That's What the Papers Say

US Bombs

the World

1999, Hellcat

Duane Peters - vocals

Kerry Martinez - guitars

Johny Two Bags Wickersham - guitars

Wade Walston - bass

Chip Hanna - drums

I always thought this album title was clever. 

The band is US Bombs, a street punk band from the Clash/Buzzcocks school. Punk always championed the independent, band owned record label, ever since Black Flag put together their own SST label in 1978. Hellcat Records was Rancid's label, imprint of Epitaph (Bad Religion's label). The World is the 2nd record the US Bombs released on Hellcat. This record has classic street punk themes coupled with political anti-war themes.

My friend, in high school, got his hands on a US Bombs t-shirt. It was simple, with just the band's wordmark across the chest. I didn't know it was a band, and thought it was a boobs joke. My friend was a guy.

At the time, I was thrilled to add this to my music library. And now, I feel the same. 

Best Years for Music: Making a Case

Every decade or so there is one pivotal year for music that defines the decade and becomes a watershed of influence. I plan on making the case for the best year in music for each of the last few decades. I'll start with the 60's and work my way up.

1967 - Summer of Love

The 1960s are remembered fondly as the age of psychedelics, and hippies, but the decade was important for all genres of music. In the age of sexual liberation, political rebellion, and the civil rights movement, music had its own period of exploration, which saw folk, blues, soul and r&b, reggae, country and rock develop from earlier forms into what we recognize today as major genres. 1967 was the high point for this incubation period and saw major debuts, and great follow up records from soon to be great artists. Many of the records I will list in this post are considered by many to be among the top records of all time, genre definers, influential pieces, one of the best in that particular artist's discography, or at the very least a debut of one of music's legends.

The Doors (debut)
Miles Davis - Miles Smiles
Jefferson Airplane - Surrealistic Pillow
Byrds - Younger than Yesterday
Dolly Parton - Hello, I'm Dolly (debut)
Mamas and the Papas - Deliver
Velvet Underground and Nico
Donovan - Mellow Yellow
Electric Prunes (debut)
Gordon Lightfoot - The Way I Feel
Tim Hardin - 2
Country Joe and the Fish - Electric Music for the Mind and Body (debut)
Jimi Hendrix Experience - Are You Experienced? (debut)
Mothers of Invention - Absolutely Free
Beatles - Sgt Pepper's Lonely Hearts Club Band
Willie Nelson - Make Way for Willie Nelson
David Bowie (debut)
Booker T and the MGs - Hip Hug-Her
Moby Grape (debut)
Canned Heat (debut)
Aretha Franklin - Arrives
Pink Floyd - Piper at the Gates of Dawn
Bee Gees - Bee Gees' 1st
Merle Haggard - Branded Man
Albert King - Born Under a Bad Sign
Waylon Jennings - Love of the Common Man
Kinks - Something Else by the Kinks
Doors - Strange Days
Arlo Guthrie - Alice's Restaurant
Gladys Knight and the Pips - Everybody Needs Love (debut)
Vanilla Fudge (debut)
Cream - Disraeli Gears
Moody Blues - Days of Future Past
Beatles - Magical Mystery Tour
Love - Forever Changes
Jimi Hendrix Experience - Axis: Bold as Love
The Who - Sell Out
Miles Davis - Sorcerer

1971- Rock's Greatest Year

To be fair, this idea is not new. There are plenty of music nerds out there who have played this same game. David Hepworth wrote about 1971 as being special in Never a Dull Moment: 1971 The Year that Rock Exploded (2016). So close to the close of the '60s, 1971 piggybacks on 1967, sharing common themes. Due to a variety of circumstances, 1971 saw a massive output of talent, older bands coming out with some of their best material, new groups putting together fresh sounds, an overarching idea that creativity wont last forever and there is no point in overworking something when usually the first ideas are the best.

In addition to the albums released in 1971, The Eagles, New York Dolls, Foghat, Earth Wind and Fire, Manfred Man, and Wings were all founded this year.

