THE EFFIGIES: OZ, CHICAGO, IL. 4.10.81. SOUNDBOARD RECORDING

The Effigies were one of the first punk groups to spring up in Chicago, around late 1980. While this claim seems somewhat implausible considering Chicago’s rich musical tradition, it makes sense when you consider that blues, generic bar rock, and even disco dominated most clubs in the city. The open-mindedness of clubs like the Oz (where the “Busted At Oz” compilation was recorded, obviously) and O’Banion’s helped give the first generation fringe acts a chance at honing their chops in public.

Any disciple of 1980s American hardcore knows that the Effigies released a slew of incredible records; practically everything recorded from 1981-83 is faultless and are generally considered to be classics of the genre. They haven’t been as posthumous celebrated by the critics as their local brethren Naked Raygun or Big Black (perhaps because they weren’t as sonically pioneering), but the Effigies have survived amongst those interested in American hardcore that wish for the much appreciated basic aggression of the genre melded with the artistic finesse of UK post punk bands like Killing Joke, the Ruts, and the Stranglers.

Lyrically, it’s obvious to me that the Effigies were intelligent enough to basically withdraw from writing about the emblematic yet already cliché political themes sweeping the hardcore underground. They even caught some heat from a few known fanzines for refusing to carry the usual banners like the other then contemporary bands with names comprised of seemingly endless permutations of words such as: “state”, “control”, “youth”, “faction”, or “army”. Instead the group focused on well placed ambiguous themes (well, at least to your average 18 year old skinhead) that their songs have become known for.

Here’s an outstanding Effigies soundboard tape that I received not long ago from a longtime tape trader. This performance is one that is certainly enjoyable to listen to; the songs are delivered with a rough edged execution while totally hitting the target with clever melodic achievement. I especially dig the slapdash guitar solo in “Quota” and the incensed pace of “Strongbox”, two of their all time classic tracks. The quality of this recording is quite good; it’s a low generation soundboard recording that’s really documents what these dudes could do live. I was thinking about performing a slight EQ to give this tape a little more treble but I decided to keep it as is because this is how it sounded the night it was recorded: mighty, thick, fierce, and wholly uncompromising.

I’m uncertain if this is the entire set from this night due to it’s somewhat short length of 18 minutes. Then again, it seems that some of the between song silences have been removed so I suppose it’s possible this is the complete gig. If anyone has a different version of this gig, I’d love to obtain it.

Track list:

1. Body Bag

2. Coarse in Vain

3. Guns or Ballots

4. Quota

5. Strongbox

6. Techno’s Gone

7. Below the Drop

8. Patternless

DOWNLOAD:

http://www.mediafire.com/?ayniuphq67c29pk

VOM: MABUHAY GARDENS, SAN FRANCISCO, CA. 4.28.78. SOUNDBOARD RECORDING

I’d be wiling to bet my bottom Quaalude that the emblematic naissance of the Los Angeles punk scene originated from Richard Meltzer’s arrival from New York sometime in early 1976. After reading his anti-intellectualist prose in ‘72’s Gulcher, it’s obvious to me that he was bound to actualize himself as the thinking man’s Peter Laughner. This type of lowbrow deconstruction was also ostensible when Meltzer was hired as the master of ceremonies for the final Sex Pistols gig at the Winterland during the start of ’78. Based on an earlier altercation, the show’s promoter barred him from the club. In an act of mythic proportions, Meltzer purportedly turned his leather jacket inside out, slinked past Graham and let loose an inundation of profanities onstage. This brand of treachery toward the farty old dinosaurs was utilized more like a weapon in the seminally brilliant punk group Vom.

The funniest thing about Vom (short for “vomit” of course) was that they were profoundly unfunny on a level that kitsch had not progressed (regressed?) to in Hollywood yet. This self-described “beat combo” formed quickly upon Meltzer’s arrival in Los Angeles. They quickly started terrorizing audiences with their gratuitously stupid sounds and iniquitous stage exploits: their initial sets consisted of launching assorted cow parts from the stage in the direction of the helpless audience.

