let me dangle a carrot in front of your bunny-like noses. For making the effort to order directly from the label, I am offering a limited version of this release. This is known as the "Cookout Edition" because the sleeve will be hand screen printed on a red/white checkered design that is reminiscent of a cookout tablecloth. This version will feature unique art not found on the regular version and will also be on white colored vinyl.

Sorry, but only one limited version per customer. If you feel there is some extenuating circumstance that warrants more than one, please drop me an email. The first 125 or so orders will receive a limited edition copy and all orders will receive the regular (and in my opinion, superior) version.

Please use the Paypal link below to purchase. All prices are POSTAGE PAID. These limited copies will be shipped out in two weeks when I get the records.


Saturday, August 28, 2010


It’s no accident that the Nervous Eaters formed in 1974 from the ashes of an unsuccessful band that they dubbed the Psycho Punks. This is most true when you consider their two exemplary punk singles that still sound quite powerful thirty years later. Instigated by local legend Willie Alexander (who played in the Velvet Underground for the blink-of-an-eye while they elicited a faint death rattle in late ’71), the Nervous Eaters played their first ever gig at the Rat in during 1976. They promptly became a much-appreciated local act due to their high-energy live shows which displayed their infectious enthusiasm. The Rat appreciated the Eaters enough that owner Jim Harold offered the band an opportunity to release a record. “Loretta” came out on his own Rat label and was quickly followed by “Just Head” shortly after. The former was a promising debut that has aged quite well. The latter is simply one of those all-time punk shredders. Both “Just Head” and it’s flip “Get Stuffed” embrace the crudity that the Real Kids were too self-conscious to put forth, thus making it (amongst several other reasons) the best Boston punk 45 released to date. When Steve Cataldo was asked about the period in which the “Just Head” 45 was written and recorded he claimed, “We were stoned all the time. Jesus, we smoked a lot of dope then, come to think of it…. I’m lucky I have any lungs left”.

The self-titled full-length album that arrived in 1980 on Elektra is an effort that is often rebuffed by fans that favor the earlier material of the Nervous Eaters. Undoubtedly the material that predated the LP is vastly superior (well, of course it is considering it’s also better than 90% of the greater body of punk rock ever released worldwide… just sayin’) when you compare both parts of their catalog. If one can possibly eliminate the memories of the Eaters two perfect singles and can listen to this LP with an open mind, it’s not as ghastly as everyone claims it is. Sure there's some really embarrassing moments where the vocals enter a no forgiveness zone due to shamelessly executed falsetto, a handful of the tracks are fairly listenable if one considers this to be a soft power pop affair from the start. Undoubtedly the band was relatively perplexed toward their full-length considering they had a brass ring hanging in front of them for the grabbing; Fred Lewis managed both the Eaters and the Cars (thus helping them achieve superstardom) while Nicky Hopkins, Harry Maslin, and Steve Cropper contributed to the full-length effort. These figures were amongst those who dug serious rock and roll gold of yore while their buddies (the Cars) were polishing up their new Corvettes. To say that they were under some strain would be putting it rather lightly.

This superb FM soundboard recording (meaning the master source was derived from a recording of the original FM broadcast) is a fine illustration of how dangerous the Eaters were at their crest before their so-called new wave contamination. The introduction and the consequent upsurge into “Get Stuffed” has yet to be unsuccessful in giving me goose bumps after countless listening experiences and the set sustains this level of eminence until it burns itself out. This set is also a decent example of the band performing the LP tracks without the sterile production and flaccid performances. Some of these tracks almost have an early Jim Carroll feel to them (yes, this is a complement), especially when you listen to “Have It With Your Coffee”. Overall, this is a great recording and truly captures the sarcastic punk essence of this classic band.

Track listing:

1. Introduction/ Get Stuffed
2. Last Chance
3. After Your Goodtime's Gone
4. Have It With Your Coffee
5. By Yourself
6. She's Going To Be My Baby
7. On The Avenue
8. Just Head
9. Fantasy Girl
10. Hot Steel And Acid


Monday, August 16, 2010


I'm thrilled to announce the debut release on my new reissue-only, vinyl-only record label. I couldn't be happier with how this CIA 12" came out and I think you'll love the results too. I feel very proud of reissuing one of my all-time favorite hardcore singles as an LP with a slew of great unreleased material.

