ALBERT AYLER
The Impulse Story - (2006)

Albert Ayler was a lightning rod for criticism both from within the music community and from without. His free-thinking approach made him a bane for jazz traditionalists, and his incorporation of popular American musical styles like soul, R&B, and even rock made him a sellout to the free jazz crowd. His volume in The Impulse Story series -- one of ten individual artist titles to accompany both the book The House That Trane Built: The Impulse Story by Ashley Kahn and the four-CD label history set of the same name from Universal, is in many ways the very evidence of both points on the scale. There are ten cuts on this set, and the first three -- "Holy Ghost," "Truth Is Marching In," and "Angels" -- come from the celebrated Live in Greenwich Village: The Complete Impulse Recordings double-disc set. They offer the best recorded evidence up to that point -- 1965 and 1966 -- of Ayler's use of gospel music and marching rhythms in his free jazz approach. All are lengthy pieces with three different lineups. There are two shorter tunes from Love Cry, recorded and issued in 1967 -- including a lovely short version of "Bells." The lineup was bassist Alan Silva, Don Ayler on trumpet, and drummer Milford Graves. Three more come from the very controversial New Grass set, one with wildly varying musics and lineups. There's the title track, Albert's spoken word apologia "Message from Albert," and "Free at Last," with Pretty Purdie on drums and Call Cobbs playing electric harpsichord, as well as Bill Folwell on electric bass, backing vocalists, and a slew of horns arranged faux Memphis style. There is only one track -- the title -- from the equally combative Music Is the Healing Force of the Universe issued in 1969, which featured Bobby Few on piano, a pair of bassists -- Folwell and Stafford James -- with Mary Maria Parks singing and Muhammad Ali on drums. Finally, there are two tracks from the posthumously released Last Album: Parks' "Water Music," with the same lineup sans Parks left over from Music Is the Healing Force, and a completely crazy duet between Ayler on bagpipes and electric guitarist Henry Vestine recorded during those same sessions. In sum, this package is perhaps even more controversial than the individual albums it was culled from, and not the best introduction to Ayler out there. But then, given that no period of his music could make everyone -- with very few exceptions -- happy, this is perhaps the most fitting package of all. (allmusic.com)

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NOVELLER
Paint On The Shadows - (2009)

Mystery hides in the shadows, dreaming of colors that don't yet exist. Noveller is Sarah Lipstate. She is a young musician and filmmaker currently living in Bushwick, Brooklyn. When she is not busy working on Noveller music or making films she also plays guitar in the band Parts & Labor. Paint on the Shadows is her overdue debut LP full of beautiful floating guitar lines, breathtaking soundscapes and precise sculptures of spiraling sound created by Sarah using double-neck guitar, a tape player, and various electronic manipulations. Sitting comfortably between some of the most well done 'avant-garde' music and the new generation of new sound masters. These are studio tracks recorded by Colin Martson and produced by Sarah Lipstate and Carlos Giffoni.

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ALEXANDER HACKE & DANIELLE De PICCIOTTO
Hitman's Heel - (2011)

The collection of road songs. Ballads, gypsy rolls, Italo Western piano tunes, heavy guitar riffs entangled with sound loops and Autoharp picking could best be described as industrial blues transporting the audience into a world of the uncompromising explorer. Their new album goes back to the basics. After deciding to give up their house in Berlin 2010 the couple is on the road in search of new horizons. Celebrating this restless nomadic lifestyle they decided to go back to classic songwriting, without sequencing or electronic processing. Concentrating purely on their instruments (guitar, autoharp, keyboards, drums) their songs can be performed on any stage and unplugged. Disregarding fashion, conventions or everyday standards, their lyrics speak of the world they are discovering.

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TOLERANCE
Divin - (1981)

Divin is a particularly portentous recording, with minimal, bumping electronics propelled by legions of robot drum machines and draped in gauzy ghost shapes. The result is an austere electro-hybrid that fully anticipates much of the minimal electronic threat currently stoking so many boilers. But what really makes Divin stand out from a thousand animated circuit boards is its odd recording quality. The whole thing feels like its broadcast through a thick greyscale fug, the same kind of muzzy distance that that makes the weakest of shortwave broadcasts seem so hopelessly forlorn. Rumour has it that Agi was also the man behind the legendary Voice records, who issued the ultra mysterious Brast Burn and Karuna Khyal records that turned up on the Nurse With Wound list alongside Tolerance themselves and were later reissued by Paradigm. So call Divin another thrilling piece in the puzzle.