Vom also consisted of Gregg Turner on vocals, along with Meltzer, “Metal” Mike Saunders (under the stage name of "Ted Klusewski") on drums (both would go on to form the Angry Samoans, the next logical progression both musically and ideologically after a stint in Vom), Dave Guzman on “tuneless rhythm guitar”, Phil Koehn on lead guitar, and Lisa Brenneis on bass. They’d go on to issue the “Live At Surf City” EP on White Noise during the summer of ’78. This offering included such go-nowhere epics like “I’m In Love With Your Mom”, “Too Animalistic” (later retouched by the Samoans), “Punkmobile”, “God Save the Whales” and the record’s best track: “Electrocute Your Cock”.

The latter began with a Ramones-esque drum beat and showcased the lyrics: “Electrocute your cock, electrocute your cock / Looking for a hand job? Stick it in a clock”. This is unbelievably strange considering that Saunders was the first to coin the term “heavy metal” (in a review for Humble Pie’s “As Safe As Yesterday Is” in a 1970 issue of Rolling Stone) and has a graduate degree along with Meltzer being considered one the premier rock writers of our generation and the fact that he had a graduate degree from a stint at Yale.

Let me get to the point: here’s a wonderfully slapdash set from Vom recorded live on stage at the Mabuhay in San Francisco on April 24, 1978. I received this recording many years ago from an old school San Francisco punk tape trader who claimed it was a low generation copy straight from the soundboard master. This gem of an artifact includes tracks not recorded for the “Live At Surf City” EP.

Track list:

1) My Eyes Have Seen You

2) Louie Louie

3) No Surf Commies

4) Have My Baby

5) Broads Are Equal

6) Pogo Child

7) Punkmobile

8) Dare To Be Dumb

9) (I Am) The Son Of Sam

10) Gimme Nothin'

11) I'm In Love With Your Mom

DOWNLOAD:

http://www.mediafire.com/?bmzehq9hhbjltbi

THE FREEZE: HARRISBURG, PA. 9.18.83. SOUNDBOARD RECORDING.

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)

DOWNLOAD:

http://www.mediafire.com/?nmwx761num4va66

THE FLESH EATERS: CLUTCH CARGO'S, DETROIT, MI. 7.17.82. SOUNDBOARD RECORDING.

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

DOWNLOAD:

http://www.mediafire.com/?3mik2g9pjb2s1xt

DOA: TORONTO, CANADA. 1980. SOUNDBOARD RECORDING.

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

DOWNLOAD:

http://www.mediafire.com/?4xucxrwxldgmr5o

CIRCLE JERKS: SPACE II ARCADE,WASHINGTON DC. 5.13.83. SOUNDBOARD RECORDING.

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

DOWNLOAD:

http://www.mediafire.com/?jt2himgrdjl

DEAD KENNEDYS: "A SKATEBOARD PARTY", STUTTGART, GERMANY, 9.13.82. SOUNDBOARD RECORDING.

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

DOWNLOAD:

http://www.mediafire.com/?hyzdmdtbgr0

HUSKER DU: GOOFY'S UPPER DECK, MINNEAPOLIS, MN. 8.12.83. SOUNDBOARD RECORDING.

This performance was recorded shortly before the ambitious double-full length “Zen Arcade” was released in 1984 on SST. Having already released "Everything Falls Apart" on their own label Reflex and "Metal Circus" on SST, the Huskers were making titanic leaps forward. If "Metal Circus" was a collection of anthems both slow and fast, "Zen Arcade" was the "Tommy" of underground music. As a themed record about a kid leaving home for the first time to run away to the big city where he finds strange (and often disturbing) adventures, it covers more ground than a Greyhound bus over it's four sides of wax. The songs alternate from raucous angry assaults (nearly all of side 2) to psychedelia to unrepentant pop songs to straight up rock classics. Of course there's some some self-indulgent filler (thirteen and a half minutes of "Reoccurring Dreams") on the record, but nearly every classic needs such a throwaway for good measure.