Some of the 1971 releases are below for your consideration:

Carol King - Tapestry
Jethro Tull - Aqualung
James Taylor - Mudslide Slim and the Blue Horizon
Carly Simon (debut)
The Doors - LA Woman
Rolling Stones - Sticky Fingers
Paul and Linda McCartney - Ram
The Carpenters
Marvin Gaye - What's Goin On
Rod Stewart - Every Picture Tells a Story
Emerson Lake and Palmer - Tarkus
Joni Mitchell - Blue
Hot Tuna - First Pull Up, then Pull Down
Funkadelic - Maggot Brain
Black Sabbath - Master of Reality
Moody Blues - Every Good Boy Deserves Favor
The Who - Who's Next
Al Green Gets Next to You
John Lennon - Imagine
Santana III
Bee Gees - Trafalgar
Cat Stevens - Teaser and the Firecat
Frank Zappa - 200 Motels
Don McLean - American Pie (debut)
The Who - Meaty Beaty Big and Bouncy
Van Morrison - Tupelo Honey
Curtis Mayfield - Roots
Led Zeppelin IV
Elton John - Madman Across the Water
Genesis - Nursery Cryme
Alice Cooper - Killer
Sly and the Family Stone - There's a Riot Goin On
David Bowie - Hunky Dory
Badfinger - Straight Up
John Prine (debut)

1987- Goddammit I hate the '80s!

Even though the 1980s is probably the worst decade for music (although 2000-2010 is pretty terrible too), it still had a bright spot, and 1987 seems to be the year, even though Bruce Willis released the Return of Bruno. Things start to get interesting in 1987, just as electronic sounds and drum machines appear to have taken over pop music, hip hop is gearing up to be taken more seriously, and punk/grunge/garage rock is poised to destroy glam metal once and for all. Below is a little look into some of those releases, and once again, if the record isn't considered a top 100 record, it is still probably considered to be a huge influence on one or more genres in the future. The Smiths and Pixies records are good examples. In addition, Alice in Chains, Danzig, Fugazi, Gin Blossoms, Kid N Play, Nirvana, and Operation Ivy were all founded.

The Smiths - The World Wont Listen (debut)
The Smiths - Louder than Bombs
DJ Jazzy Jeff and the Fresh Prince - Rock the House (debut)
Anthrax - Among the Living
Butthole Surfers - Locust Abortion Technician (debut)
U2 - Joshua Tree
Prince - Sign O the Times
the Cult - Electric
Public Enemy - Yo, Bum Rush the Show (debut)
Whitney Houston- Whitney (debut)
the Cure - Kiss Me Kiss Me Kiss Me
LL Cool J - B.A.D (debut)
Heart - Bad Animals
Sonic Youth - Sister
the Replacements - Pleased to Meet Me (debut)
Boy George - Sold
Echo and the Bunnymen (debut)
Grateful Dead - In the Dark
Eric B and Rakim - Paid in Full (debut)
Guns N Roses - Appetite for Destruction (debut)
Tom Waits - Frank's Wild Years
Michael Jackson - Bad
George Michael - Faith (debut)
Pixies - Come on Pilgrim
Ice T - Rhyme Pays (debut)

1994 - The Beginning of the End

The 1990s has been revered by many now between their 30s and 40s, mostly due to nostalgia. Children's programming on television was bonkers. Everything got pierced or tattooed. The internet, laptops and cell phones were very new things. Music hit a turning point from the innovations made in the late 80s to the industry-led, cookie cutter, pop factory made sounds that ultimately killed rock and roll and country and drove hip hop back underground. Everything became digitized, recording studios became smaller, more efficient, cleaner.