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ZOOGZ RIFT
Island Of Living Puke - (1986)

Another in the line of eccentric rock experimentalists led by Zappa and Beefheart, Zoogz Rift was influenced by those two as well as figures artistic (Dali) and literary/sociological (Ayn Rand, author of the objectivist pillar Atlas Shrugged). Born in New Jersey but later a resident of California, Rift began recording in the 1979 with Idiots on the Miniature Golf Course, for Snout Records. The album began a long association with his two major collaborators, Richie Häss and John Van Zelm Trubee (also a member of the Ugly Janitors of America), and proved similar to the zany freak-out of Beefheart, to whom it's dedicated. Much of Zoogz Rift's eccentricities began to be overwhelmed by his growing musical ability in the mid-'80s, and though albums like Amputees in Limbo, Island of Living Puke and the three volumes included in the Water trilogy were hardly commercial propositions, they found Rift embracing synthesizers and samplers as well as the traditional guitars. His last LP in a long series for the punk label SST Records was 1989's Torment, after which Rift recorded for Trigon and the German label Musical Tragedies. (allmusic.com)

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DK3
Soul Machine - (1995)

Formed as a duo by ex-Jesus Lizard guitarist Duane Denison and ex-Mule, Laughing Hyenas, and Jesus Lizard percussionist Jim Kimball, the Denison-Kimball Trio specialized in cool, jazzy instrumentals. With the addition of reeds player Ken Vandermark in 1995, the group was renamed DK3. The recipient of a degree in classical guitar from Eastern Michigan University, Denison formed Jesus Lizard in the late '80s with former members of Scratch Acid, David Yow on vocals and David Sims on bass. Although they initially relied on a drum machine, the band was solidified with the addition of drummer Mac McNeilly before recording their debut album, Head, in 1990. Over the next decade, Denison and Jesus Lizard released an additional seven albums before disbanding in 2000. Performing as a guest on albums by the Revolting Cocks (Linger Ficken' Good), Sally Timms, and Firewater following the demise of Jesus Lizard, Denison joined with Kimball to form the Denison-Kimball Trio. Their debut recording, released in 1994, provided the soundtrack of an indie film, Walls in the City, starring ex-Jesus Lizard frontman David Yow. Their second album, Soul Machine, followed a year later. (allmusic.com)

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THE AFGHAN WHIGS
Uptown Avondale EP - (1992)

The Afghan Whigs' final recording for Sub Pop, Uptown Avondale is anything but a contractual obligation -- a five-track EP comprising four R&B covers and a remake of Congregation's unlisted bonus track "Milez Iz Ded" (here retitled "The Rebirth of the Cool"), it's a soulful, scorching collection that captures the band at their gritty best. Quickly dispelling any lingering doubts that Greg Dulli's soul-man aspirations are anything but genuine, the disc's covers of chestnuts like Freda Payne's "Band of Gold" and the Supremes' "Come See About Me" are remarkable, remaining true to the music's R&B roots but infused with the Whigs' noise-punk energy -- Dulli sings like a man possessed, rejuvenating this familiar material with both reverence and attitude. (allmusic.com)

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UNREST
A Factory Record EP - (1991)

Anyone who knows anything about the Teenbeat label knows that Mark Robinson (leader of the label and of Unrest) is a Factory Records fanatic. Thus it is only fitting that he would release a single comprising covers of great tunes from the Factory discography. On this co-release with Sub-Pop (part of its single-of-the-month series), we get covers of songs by Crispy Ambulance, ESG, Crawling Chaos, and Miaow (in that order). The Miaow cover was later released on the BPM compilation, which is stil available from Teenbeat.