Goofy’s Upper Deck is a defunct hardcore punk club that was situated in downtown Minneapolis. This venue lasted for only 2 years and shut down in October ’83. The bar was a working class drinker’s den and strip club until the owner employed a broad-shouldered bouncer named Dan Cotlow who was a nascent hardcore punk. Fred Gartner began booking hardcore punk shows on the second floor while Cotlow managed the strip club downstairs. The six-inch stage at Goofy’s Upper Deck hosted such classics touring bands such as Black Flag, Minutemen, Discharge, DOA, Code of Honor, Social Distortion, and Battalion of Saints. Bob Mould was setting up shows at Goofy’s by November of ’82. Goofy’s saw it’s end as a hardcore venue when Final Conflict played there in August ’83 when a full-scale riot ensued. A toilet was ripped out of the floor and thrown two floors below to the floor.

This Husker Du show is almost certainly the preeminent live document of them during their “Zen Arcade” phase in trading circulation that I’ve heard. This performance is also one of the most commonly circulated Huskers shows out there. This soundboard recording isn’t perfect, but the band’s performance is enormously sweltering. Mould’s fervent vocals are equals parts talking, shouting, and singing. His masterful guitar work is laden with feedback that it’s a striking jolt of cacophony. The only word to describe Grant Hart’s drumming on this recording is excessive. Greg Norton’s straightforward bass playing (and Rollie Fingers moustache) rounds out the sound.

John Clegg plays saxophone on “What’s Going On” and “Drug Party”. He was a jazz musician who was on the periphery during the early days of Husker Du. He worked at a record store with Grant Hart in St. Paul and would occasionally jam with the band. Clegg’s saxophone wail adds a psychotic edge to these two tracks that adds to already existing sense of sonic supremacy.

Track list:

1. Something I Learned Today

2. It's Not Funny Anymore

3. From the Gut

4. Wheels

5. Everything Falls Apart

6. Chartered Trips

7.Sunshine Superman (Donovan)

8. Eight Miles High (Byrds)

9. Broken Home, Broken Heart

10. What's Going On?

11. Newest Industry

12. Pride

13. I'll Never Forget You

14. What Do I Want?

15. Data Control

16. Drug Party/ Punch Drunk

17. Out On a Limb

DOWNLOAD:

http://www.mediafire.com/?zrnm0nqj1id

HEART ATTACK: NEW YORK THEATRE ENSEMBLE, NEW YORK, NY. 1.12.81. SOUNDBOARD RECORDING.

Hailing from Whitestone, Queens, the nucleus of Heart Attack was formed while the members were still all under the age of 18, ranging from 12 at the youngest and 17 and the oldest. Within the first several months of the band, they cut two humorous demos entitled “The Hitler Demo” and “Mojo Sessions”. These early recordings were teenage imitations of then current English punk bands such as the Clash and the Sex Pistols. After singer Jesse Malin and guitarist Jackie Flannagan stumbled upon a Bad Brains show at CBGB during the middle of 1981, they immediately decided to amend their own sound. They were reborn as a frenzied hardcore act that would serve to be a strong influence (like the Bad Brains had been to them) to future up and coming New York hardcore groups.

Heart Attack were responsible for the vinyl artifact of the New York hardcore scene. This three song 7” EP, “God Is Dead”, was a crucial document in the separation of New York independent music after the late 70s CBGB scene had faded. This record is probably the most sought after item to ever have come from the New York hardcore scene, topping out in an online auction at nearly a thousand dollars two years ago.

This live recording was captured near the dawn of the group. This is the earliest live recording I have ever seen in circulation of Heart Attack. It shows these guys as a band still in the process of trying to discover their own sound. It seems they have one foot immersed in the UK influenced melodic punk rock of the time and another in the rapidly developing style of New York hardcore. Two out of the three tracks from the debut "God Is Dead" 7" EP are performed live in this set along with other tracks that would eventually turn up on the first Heart Attack 12", "Keep Your Distance".

The source of this tape is a soundboard recording. The sound quality seems to suffer from some very minor generation loss. It seems likely that this is still a low generation copy of this tape as it came from a long time trader that prided himself on owning a considerable amount of live masters and low generation tapes. This is a very nice document considering when it was recorded during the band's existence.