Many devoted aficionados would enthusiastically maintain that CIA’s “God Guns Guts” 7” EP is simply one of the best US hardcore singles to ever be released when considering the history of the genre's output. Originally self-issued in 1983 in a limited edition of 500 copies, the six songs on the original 7” are absolute flawless blasts of well-executed, driving, intelligent, and furious hardcore. The 6 tracks are simultaneously reckless while maintaining a tightly wound delivery. The word "timeless" is often overused when it comes to describing hardcore records released in the days of yore, but the "God Guns Guts" 7" EP has undoubtably stood time's test. This record sounds as fresh today as the day it was recorded.

What could be better than this?

A deluxe vinyl-only reissue that adds 5 original 7” EP session outtakes that have never been heard until now along with several other previously unreleased essential demos recorded just before the "Gods Guns Guts" 7” EP came out. Hence the "more" in this reissue's title; a great deal has been added to the original EP on this LP that truly makes it deluxe. This all comes housed in a high-quality package featuring a swanky UV laminated sleeve and a classy printed inner sleeve that features liner notes and photos of the band that have never been seen before on any release.

Please use this Paypal link to purchase the record. You will simply need to select where you want the record sent and follow the instructions. All orders will be sent the same day.
Also: if you would like to get wholesale copies for your store or distro, please drop me a line here: morethanawitness at gmail.com

$13 PPD (USA)

These prices all INCLUDE POSTAGE.

Below prices are PPD. Please select where you live:

Thursday, August 12, 2010


The original crop of juvenile poets calling themselves “punks” in New York were drawn to the style for it’s straightforwardness and it’s malleable confines. Unsophisticated rock music served as the perfect milieu for their verbal torrents. This is unquestionably true for a variety of first wave west coast punk bands but is especially true for the Flesheaters from Los Angeles. Less celebrated to almost a tragic degree when compared to his New York punk contemporaries, Chris Desjardins was ambitious enough to lyrically encompass such topics as murder, vampirism, and having sex with the dead over some of the most demented music backdrops of the era. “A Minute To Pray, a Second to Die” still ranks as one of my favorite records from this period. I suppose that’s not hard to accomplish when you include tracks such as “Digging My Grave”, “See You in the Boneyard”, and “Diving Horseman”. It also doesn’t hurt when you have John Doe and DJ Bonebreak in your backing band either.

This performance is complemented greatly by the fact that this recording is nearly faultless when considering most unreleased live recordings from this era. Much of this may have to do with the gig happening at Clutch Cargo’s as many decent to excellent soundboard tapes have circulated from this venue. This performance recorded for their tour to promote the recently released “Forever Came Today”. The band unselfconsciously tears through 11 tracks with a snarling viciousness. Desjardin’s voice is so sharp that is cuts through the chaos behind it. If you enjoy this recording half as much as I have, you’re certainly in for a treat.

For some reason the song titles to tracks 6 and 10 are escaping me. If you can identify these tracks please post in the comments or drop me a quick email at the address posted on this archive.

Track listing:

1. Home Of The Brave
2. Pretty Sweat
3. Hand Of Glory
4. A Minute To Pray A Second To Die
5. Pony Dress
6. ???
7. Eyes Without A Face
8. Every Time I Call Your Name
9. River Of Fever
10. ???
11. The Wedding


Tuesday, August 10, 2010


Crisis is perhaps most well known for what they accomplished after the band had concluded. Douglas Pierce and Tony Wakeford went on to form Death in June (The DIJ track "All Alone In Her Nirvana" began life as a Crisis tune), known for their highly influential and genre-defining apocalyptic brand of gothic folk. Wakeford would form the significant neofolk group Sol Invictus after he split from Death in June. Luke Rendall went on to play drums in the Mick Jones produced post punk group Theatre of Hate shortly after Crisis broke up.