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JOHN PARISH
How Animals Move - (2002)

John Parish nearly outdoes himself with the beautiful, elegiac How Animals Move. If it weren't for the fact that basically everything he's turned his hands to has come out golden, one might be surprised. His second solo album is a mostly mournful affair, but its poetic melodies, bubbly textures, and percolating, suspense-packed notes are consistently invigorating. Guest stars like longtime collaborator and friend PJ Harvey, Portishead's Adrian Utley, Giant Sand's Howe Gelb, and vocalists Rose De Wolf and David Donahue add additional magic to the proceedings. How Animals Move is one of those albums that feels like a score to an imaginary film; some weepy, epic, road movie with transcendent emotions. But how many imaginary film scores do a cover of The The? Parish's does, with a subtle take on Matt Johnson's "Shrunken Man" that fits perfectly in with his own compositions. From the opening seconds of the violin solo in "Absolute Beauty Is an Absolute Curse," to the schizophrenic modern jazz amalgamation of "The Florida Recount,"; from the Talk Talk-like "Without Warning His Heart Stopped Beating," to the somber tone poems of "Lord It's a Happy Land," Parish's brilliance continues. The fractured anthemic pop of "Stable Life" contrasts beautifully with the 40-minute mark where PJ Harvey tackles "Airplane Blues" like a Dixieland "fifty-foot queenie." The album stuns with both atmosphere and tension. A little bit of DJ Shadow, a touch of David Holmes, a helping of Woody Guthrie, a hint of Miles Davis improvisation, and a nod to Ry Cooder all come to mind as inspirations for Parish here. It takes a true craftsman to chisel music that's as subtle yet as fascinating as the songs Parish consistently offers. How Animals Move is another wonderful opus from John Parish, and another example of his fine compositions and musical mastery. (allmusic.com)

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PORTISHEAD
Dummy - (1994)

Portishead's album debut is a brilliant, surprisingly natural synthesis of claustrophobic spy soundtracks, dark breakbeats inspired by frontman Geoff Barrow's love of hip-hop, and a vocalist (Beth Gibbons) in the classic confessional singer/songwriter mold. Beginning with the otherworldly theremin and martial beats of "Mysterons," Dummy hits an early high with "Sour Times," a post-modern torch song driven by a Lalo Schifrin sample. The chilling atmospheres conjured by Adrian Utley's excellent guitar work and Barrow's turntables and keyboards prove the perfect foil for Gibbons, who balances sultriness and melancholia in equal measure. Occasionally reminiscent of a torchier version of Sade, Gibbons provides a clear focus for these songs, with Barrow and company behind her laying down one of the best full-length productions ever heard in the dance world. Where previous acts like Massive Attack had attracted dance heads in the main, Portishead crossed over to an American, alternative audience, connecting with the legion of angst-ridden indie fans as well. Better than any album before it, Dummy merged the pinpoint-precise productions of the dance world with pop hallmarks like great songwriting and excellent vocal performances. (allmusic.com)

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THE RESIDENTS
1997: The Missing Year - The Marlboro Eyeball Experience - (2009)

Also volunteering at the fund raiser was the house manager for the Fillmore in San Francisco. After seeing The Residents' performance, the promoter was so excited, he immediately invited the group to perform five shows at The Fillmore the following Halloween. Having never played this historic venue before, The Residents immediately accepted and began preparations.Soon another request came in, this time from the unlikely source of Marlboro cigarettes - in Germany. Searching for an event on which to focus their advertising at the Popkomm music trade show in Cologne, the tobacco giant suggested a short performance, 20-30 minutes in length, that could be video taped for television; it was to be performed 3 or 4 times with a changing audience. The small crowd was limited to people who won tickets in response to cigarette ads. (Leaving no opportunity for addiction unanswered, Marlboro also showered the audience with free smokes while waiting to take their turn as an audience member.) Aided by MTV producer and friend, John Payson, The Residents adapted a piece from the Adobe performance, transforming it into a 30 minute performance vehicle, Disfigured Night. The Residents performed Disfigured Night four times that evening; several months later, the piece was later broadcast on national television in Germany.