This is the first of a few Heart Attack live recordings that I will make available on this archive.

Track list:

1. The Last War

2. You

3. I Don't Want You Anymore

4. English Cunts

5. Assassination

6. Shotgun

DOWNLOAD:

http://www.mediafire.com/?wjjzbjjhdkq

RIPPING CORPSE: BUFFALO, NY. 1990. SOUNDBOARD RECORDING.

When my family moved to the shore, before I even got into hardcore, one of the first independent bands I heard about was Ripping Corpse. In eighth grade, a few friends who would eventually turn me onto hardcore played me some of their material and I dug it a lot. Their demos and "Dreaming With The Dead" LP are classic metal/hardcore that has become legendary in the underground music community.

The recording quality is that of an above average soundboard tape. The mix is a tad treble laden but overall the sound is excellent. The echo can be a bit distracting at times but it also adds to the power of this recording. This show was sent to me labelled "Buffalo, New York 1990." Does anyone have leads for a venue or more specific date?

1. Glorious Depravity
2. Dreaming With The Dead
3. Anti-God
4. Sadomasochism From The Grave
5. Wounds
6. Beyond Humanity
7. Chugging Pus
8. Sweetness
9. Rift Of Hate
10. Exhumation Days
11. Through The Skin To The Soul
12. Seduction Of The Innocent
13. Sickness of Will

Download
http://www.mediafire.com/?wmzmmhmdnzw

BAD RELIGION: T-BIRD ROLLERDOME, PICO RIVERA, CA. 1.15.83. SOUNDBOARD RECORDING.

Out of the multitude of hardcore groups that performed around Los Angeles in the early 1980s, Bad Religion may be the last band you'd ever select for everlasting fame. The band was marked by frequent personnel changes and quality-fluctuating performances. Then high school senior, Greg Graffin, imitated the inceptive Brit-isms of other Orange County groups such as Agent Orange, The Crowd, and the Adolescents with neither the same pop craft or hardcore vitriol. "How Could Hell Be Any Worse" in hindsight is regarded as an Los Angeles hardcore classic but doesn't deviate from the then norm of the relentless polka beat that seemed to fade into the background of ten-band hardcore shows of the period.

Bad Religion released "Into the Unknown" and still regarded as the ultimate LA hardcore embarrassment. How is a teenage kid with chain-laden motorcycle boots supposed to get into a Rush modeled, synth-heavy platter anyway? After this release caused the band to demobilize for a few years, they returned stronger than ever. The mid-1980s saw the birth of the band's strongest period of albums: "Suffer", "No Control", & "Against The Grain". As all of the first-wave and second-wave LA hardcore punk groups broke up, Bad Religion was really starting to get their bearings.

This short 26 minute, 9 song recording boast soundboard quality. This is a respectable live document of the first incarnation of the band and and also a fun listen. Enjoy!

Track list:

1. Latch Key Kids

2. Fuck Armageddon... This Is Hell

3. Slaves

4. Pity

5. New Leaf

6. Doing Time

7. Bad Religion & Politics

8. Damned To Be Free

9. Faith In God

DOWNLOAD:

http://www.mediafire.com/?tmbjifcm0nz

BL'AST: SPORTMAN'S LODGE, SUN VALLEY, CA. 6.20.85. SOUNDBOARD RECORDING.

Hailing from Santa Cruz, CA and originally forming under the monicker M.A.D. (standing for Mutually Assured Destruction, of course) in late 1982, Bl'ast (the apostrophe was used to make their visual logo "more dynamic" according to vocalist Clifford Dinsmore) are of my favorite hardcore bands to ever exist. Detractors will often cite that they made a career out of imitating label mates Black Flag but this opinion doesn't lend itself to the fact that Bl'ast were a great band in their own right and definite forerunners of the stoner rock sound. Without question, guitarist Mike Neider and drummer Bill Torgerson selected a Dan Armstrong guitar and Ludwig Vistalite drums respectively because their heroes Black Flag made this look renowned. Henry Rollins mentions this briefly in a "Get In the Van" entry where he clearly discredits the band for being unoriginal and tacky.