Despite the influential stature of Death in June (and to a lesser extent Theatre of Hate), the output of Crisis should not be underestimated. They released several phenomenal singles ("No Town Hall", “UK 79”, and "Alienation") and a 12” EP entitled “Hymns of Faith” which utilized both buzzsaw picking and singular note guitar lines and featured lyrics about television, violence, and totalitarian Russia. The total output of the group highlights an insistent yet inimitable interpretation of what punk meant to them during the turn of the decade. The tracks featured a remarkable rhythmic emphasis with political lyrics that were profound yet nearly ever trite. Crisis was defined by a platform that was fervidly anti-fascist and consistently performed at Rock Against Racism, Anti-Nazi League, and Right To Work political rallies. This showing inspired UK music magazine Sounds to refer to the output of Crisis as “music to march to”. Paradoxically, the later output of Pierce and Wakeford while performing in Death in June would rely heavily on Nazi imagery.

This recording is audience sourced and suffers from some slight generational loss. I can determine this recording is low generation but it is by no means a flawless audience recording. What is essential to consider is the scarcity of a recording such as this and the presence of "SPG", an unreleased Crisis track. This live snapshot of Crisis is quite enjoyable to listen considering the paucity of other live recordings by them in circulation.

If anyone has more specific information regarding the date of this show, please contact me via the email address listed on this archive.

On a related note, "Hymns of Faith" has just been officially reissued on vinyl by English label La Vida es un Mus. To order this release or for more information, check this link: http://www.lavidaesunmus.com/

Track listing:

1. Holocaust
2. Afraid
3. Laughing
4. On TV
5. White Youth
6. Red Brigade
7. All Alone In Her Nirvana
8. Alienation
9. SPG
10. UK '78


Perhaps the greatest characteristic of DOA’s long career is that they’ve by no means discarded their virtuous yet pleasure-seeking temperament. These Terminal City punks were never resistant to confusing sincere rebellion with vulgarity (just check out the “Let’s Fuck” rewrite of the classic Chris Montez hit song) and never meandered with the trend of playing overt heavy metal throughout the 1980s. Their early catalog (“Triumph of the Ignoroids”, “Something Better Change”, “Hardcore 81”, & “War on 45”) is a sonic cascade of tightly wound and highly charged proto-hardcore. DOA is unanimously considered to one of the founding fathers of hardcore punk (beside Black Flag, Middle Class, Bad Brains, & Teen Idles) as the band’s second full-length album (“Hardcore 81”) is arguably the first ever document to declare the genre’s name.

Recorded right smack in the middle of this period and prior to all of the line up shifts, here’s a fantastic soundboard tape that was captured while DOA journeyed east to perform in Toronto sometime during 1980. This set was recorded with the band’s classic two-guitar lineup of Shithead, Rampage, Biscuits, and Gregg that was featured on “Hardcore 81”, which was recorded presumably right around when this gig was played. The recording quality is soundboard sourced but suffers faintly from some negligible compression issues and the fact that the guitar is a little low in the overall mix. The band plays a fervent set with tons of crowd baiting and rowdiness between songs. This is an essential unreleased recording from an extraordinary band captured at their prime. Enough said.

It’s unlikely that this is the complete recording of this set. If anyone has an upgrade or any additional information regarding the date of this recording, please get in touch with me via the email listed on this archive.

Track listing:

Take a Chance
Pinhead Theme
Royal Police
Woke Up Screaming
The Enemy
What’cha Doin
Let’s Spend the Night Together
I Don’t Give a Shit


Thursday, August 5, 2010


Many people have been asking me about information regarding the Young Republicans record that I have coming out on the label.

This release will be a co-release with longtime Connecticut hardcore punk label, Incas Records. Incas began in 1982 when Lost Generation needed a means to release their debut single, “Never Work”. Joe Dias (Lost Generation singer) continued the label as a means to release records by notable Connecticut bands and thus document the great local scene on a worldwide level. In more recent years, Incas has been embraced and operated by local punk historian and friend, Joe Snow. He’s been responsible for CD reissues of the classic Connecticut Fun compilation and another assortment of superb early Connecticut punk tracks entitled “Up All Night” which features the Reactors, X Factor (pre CIA, Reflex From Pain, & 76% Uncertain), No Milk On Tuesday, amongst others.