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ZERO BOYS
Vicious Circle - (1982)

When he walked into Keystone Recording in Indianapolis on August 18, 1981, Zero Boys singer Paul Mahern told producer/engineer John Helms he wanted his band's debut LP to "sound like the Germs' GI," released two years prior. "He really nailed it!" laughed Mahern recently. Much agreed: Few records have ever sounded this whizbang buzzing. And whereas GI transformed an appallingly shambolic L.A. band into a shocking powerhouse, Vicious Circle merely snared a smokin' Indiana band that'd been rehearsing five hours a day -- so tight they spun this corker out in just two days, by recording live together. It still bursts out of your speaker on CD as it did off a needle when released on Nimrod records 19 years ago. Terry Hollywood's razor-zinging guitar and Tufty Clough's Speedy Gonzalez' bing-bing-bing bass playing (fastest fingers in the Midwest) burn like blowtorches, and drummer Mark Cutsinger plays like he IV'ed amphetamines. Mahern sings like a hurrying rabbit, rapid-firing words about assassinations/celebrity-shootings, anti-nostalgia, having a "high time," and, well, doing speed. Whereas other records of the new hardcore scene tried to sound tough, this was like Johnny Thunders, Sex Pistols, Ramones, Dictators, and S.L.F. on 45, smiling like dopes. Reissued with two bonus tracks from the same session, Vicious Circle remains a vicious pleasure of frenzied attitude, chops, speed, tight playing, and rocket-launching zeal. (allmusic.com)

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YOUTH BRIGADE
Sink With Kalifornija - (1984)

One of the lesser-known bands to come out of the early-'80s West Coast punk rock explosion, Youth Brigade was formed by a trio of brothers (Shawn, Mark, and Adam Stern) at the end of summer 1980 in Los Angeles. Originally supplemented with other members, the group went back to a trio in early 1982, the same year they founded their own independent record label, BYO (Better Youth Organization). Later that year, the group issued their very first release, the three-track EP Someone Got Their Head Kicked In, before recording their full-length debut, Sound and Fury. Their debut hit a snag, however -- shortly after its initial release, the group halted further pressings when they realized they weren't entirely satisfied with how it came out, resulting in the release of a reworked version in June 1983. Another three-song EP, What Price?, hit the racks in the spring of 1984, resulting in Youth Brigade's first tour of Europe. Despite being able to obtain success entirely on their own terms, Adam Stern decided to leave the band in 1985 in order to return to art school. Adam's final show was scheduled in June of the same year at Fenders Ballroom in Long Beach, CA, which was recorded and issued as the Sink with Kalifornija album, and Shawn and Mark opted to carry on without Adam. Eventually Adam returned to Youth Brigade, as the trio toured both North America and Europe. In 1991, the group took a break as its members concentrated on other projects (Mark and Adam with the swing revival band Royal Crown Revue, and Shawn with the pop-punk outfit That's It!). Youth Brigade would pick up where they left off shortly thereafter, as they issued several albums throughout the remainder of the decade: 1994's Happy Hour, 1996's To Sell the Truth, and 1998's Out of Print. BYO Records also continued to operate strong through the years, releasing albums from bands like Pinhead Circus, the Unseen, the Business, and many more; the label also began a well-received series of split releases (Leatherface and Hot Water Music being the first), which Youth Brigade took part in on a 1999 split with San Francisco's Swingin' Utters. (allmusic.com)

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X
Los Angeles - (1980)

By the late '70s, punk rock and hardcore were infiltrating the Los Angeles music scene. Such bands as Black Flag, the Germs, and, especially, X were the leaders of the pack, prompting an avalanche of copycat bands and eventually signing record contracts themselves. X's debut, Los Angeles, is considered by many to be one of punk's all-time finest recordings, and with good reason. Most punk bands used their musical inability to create their own style, but X actually consisted of some truly gifted musicians, including rockabilly guitarist Billy Zoom, bassist John Doe, and frontwoman Exene Cervenka, who, with Doe, penned poetic lyrics and perfected sweet yet biting vocal harmonies. Los Angeles is prime X, offering such all-time classics as the venomous "Your Phone's Off the Hook, but You're Not," a tale of date rape called "Johnny Hit and Run Paulene," and two of their best anthems (and enduring concert favorites), "Nausea" and the title track. While they were tagged as a punk rock act from the get-go (many felt that this eventually proved a hindrance), X are not easily categorized. Although they utilize elements of punk's frenzy and electricity, they also add country, ballads, and rockabilly to the mix.