1994 was the pivot year. Kurt Cobain died, Green Day exploded, and the grunge/alternative revelation of the past few years crumbled and gave way to a wave of pop-surfer-emo punk rock that would hang around in mediocrity for the next 10 years. Nas happened, Biggie and Tupac happened, The Wu-Tang Clan was huge, which spurred another golden age for hip hop. The next generation of the British Invasion kicked off too this year. Jam bands, a second generation of 60's inspired rock groups, took off in a major way. 1994 was also the year of Girl Power, the careers of Liz Phair, Tori Amos, Veruca Salt, and Hole all took off. There are a few strong debuts from groups who would make large footprints in the next decade and a half, including one of the best albums of all time, Jeff Buckley's Grace.

Alice in Chains - Jar of Flies
Tori Amos - Under the Pink
Green Day - Dookie
Ben Harper - Welcome to the Cruel World (debut)
Cake - Motorcade of Generosity (debut)
Pavement - Crooked Rain Crooked Rain
Beck - Mellow Gold
Elvis Costello - Brutal Youth
Nine Inch Nails - Downward Spiral
Soundgarden - SuperUnknown
Phish - Hoist
Pink Floyd - The Division Bell
Offspring - Smash
Hole - Live Through This
Nas - Illmatic (debut)
Blur - Parklife
Johnny Cash - American Recordings
Outkast - southernplayalisticadillacmuzik (debut)
Sonic Youth - Experimental Jet Set, Trash, and No Star
Weezer (debut)
Beastie Boys - Ill Communication
Seal II
Purple - Stone Temple Pilots
Warren G - Regulate: G Funk Era (debut)
Aaliyah - Age Aint Nothin but a Number (debut)
Da Brat - Funkdafied (debut)
Hootie and the Blowfish - Cracked Rear View (debut)
Live - Throwing Copper
Coolio - It Takes a Thief (debut)
Marilyn Manson - Portrait of an American Family (debut)
NoFX - Punk in Drublic
Jeff Buckley - Grace (debut)
Rusted Root - When I Woke
Oasis - Definitely Maybe (debut)
Boys II Men - II
Usher (debut)
Bad Religion - Stranger than Fiction
Eric Clapton - From the Cradle
Notorious BIG - Ready to Die (debut)
Blues Traveler - 4
Liz Phair - Whip Smart
2 Pac - Thug Life: Volume 1
Veruca Salt - American Thighs (debut)
REM - Monster
Dave Matthews Band - Under the Table and Dreaming (debut)
The Cranberries - No Need to Argue
Korn (debut)
Jamiroquai - Return of the Space Cowboy
Black Crowes - Amorica
Nirvana - MTV Unplugged in New York
Tom Petty - Wildflowers
Guster - Parachute (debut)
TLC - CrazySexyCool
Mary J Blige - My Life
Pearl Jam - Vitalogy
Bush - Sixteen Stone (debut)

2007 - We Wont Go Quietly

Sometime between now and the close of the 90's, the corporate music model sucked the soul out of rock and roll. Music enthusiasts starting looking elsewhere for good music, and the rise of internet sharing gave us a marketplace. The first decade of the new millennium may be seen as a musical void, but 2007 is a bright spot. Indie music finally hit its stride, flourishing in the void. Our collective love of nostalgia created an opening for older acts to resurface for reunions. And occasionally, in the midst of formulaic genres like pop-punk, and whatever genre Nickelback created, there could still be some surprisingly good bands. There are always islands of good music, even in the face of an innovative decline.

The Smithereens - Meet the Smithereens!
Radiohead - Rainbows
Avett Brothers - Emotionalism
Kanye West - Graduation
Timbaland - Shock Value
Feist - the Reminder
Jay Z - American Gangster
Kittie - Funeral for Yesterday
Modest Mouse - We were Dead even Before the Ship Sank
Norah Jones - Not Too Late
Wilco - Sky Blue Sky
Bjork - Volta
Kings of Leon - Because of the Times
the National - the Boxer
Paramore - Riot
Arcade Fire - Neon Bible
Bright Eyes - Cassadaga
White Stripes - Icky Thump
MIA - Kala
Metric - Grow Up and Blow Away
Rihanna - Good Girl Gone Bad
Spoon - GaGaGaGaGaGa
Talib Kweli - Eardrum
Teagan and Sara - the Con
St. Vincent - Marry Me
Linkin Park - Minutes to Midnight
Andrew Bird - Armchair Apocrypha
Bright Eyes - Cassadaga
the Weakerthans - Reunion Tour
Rilo Kiley - Under the Blacklight