The cover art was illustrated by Jim Martin. Jim drew many timeless flyers for the Anthrax, a local venue that showcased all of the great local and touring bands of the 1980s. Porcell is currently finishing up the artwork and liner notes.

The tracks are going to be sent off to be mastered, lacquered, and plated on Monday morning. I expect to have test pressings for this within a few weeks after that.

I expect to have the record out in mid-September barring no peculiar setbacks. The first pressing will be 1000 copies. There will be an opportunity for buyers to obtain a limited version of the record directly from us. We’re not sure how many of these we are going to do, but we can assure you that it won’t be very many and it’ll be unique enough to warrant a limited edition of a recording being released nearly 30 years after it was originally committed to documentation. This preorder will be announced closer to the release of the record so there will not be any prolonged delays like with the CIA “God Guns Guts & More” LP preorder.

If you run a distro or order for a store, we’d love for you to carry this release. Please contact me for wholesale prices here: morethanawitness at gmail.com

If you have any other questions about this release that aren't answered here, you can contact me at the above email address.

Monday, July 12, 2010


To state that my first release on this new reissue-only label has been a stressful process would be putting it lightly. The process was first delayed by a batch of rejected test pressings that featured superficial pops. They were practically inaudible but I wanted to make sure the album sounded as good as possible so I rejected these. The second batch of test pressings sounded great and were approved.

The second (and much more time consuming) obstacle that surfaced was the company that was responsible for getting the album jackets and printed inner sleeves made went out of business or has at least been put on hold for the time being. When I received word of this I was assuming that the jackets & inner sleeves would be done and ready to go. I had to switch the job over to Imprint and this added the delay that we’re experiencing now.

The album jackets and inner sleeves are being shipped from the printer in Canada to Brooklyn tomorrow (7.12.10) and should be at the pressing plant within a few days. Because of the second predicament regarding the jacket/inner sleeve printing, I made arrangements to have the vinyl pressed up and ready to go before the jackets arrive to minimize any further delays.

I apologize to those who have preordered the record and have been waiting to receive a copy. Occasionally technical problems will occur that are outside of a label’s power regarding production (this is certainly one of those times) and you just have to fix things as quick as possible. Everything is all set now and I foresee no other problems. I will send the preorders the day I get the completed product. This should be late this week or at latest, early next week. Distro orders will be sent promptly after all of the preorders have been mailed. This will be early next week.

Moreover, this will not happen in the future for label preorders. Please understand this situation has been a major case of bad luck and has been resolved. I'm just as eager to get the record as you guys are!

There are still copies of this release that are available for wholesale. A great deal of them have been claimed but, if you’d like to purchase copies for your store or distro please drop me a line at the morethanawitness at gmail.com for wholesale rates. Many people have written inquiring about trading their releases for this one, but at this time I cannot accept trades. My apologies.

Saturday, June 12, 2010


Adjacent to two other majestic seaside cities, Hermosa Beach provides the world with numerous pearls of culture: surfing, beach volleyball, sunbathing, and the birth (arguably) of hyperkinetic genre known as hardcore punk. Clearly it must have been the South Bay’s gentle westerly sea breezes that influenced the formation of both Black Flag and the Circle Jerks.

Yeah right.

Considering the delightful surroundings, gorgeous people, and general Pollyanna-glaze good vibrations of the beach, it makes sense that the blueprints of hardcore punk were first sketched here. Defining itself in opposition against all creatures with perfect white teeth and Lacoste polo shirts, these embryonic agitators had a great deal to unite against. The dichotomy of this stark schism gave the world the “Nervous Breakdown” 45 and the “Group Sex” 12” amongst countless other classic records that generally haven’t matched up to these two epitomes of the emerging style of hardcore punk when considering both quality and legacy.

As captured on celluloid in “The Decline of Western Civilization” and in countless photographs, singer Keith Morris can regularly be seen clutching a lone Budweiser while he stalked the lip the stage. I always thought this was such a cool gimmick that he implemented; Keith sold the synchronized image of a rabble rouser dodging a continual barrage of anarchic bodies in search of teenage release and a lonely barfly nervously clasping the only inebriant that he can afford at the end of a local dive bar.