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WIRE
Pink Flag - (1977)

Perhaps the most original debut album to come out of the first wave of British punk, Wire's Pink Flag plays like The Ramones Go to Art School -- song after song careens past in a glorious, stripped-down rush. However, unlike the Ramones, Wire ultimately made their mark through unpredictability. Very few of the songs followed traditional verse/chorus structures -- if one or two riffs sufficed, no more were added; if a musical hook or lyric didn't need to be repeated, Wire immediately stopped playing, accounting for the album's brevity (21 songs in under 36 minutes on the original version). The sometimes dissonant, minimalist arrangements allow for space and interplay between the instruments; Colin Newman isn't always the most comprehensible singer, but he displays an acerbic wit and balances the occasional lyrical abstraction with plenty of bile in his delivery. Many punk bands aimed to strip rock & roll of its excess, but Wire took the concept a step further, cutting punk itself down to its essence and achieving an even more concentrated impact. Some of the tracks may seem at first like underdeveloped sketches or fragments, but further listening demonstrates that in most cases, the music is memorable even without the repetition and structure most ears have come to expect -- it simply requires a bit more concentration. And Wire are full of ideas; for such a fiercely minimalist band, they display quite a musical range, spanning slow, haunting texture exercises, warped power pop, punk anthems, and proto-hardcore rants -- it's recognizable, yet simultaneously quite unlike anything that preceded it. Pink Flag's enduring influence pops up in hardcore, post-punk, alternative rock, and even Britpop, and it still remains a fresh, invigorating listen today: a fascinating, highly inventive rethinking of punk rock and its freedom to make up your own rules. (allmusic.com)

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THE VANDALS
When In Rome Do As The Vandals - (1984)

As snotty punk albums go, When in Rome seems unexceptional on the surface. There are the tasteless joke songs ("Viking Suite," about a man disturbingly fond of little boys in costumes, presented as a mock prog-style rock opera). There's the requisite cheesy cover ("Hocus Pocus" by Focus, renamed "It's Not Unusual," complete with tuneless howls and shrieks that are even more painful than the original's yodeling). One key difference is that the band is quirky enough to experiment with different sounds (rather than just three-chord punk) and flexible enough to be successful at it. From the mock Western "Mohawk Town" to the Caribbean lilt of "Rico," the Vandals display a surprising musical versatility. Lyrically, the band is still rather one-dimensional, relying too much on jokes and schtick (such as the cheap shots at RV dwellers on "Airstream"), although "Slap of Luv," told from the point of view of a domestic abuser, is a surprisingly astute character piece. Still, the Vandals definitely display some real originality and talent on When in Rome, making it a notch above most indie punk albums. (allmusic.com)

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U.K. SUBS
Another Kind Of Blues - (1979)

The U.K. Subs' debut can easily stand alongside any other punk classics released during its heyday. Musically, the Subs are similar to the early Clash, but where the Clash spit out balls of fiery rage, the Subs leaven their bile with sardonic humor. "Tomorrow's Girls" imagines a futuristic Venus who "will be pre-programmed," and the music spits out a hilarious series of mock computer beeps. "Crash Course" promises staid executives that, just by listening to the Subs' music and buying up the right clothes, they, too, can "learn" punk rock. Only the sneeringly sexist "All I Wanna Know" hits a sour note. The music is rooted in the typical punk influences: the New York Dolls, the Velvet Underground, and early Who, but the band adds a twist of classic '60s British R&B groups like the Yardbirds. It's melodic, punchy, and fast, delivering the necessary bite without ever becoming too abrasive or sugary. Another Kind of Blues is an impressive debut from the classic punk era.

