YOUNG REPUBLICANS "SABOTAGE YOUR COOKOUT" 7" EP IS NOW AVAILABLE FOR PRE-ORDER

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.

PLEASE SELECT WHERE YOU LIVE:

USA $7.75 CANADA $8.75 WORLD $11.00

NERVOUS EATERS: WCOZ-FM, THE RAT, BOSTON, MA. 7.23.78. FM BROADCAST.

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

DOWNLOAD:

http://www.megaupload.com/?d=UYMQKY3P

CIA - "GOD GUNS GUTS & MORE" LP (MTAWP 001) IS OUT NOW AND CAN BE PURCHASED HERE:

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

PRICES:

$13 PPD (USA)

$15 PPD (CANADA)

$22 PPD (WORLD)

These prices all INCLUDE POSTAGE.

Below prices are PPD. Please select where you live:

USA $13.00 CANADA $15.00 WORLD $22.00

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

CRISIS: GUILDFORD STUDENT UNION, GUILDFORD, ENGLAND. 1978. AUDIENCE RECORDING.

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

DOWNLOAD:

http://www.mediafire.com/?4nnh3w8eum48p9u

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