This show (recorded during the spring of ’83 at the Space II Arcade in DC where a slew of hardcore gigs took place) is a solid document of how the Circle Jerks had grown from an act toying initially with the draft of a nascent genre of music to a full-time touring powerhouse and inspiration to many new homegrown hardcore punk acts. This set is from a soundboard source and shows a slight generational loss when played back but largely the quality is excellent. The furious pace of this set is heightened by the fact that the master tape was edited so that between song space is removed. Normally I hate it when it tapers take such liberties but this edit job really adds to the absolutely unyielding rapidity of the set. Chuck Biscuits also demonstrates an impressive one-man drum clinic behind his maple colored Ludwig that he was presumably demolishing at the time with each stroke of his trademark percussive supremacy. His workout on "When The Shit Hits the Fan" is considerably awe-inspring.

Track Listing:

1. Red Tape (cut)
2.I Just Want Some Skank
3. Beverly Hills
4. Operation
5. Wasted
6. Up Against The Wall
7. Bad Words
8. Under The Gun
9. Behind The Door
10. Stars and Stripes
11. Question Authority
12. Moral Majority
13. Letter Bomb
14. In Your Eyes
15. Defamation Innuendo
16. High Price On OUr Heads
17. Paid Vacation
18. Trapped
19. Coup D'etat
20. Wild In The Streets
21. Parade of the Horribles
22. Deny Everything/When the Shit Hits the Fan
23. Leave Me Alone
24. Don't Care
25. Live Fast Die Young
26. Junk Mail
27. Just Like Me
28. Put A LIttle Love In Your Heart
29. World Up My Ass


Tuesday, May 11, 2010


Without any further delay, here’s the information for preordering my first release, the CIA “God Guns Guts & More” LP. Although it's been quite time consuming, I'm very excited to be releasing this and I think you'll really enjoy it.

Many would argue that CIA’s “God Guns Guts” 7” EP is one of the best US hardcore singles to ever be released. Originally self-released in 1983, the six songs on the original 7” are absolutely flawless blasts of driving, intelligent, and furious hardcore. What could be better than this? A deluxe reissue that adds 5 original 7” session outtakes that have never been heard until now along with several other previously unreleased essential demos recorded just before the 7” came out. This all comes housed in a high-quality package featuring a UV laminated sleeve, printed inner sleeve that features relevant information and photos.

Placing your order now will ensure that you’ll get the record before far before distributors and shops. Preorder will ship in 2-3 weeks when I’ll have copies. If you run a distro or store, please write for wholesale rates. I'd love to get this record as far and wide as possible.

Please use this Paypal link to purchase. If you’re an International customer, please message me before purchase. This below Paypal link will not give you the correct postage rate.


$13 PPD (USA)



These prices all INCLUDE POSTAGE.

Please select where you live:

Monday, May 3, 2010


Due to the lack of recent new content posted on this archive, one may conclude that not much as been going on with More Than a Witness. This couldn’t be any further from the truth!

I’ve been working vigorously to finish up everything for my first release on More Than a Witness Product, the vinyl only reissue label closely associated with this archive. Again, this will be an official reissue of CIA’s classic first EP released under the title of “God Guns Guts and More” as a full length LP. This release will feature the original “God Guns Guts” 7” EP (originally released in 1983) along with all of the original 7” session outtakes and the best tracks from their two other pre 7” demo recordings. Needless to say, all of this material is essentially teeth-grinding driving American hardcore!

The CIA master was sent out the other day and I’m making final adjustments on the insert as I make this post. Expect this LP out in roughly 3 weeks. Many people have asked about a preorder for this release. I will be announcing information regarding a preorder this week. Please hang in there.

The second release on More Than a Witness Product will be the Young Republicans “Sabotage Your Cookout” 7” EP. This effort is a split-label release with longtime Connecticut hardcore punk label Incas, run by my good friend and fellow hardcore punk lifer, Joe Snow.

This demo is truly a special item. Both Joe and I have been hunting for this recording for years and have always come up empty handed until recently. Some people have even doubted its existence due to any tape of it ever surfacing. The Young Republicans are of historical relevance because they were comprised of 75% of the original lineup of Youth of Today. In fact, many Young Republicans songs that will be featured on the “Sabotage Your Cookout” 7” would become Youth of Today and Project X songs a year or so later: “High School Rednecks” became “Straight Edge Revenge”, “Respect For Authority (None)” became “Stabbed In the Back” after some minor revision, and “Backyard Bomb” became “Expectations”.