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TELEVISION
Marquee Moon - (1977)

Marquee Moon is a revolutionary album, but it's a subtle, understated revolution. Without question, it is a guitar rock album -- it's astonishing to hear the interplay between Tom Verlaine and Richard Lloyd -- but it is a guitar rock album unlike any other. Where their predecessors in the New York punk scene, most notably the Velvet Underground, had fused blues structures with avant-garde flourishes, Television completely strip away any sense of swing or groove, even when they are playing standard three-chord changes. Marquee Moon is comprised entirely of tense garage rockers that spiral into heady intellectual territory, which is achieved through the group's long, interweaving instrumental sections, not through Verlaine's words. That alone made Marquee Moon a trailblazing album -- it's impossible to imagine post-punk soundscapes without it. Of course, it wouldn't have had such an impact if Verlaine hadn't written an excellent set of songs that conveyed a fractured urban mythology unlike any of his contemporaries. From the nervy opener, "See No Evil," to the majestic title track, there is simply not a bad song on the entire record. And what has kept Marquee Moon fresh over the years is how Television flesh out Verlaine's poetry into sweeping sonic epics.

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SOCIAL DISTORTION
Mommy's Little Monster - (1983)

Seminal Orange County punk band Social Distortion's first full-length album Mommy's Little Monster is the epitome of early-'80s suburban California punk and provided inspiration for many future Californians, including the Offspring and Rancid. Mommy's Little Monster finds the band supplying plenty of attitude and aggression as they rip through nine tracks worth of hard, fast, power chord-filled tracks loaded with snarling anti-establishment lyrics and themes. Songs like "The Creeps (I Just Want to Give You") and "Telling Them" show a young punk group that is very angry, and they were going to let society know it whether they wanted to hear it or not. The title track, "Mommy's Little Monster," with its descriptions of the girl with blue hair and the unemployed young punk who loves to drink and fight, gives you a good idea of the characters Social Distortion was surrounded by in the scene of the day. Although the low budget production gives the album a genuine early genre feel, it tends to hinder some of the potential power of most of the tracks presented here. As frontman Mike Ness matured as a songwriter the band went on to record stronger albums later in their career, but Mommy's Little Monster is a fine document of the raw early stages of a great influential American punk band that would go on to influence countless others in the future. (allmusic.com)

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THE SEX PISTOLS
Never Mind The Bollocks Here's The Sex Pistols - (1977)

While mostly accurate, dismissing Never Mind the Bollocks as merely a series of loud, ragged midtempo rockers with a harsh, grating vocalist and not much melody would be a terrible error. Already anthemic songs are rendered positively transcendent by Johnny Rotten's rabid, foaming delivery. His bitterly sarcastic attacks on pretentious affectation and the very foundations of British society were all carried out in the most confrontational, impolite manner possible. Most imitators of the Pistols' angry nihilism missed the point: underneath the shock tactics and theatrical negativity were social critiques carefully designed for maximum impact. Never Mind the Bollocks perfectly articulated the frustration, rage, and dissatisfaction of the British working class with the establishment, a spirit quick to translate itself to strictly rock & roll terms. The Pistols paved the way for countless other bands to make similarly rebellious statements, but arguably none were as daring or effective. It's easy to see how the band's roaring energy, overwhelmingly snotty attitude, and Rotten's furious ranting sparked a musical revolution, and those qualities haven't diminished one bit over time. Never Mind the Bollocks is simply one of the greatest, most inspiring rock records of all time. (allmusic.com)

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THE RAMONES
Ramones - (1976)

With the three-chord assault of "Blitzkrieg Bop," The Ramones begins at a blinding speed and never once over the course of its 14 songs does it let up. The Ramones is all about speed, hooks, stupidity, and simplicity. The songs are imaginative reductions of early rock & roll, girl group pop, and surf rock. Not only is the music boiled down to its essentials, but the Ramones offer a twisted, comical take on pop culture with their lyrics, whether it's the horror schlock of "I Don't Wanna Go Down to the Basement," the drug deals of "53rd and 3rd," the gleeful violence of "Beat on the Brat," or the maniacal stupidity of "Now I Wanna Sniff Some Glue." And the cover of Chris Montez's "Let's Dance" isn't a throwaway -- with its single-minded beat and lyrics, it encapsulates everything the group loves about pre-Beatles rock & roll. They don't alter the structure, or the intent, of the song, they simply make it louder and faster. And that's the key to all of the Ramones' music -- it's simple rock & roll, played simply, loud, and very, very fast. None of the songs clock in at any longer than two and half minutes, and most are considerably shorter. In comparison to some of the music the album inspired, The Ramones sounds a little tame -- it's a little too clean, and compared to their insanely fast live albums, it even sounds a little slow -- but there's no denying that it still sounds brilliantly fresh and intoxicatingly fun. (allmusic.com)