I think, after all has been considered, 1994 would be my choice as best year in music, all time. This is not to say that there haven't been major influential albums produced in other years, or artists from other decades who didn't leave very important footprints. But I do think 1994 was the last (so far) watershed year for several genres and subgenres, rock in particular, but also country music, and hip hop. Since then there has been very little innovation within genres. Corporate music making has killed country and rock as genres. And hip hop, while it continues to redefine itself, had an explosive year in 1994.

Please leave comments (no one reads anyway) challenging my opinion, I welcome the discussion. But please, be cordial, and come with some good arguments for why I'm wrong and your choice is better.

RIP: Ray Beez

Warzone

Fight for Justice

1997, Victory

produced by Tony Brummel

Raymond "Ray Beez" Barbieri - vocals

Jason "J-Sin" Lehrhoff - guitars
"Vinnie Value" Verga - drums
Todd "the Kidd" Hamilton - bass

Warzone started in New York in the early '80s, and along with Agnostic Front, brought the hardcore scenes of Washington and LA to the Big Apple. Not only was Ray Beez and Warzone at the forefront of the scene, but they helped to mentor younger bands well into the '90s. Tragically, this record was their last, as Ray Beez passed away from pneumonia at age 35.

Ray Beez is remembered for being a leader in the scene, a mentor to younger talent, a US Navy veteran, an advocate for at-risk youth, and an opponent of racism, classism, and misogyny. 

Lost in the Supermarket

The Clash

London Calling

1979, CBS/Epic

produced by Guy Stevens

Joe Strummer - vocals, guitars

Mick Jones - guitars, piano, vocals

Paul Simonon - bass, vocals

Topper Headon - drums

Mickey Gallagher - organ
The Irish Horns - horn section

singles-

• London Calling/ Armagideon Time
• Clampdown/ Guns of Brixton
• Train in Vain/ London Calling

Probably one of the best Clash records, if not at the very least the most recognizable. This record is ranked by Rolling Stone as the best album of the '80s (it came out in '79), number 8 on their list of 500 Greatest Albums of all Time, Q Magazine named it the 4th best British album of all time.

The cover art is super punk rock, an homage to Elvis's 1956 record with an out of focus Simonon smashing his bass. Aside from that, the album is probably as far from a typical punk rock album of the time (or the next 10 years). The Clash changed their sound from the British punk aesthetic (or lack of) to a rockabilly/ska/reggae infused sound that either departed from the punk, or diversified a genre that previously relished in its lack of talent and void of musicality. Either way, who cares? The record is great, fun to listen to, and absolutely a must-have.

The EP: singles edition

I've posted a few times about the EP (extended play) format.  Part one is here, and here is part two.  So, I guess this is part three, the vinyl edition.

Swirl

Strangelands/Poppel Grave

Dirt records, 1995

Ben Aylward - Guitar, vocals

Nicola Schultz - Bass, vocals

David Lord - Drums

From Australia, this band broke up aparently forever in 2002.  You can place them in the shoegazer category with Ride, Lush, My Bloody Valentine, and Mazy Star.  This is more of a single than an EP, complete with a B-side like traditional singles.  The packaging, however, is more common for an EP.  Although the music is pretty good, I bought it for other reasons.  It's packaged in brown cardboard, with a few record label stickers, and a weird-ass art print.  Also... blue swirled vinyl!  