Regardless of the fact that "Power Of Expression" LP has been permanently burned into my prefrontal cortex, I still get excited every single time it finds itself on my turntable. This soundboard recording is nearly just as powerful. This 1985 set recorded in Sun Valley, California showcases Bl'ast performing material that would find itself on their debut album shortly after. The sound quality is excellent and the mix is nothing to scoff at. This is a remarkable recording that should find itself in the collection of any self-respecting Bl'ast devotee.

Track list:

1. Our Explanation

2. I Don't Need It

3. Break It Down

4. E.I.B.

5. Fuckin' With My Head

6. School's Out (Alice Cooper)

7. Surf and Destroy

8. The Future

9. It's Alive

10. 12XU (Wire)

DOWNLOAD:

http://www.mediafire.com/?wlljwwmwd5m

BUZZCOCKS: THE ROXY, LONDON, ENGLAND 4.2.77. SOUNDBOARD RECORDING.

Many people truly enjoyed the first Buzzcocks post that I submitted here on More Than a Witness, so here is yet another fantastic show recorded during early 1977. Making their live debut in July 1976 (providing support for the Sex Pistols second ever Manchester gig), this excellent soundboard recording documents the group shortly after they made the transition from Howard Devoto (he returned to college for one year than formed the mighty Magazine shortly after leaving a pursuit in academia) to Pete Shelley as group vocalist. Shelley's high-pitched, melodic vocals were a standout during the first wave of English punk because they stood in stark contrast to the gruff, atonal stylings of both inferior punkers and the majority of pub rock holdovers.

Sporadically, a soundboard recording will surface that is nearly flawless. This is one of those documents. This soundboard recording is bright, evenly mixed, and truly captures the spirit of seeing one of the greatest punk groups of all time growing up in public.

Tracklist:

1. Orgasm Addict

2. No Reply

3. Get On Our Own

4. Fast Cars

5. What Do I Get?

6. Friends of Mine

7. Sixteen

8. Time's Up

9. Oh Shit

10. Boredom

DOWNLOAD:

http://www.mediafire.com/?ln5z5nzmwmm

NO TREND: HOLLYWOOD, CA 11.19.83. SOUNDBOARD RECORDING.

No Trend are easily one of my favorite bands of the hardcore era. They were rejects in a scene comprised of so-called misfits. Defining themselves in opposition to the narrow hardcore acts of their day, No Trend seemed to despise everything in their path. For example, they didn’t make many friends when they were crammed flyers that read: “No Trend, No Scene, No Movement” into all the Coke machines that the Georgetown/Washington DC straight edge types bought soda from. Ultimately, the goal of No Trend was to turn the hardcore scene inside out in an effort to expunge the narrow-minded types from ever turning up. This dialectical approach served to alienate the insular factions within the scene while finding smarter people who were still into the dictates of aggressive music.

Their approach to music was more akin to Flipper or the Butthole Surfers. The first demo, the “Teen Love” 7”, and the “Too Many Humans” 12” are all superb examples of abrasive and sardonic deviations from the dim-witted hardcore norm. These records probably confused a great deal of people at the time, but those who liked it understood what it was all about.

Taking the road in a damaged ’76 Ford ambulance, they played all of the major venues on the hardcore map in 1983.This live recording is a great soundboard of a show played in Hollywood on November 11, 1983. This soundboard recording is crisp and clear. From what I recall, this recording is better than the live tracks on the official No Trend CD. Unfortunately this set is not complete as there are only 4 songs included here. It’s highly probable that a complete recording of this show exists. If you have a complete recording of this show, please get in touch.

Track List:

1. Do As You're Told

2. Fashion Tips For the 80's.

3. Mindless Little Insects

4. Mass Sterilization Caused By Venereal Disease

DOWNLOAD:

http://www.mediafire.com/?mlynynmwdhm

BAD BRAINS: CBGB, NEW YORK, NY 12.25.81 SOUNDBOARD RECORDING.