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RANCID
Rancid - (1993)

This is where it all starts. Without any reminiscing about their former band, Operation Ivy, Matt Freeman (bass) and Tim Armstrong (guitar/vocals) blast through their debut without any hints of ska or blatant Clash plagiarizing. On the contrary, this album rips through 15 tracks of high-energy punk that's accompanied by heavy bass leads and Armstrong's permanently slurred vocals. And to top it all off, the lyrical content deals with urban blight and the lifestyle of being a public nuisance. With this trademark sound, Rancid provide the perfect soundtrack for any car chase that includes massive property damage; is it a wonder MTV wouldn't touch this? (allmusic.com)

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THE QUEERS
Don't Back Down - (1996)

It doesn't get any better than this. On Don't Back Down the rip-roaring punk songs with no melody ("No Tit," for instance) are more than counterbalanced by the many mind-blowingly catchy songs ("Punk Rock Girls," "Number One," "Janelle, Janelle," ad nauseam). Some of the songs, dare it be said, even surpass many of Brian Wilson's perfect pop songs. Whereas the Ben Weasel-fronted group the Riverdales aspire to be nothing more than Ramones imitators, the Queers successfully use the musical vocabularies developed by the Ramones (as well as Brian Wilson and others) and take their songs to new levels.

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PETER AND THE TEST TUBE BABIES
The Punk Singles Collection - (1996)

Chasing the Brighton-based punks from their "Banned from the Pubs" debut in 1982 through to the "Keys to the City" 45 three years later, The Punk Singles Collection is a reminder that, for all the on-stage hijinks and the complaints that they were essentially a novelty band, Peter & the Test Tube Babies were actually responsible for some of the hardest-hitting singles of the early '80s Oi! heyday. As usual with the series, 23 tracks round up both A- and B-sides, so a big hurrah for the resurrection of some genuinely classic flips -- "Moped Lads," "Up Yer Bum," "Trapper Ain't Got a Bird" -- and the frenetic live blitz that rounded up "Spirit of Keith Moon" and "Vicars Wank Too" at the very end of the original band's career. "Rotting in the Fart Sack," too, marks out the Test Tubes as a genuinely inspired assault on all that the polite music critic held dear -- and, if The Punk Singles Collection doesn't quite contradict the notion that everything this band did was intended as a joke, at least it has a good laugh trying. (allmusic.com)

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OFF!
First Four EP's - (2010)

Keith Morris, one of the pioneers of the Los Angeles hardcore punk scene as lead singer with the first lineup of Black Flag and founder of the Circle Jerks, returns to his roots in fast, loud, confrontational music with the group Off! Off!'s story began when Keith Morris and guitarist Greg Hetson began mapping out plans to make a new Circle Jerks album, and Dimitri Coats of the Burning Brides was brought in to produce the sessions. Neither Morris nor Coats were happy with the material that had been proposed for the album, and the two began writing a fresh batch of songs. Hetson didn't see eye to eye with Coats as producer, so Morris and Coats decided to use their songs for a project of their own, and formed Off! as a vehicle for their material. With Morris on vocals on Coats on guitar, the new group's lineup became complete when Steven McDonald (of Redd Kross) agreed to play bass and Mario Rubalcaba (ex-Hot Snakes and Rocket from the Crypt) signed on as drummer. Off! made their live debut at the 2010 South by Southwest Music Conference in Austin, TX, and received enthusiastic reviews for their urgent, energetic songs, which more than one reporter compared to early Black Flag. The band made their recording debut in 2010 with the four 7" vinyl box set, First Four EPs, which also saw a CD release in early 2011 on Vice. (allmusic.com)

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