Last week we went into the studio to do a professional transfer of the tape we received from Graham Phillips. Graham was the bass player in the Young Republicans and went on to play in Youth of Today with Darren Pesce and Porcell. Joe and I had feared that the cassette would be in awful shape but it turned out it only needed a minimal tweaking to get it to sound great and fit for a vinyl release.

Yes, there will be a limited edition version of this release. We're trying to think of something that is untraditional and wacky in detail. (Come on, anyone can crank out 100 copies of a release on a limited color of vinyl.) Information regarding the preorder will be posted here in approximately 3 weeks. Hang in there!

Wednesday, March 31, 2010


The brilliance of the Dead Kennedys has always been tied to their expertise at giving their creation three-dimensionality while retaining the vigor of hardcore punk. They combined truly crushing, high-speed guitars and drums with sardonic political and social commentary. Even when they reduced their sound to simplistic hyperactive stuff (“In God We Trust”) they still managed to sound fresh and thus shred most of the competition doing the same thing.

The perception of the DK’s since their ’86 breakdown has been anything but ridden with irony. As ardent symbols of anti-establishment ideologies during their time as a band, they’ve become increasingly more accepted within the mainstream since their passing. A great deal of this surely stems from the fact that the former members (excluding Biafra) have seen it fit to give the band a more commercial showcase.

In contrast to this, the appeal of the Dead Kennedys has worn off amongst underground DIY hardcore aficionado types. Ironically, the band that pioneered American hardcore with their inimitable style, commendable standards, and uncompromising resistance to the usual targets have been demoted to the ranks of introductory punk 101 fodder. There may not be much exclusivity in being a Dead Kennedys fan, but considering their output, it’s quite rewarding.

“A Skateboard Party” was the first Dead Kennedy’s live material that I had ever heard. Growing up in Western Connecticut, I was fortunate enough to live only a few minutes from one of the coolest records stores I’ve ever been to, Trash American Style. I remember recording this LP so I could listen to it on my cheapo Sony Walkman (does anyone even own a Walkman anymore?) at high school. I loved how the versions included on this illegitimately produced (more on that later) were much more rapid and convulsive than the studio versions. Listening to this again right now, it’s effortless to appreciate how much of a live powerhouse the Dead Kennedy’s were. Darren Peligro’s apeshit drumming on this LP is altogether riotous and it rarely lets up. Hands down, he’s one of the greatest drummers to have at it.

The story behind “A Skateboard Party” is that Jello Biafra said the guy behind Starving Missile Records in Germany could press a limited quantity (1000) of the soundboard recording he got from the gig the band played on 9.13.82 in Stuttgart. This release was done in cooperation with Alternative Tenticles and the band was subsequently paid. The original pressing had a black and white live shot of Biafra on the cover. This record was quickly repressed incessantly (at least 10,000 copies are out there) without permission by Mülleimer Records in a blue sleeve. This unscrupulous act led the DK’s to never consider anything like this again.

This recording is one of the best unofficial Dead Kennedys documents out there. The soundboard recording is nearly unblemished, perhaps lacking a slight bit of treble in the mix. This is worth downloading simply because Biafra tells a female in the crowd he’ll sign her an autograph with his dental chart and that they briefly attempt an improvised Heino cover.

Some sources claim that this is bootleg LP consists of two shows: Stuttgart 9.13.82 & Munich 9.15.82. If anyone has clarification on this, please drop me a line at the email listed on this archive.

Track list:
1. Holiday In Cambodia
2. Let's Lynch the Landlord
3. Chemical Warfare
4. Nazi Punks Fuck Off
5. We've Got a Bigger Problem Now
6. Too Drunk To Fuck
7. Kill the Poor
8. Man With the Dogs
9. Forward to Death
10. Kepone Factory
11. Life Sentence
12. Moral Majority
13. Forest Fire
14. Winnebago Warrior
15. Police Truck
16. Bleed For Me