Now that hardcore is at the ripe age of approximately 30 years old, it’s effortless to conclude that the Bad Brains were the leading pioneers of the entire genre. This is quite ironic considering the fact that group objected that the term “hardcore” be used to describe the characteristics of their music. Critics of the band often cite them as being homophobic based on 1982 interviews in both Flipside (#31) and Forced Exposure (#2) where singer HR refers to shooting homosexuals. And then there’s the well-documented incident in Texas during the same year that involved members of the Big Boys and MDC that had homosexual leanings. These incidents of folly would permanently damage the reputation of any other band that was less talented and innovative than the Bad Brains. If anything this stands as an extraordinary testament to their greatness: stating unambiguously dodgy ideologies to a politically correct audience and still being respected by them.

This post will be the first of numerous entries devoted to the documentation of live Bad Brains material. This Christmas ’81 gig is not the preeminent Bad Brains live bootleg in circulation but it’s nothing to scoff at either. (In my opinion, if you’re a fan of the Bad Brains almost any soundboard live recording before 1987 or so is worth owing). Maybe this recording isn’t the most flawless soundboard recording by these guys in circulation, but you get thirteen and a half minutes of music that will melt your face. HR's custom introduction to "Supertouch" is awe-inspiring enough to induce goose bumps before the song even begins!

I've seen this recording listed on various trade lists as being 20 minutes in length. If anyone has the 20 minute version (or the full show for that matter), please contact me through the site.

Setlist:

1. 12XU (Wire)

2. Don't Need It

3. Supertouch/Shitfit

4. Big Takeover

5. Riot Squad

6. I

DOWNLOAD:

http://www.mediafire.com/?tgnkjomyz22

MEAT PUPPETS: MADISON SQUARE GARDEN, PHOENIX, AZ 11/28/81. SOUNDBOARD RECORDING.

Before the Meat Puppets began releasing records showcasing their sun damaged style of country punk, they were experts at constructing wild-eyed, art damaged hardcore. Their debut EP "In a Car" ranks as one of my favorite hardcore records of all time because of its courageous and reckless spirit. The five tracks on their debut 7" EP speed along at a face-melting velocity but seem to move in multi-modal directions depending on the track that you're listening to. The lyrics are often totally incomprehensible and when they were printed they were even more baffling. When considering all of this, it makes total sense that your average hardcore lunkhead wanted to spit all over them when they opened for label mates Black Flag.

This soundboard recording documents the Meat Puppets tearing through a total of 33 songs from their first 7", first LP, and features a whole smattering of oddball covers ranging from the Grateful Dead to Black Flag. It is pretty amazing to think that a hardcore band could even muster the patience to perform a set that is an hour in length. This recording clocks in at just under one hour and the band uses the cover song piss takes to regain their energy to shred on the faster paced songs. Like their records from this time period, the overall performance on this recording is sloppy but highly engaging.

Setlist:

1) Saturday Morning

2) Our Friends

3) Playing Dead

4) Electromud

5) Unjust

6) Reward

7) Milo, Sorghum & Maize

8) H Elenore

9) Blue-Green God

10) Melons Rising

11) Dolphin Field

12) In A Car

13) Tumbling Tumbleweeds (Bob Nolan)

14) Love Offering

15) Litter Box

16) Meat Puppets

17) Teenagers

18) Hearts

19) Foreign Lawns

20) The Gold Mine

21) Walking Boss

22) No Values (Black Flag)

23) Big House

24) Magic Carpet Ride (Steppenwolf)

25) Reach Out (Iíll Be There) (Four Tops)

26) Rabbit Fighter (T-Rex)

27) Down on the Corner (CCR)

28) Standing on the Verge of Getting It On (Funkadelic)

29) I Know You Rider (Grateful Dead)

30) I Am A Child

31) Purple Haze (Jimi Hendrix)

32) Out in the Gardener

33) 1970 (Stooges)

DOWNLOAD:

http://www.megaupload.com/?d=4UMVX2QM