#259/500

US Bombs

Tora! Tora! Tora!/ Yer Country

TKO, 2001

Duane Peters - Vocals

Kerry Martinez - Guitar

Wade Walston - Bass

Chip Hanna - Drums

The US Bombs is one of the best oi punk/street punk bands with a political bent, much like Anti-flag.  In true Punk fashion, this EP comes with the president with a Hitler mustach, on a cut-and-paste DIY style cover.  The song is about Nationalism as an excuse for violent revenge, which was a big deal following September 11, 2001.   Tora! Tora! Tora! is paired up with Yer Country as a B-side.  

1 of 500 pressings

Minor Threat

the first demo tape

Dischord, 2003

produced by Skip Groff

Ian McKaye - Vocals

Lyle Preslar - Guitar

Brian Baker - Bass

Jeff Nelson - Drums

So, this is a release of previously unreleased stuff recorded in 1981.  All of these tracks appear on other albums and releases like In My Eyes, Minor Threat, and Out of Step.  However, these are the demo versions of the songs, so, that's something.  Also, you get pictures of a young Henry Rollins rocking out and wearing a dress.

Put that Needle on the Record!

The Bouncing Souls

How I Spent my Summer Vacation

2001, Epitaph

produced by John Seymore

Greg Attonito - vocals

Pete Steinkopf - guitar

Bryan Keinlen - bass

Michael McDermott - drums

singles -

• Gone

This is one of my favorite post punk/pop punk/new punk/whatever albums ever. The Bouncing Souls certainly picked a good name for their band, as it describes their melodic rhythm. Each song makes you want to sing along, fist pump, and possibly stage dive into your friends. Antonito's vocals are equal parts Bad Religion's Greg Graffin, and Agnostic Front's Roger Miret. The sound is hopeful, playful, and so good for rocking out while driving. Jo-Ann Green does a good review of the album over at All Music.  

Church and Destroy!

Alkaline Trio

Good Mourning

2002, Vagrant

produced by Joe McGrath and Jerry Finn

Matt Skiba - vocals, guitar

Dan Andriano - vocals, bass

Derek Grant - drums

singles - 

• We've Had Enough/One Hundred Stories/ Blue in the Face
• All on Black/ This Could be Love

On this album, everything clicked for Alkaline Trio. They cleaned up their earlier dirty DIY sound, found a better drummer (this is Derek Grant's first full length LP), and were able to write good songs without dumbing things down for the pop charts (i.e. Stupid Kid). I wrote about their follow up to this album here, a while back. Everything I wrote about this band then still holds true, I think.

This is one of my favorite records from my favorite band from that weird pop punk/emo rock era. Alkaline Trio has a similar sound to Blink 182, Sum 41, Jimmy Eat World, and all those other almost surfer rock, almost hard rock, almost punk rock bands from the late 90's and early 00's (or whatever we call that decade). The difference for me was the song writing. Liz Phair once remarked about Elvis Costello that his songs about relationships were devastating to women. I like to think that Alkaline Trio's songs about relationships are devastating to love songs. Matt Skiba and Dan Andriano are far darker and more clever than their contemporaries. Evil makes for some good music, just ask Metallica and the Misfits.

Pitchfork writer, John Dark once wrote that:

"There's quite a bit that Alkaline Trio's music is not. It's not challenging, ambitious, or visionary. It's not clever or self-aware. It's not even terribly skillful. But what it is, is tasty. Pure musical junk food: fast, greasy, and crafted for a general palate."

I have never agreed with anything on Pitchfork until I read that bit of an underhanded compliment. I hesitate to call this band pop punk and bordeline emo, simply because the lyrics are so unique to the otherwise unremarkable genre, much like the Misfits own horror theme separates them from the rest of the American Hardcore scene. I admit to the guilty pleasure of listening to this band and liking them, but unlike New Found Glory fans, I can hold my head up high.

Ska in Gainsville

Less Than Jake

Hello Rockview

1998: Capitol Records

produced by Howard Benson

Chris Demakes - Guitar, Vocals

Roger Manganelli - Bass, Vocals

Vinnie Fiorello - Drums

Buddy Schaub - Trombone

Pete Anna - Trombone

Derron Nuhfer - Barri Sax

singles- 

• All my Friends are Metalheads/Help Save the Youth of America from Exploding/Rock and Roll Pizzeria
• History of a Boring Town

This album came with a booklet that had each song illustrated like a Dick Tracy comic book. Pretty awesome. It is one of my favorite ska fueled punk albums, second only to NoFX's So Long and Thanks for all the Shoes. Punk with a horn section was the new thing in the mid to late 90s, and as soon as it exploded, it disappeared. This album will hold a special place for me, as it reminds me of those angsty high school and anxiety filled college years. Last One out of Liberty City starts the album out with a bang, a great way to begin an album full of face paced, melodic punk, punctuated by trombone harmonies. This is actually the only thing from Florida that is worth my time.

Picking the Wrong City

This past week has been an incredible roller coaster of emotions for the United States, especially the Northeast, and more specifically the greater Boston area. I am from the area, living in parts of New England my entire life. This post seemed fitting for this week, and all of the fall out from the Boston marathon attack and the subsequent manhunt. The phrase used the most this week, aside from the new trendy Boston Strong fundraiser catch phrase, is "these guys picked the wrong city". My friend writes for Newsweek and in a recent response to the attacks on Patriots Day said this: "You don't fuck with Boston, because Boston fucks back".

This statement could be tossed aside as bravado, unable to be backed up by facts, but... all of you who have watched movies like the Departed, Good Will Hunting, The Brinks Job, Mystic River, The Town, or even Ted need to understand that all of the grit and toughness expressed by characters in those films are influenced by and express how people who actually live in this area think and act. and with that... I give you the best compilation album of all time, and quite possibly the finest American Hardcore punk album ever recorded.

Gang Green, The Groinoids, Jerry's Kids, The Freeze, The Proletariats, Decadence, The FUs

This is Boston Not LA

1982, Modern Method

Produced by Jimmy Dufour, Mark McKay, Sean Sweeney

In the late '70s and early '80s a new kind of punk started out in LA and moved to DC. This scene had a harder, dirtier sound than British and New York punk bands like the Buzzcocks, Sex Pistols, The Clash, and Ramones. Lead by the LA based Black Flag, and the DC based Bad Brains, this American Hardcore punk scene infiltrated many other cities along both coasts, including San Francisco, New York, and, of course, Boston.

This comp helped to promote the Boston sound and scene and distinguish them from the DC scene on the east coast. The title was initially supposed to be a rallying cry for Boston area bands to be themselves, instead of copying what LA groups like Black Flag, Fear, and the Germs were doing. Since then, it has become more of a statement that Boston, it's city and people, are harder than the soft citizens of the warmer, more luxurious cities of California.

This comp, and these bands would go on to influence a Boston music scene that would cultivate groups like The Unseen, The Lemonheads, Ten Yard Fight, Slapshot, The Mighty Mighty Bosstones, Big D and the Kids Table, the Dropkick Murphys, and even Godsmack. NoFX frontman, and punk rock historian, Fat Mike has said this album is the best of all time (which he says about everything), and references it in his song 2 Jealous Agains, which is all about iconic punk records.

Trouble if You Hide is a track by the Freeze that seems pretty appropriate to the events of the past week. The lyric "please come forth with clues to confide, because there will be trouble if you hide" highlights the tenacity of the Boston spirit.

Clams Have Feelings Too

NoFX

The Decline

1999, Fat Wreck Chords

produced by Fat Mike?

Fat Mike - vocals, bass

Eric Melvin - guitar

Eric Smelly - drums

El Hefe - guitar, trumpet

Lars Nylander - trombone

If this isn't the best punk rock EP of all time, it is certainly the most epic. After putting out the Fuck the Kids 7" EP earlier in the '90s that tried to recapture the old school sloppy '80s hardcore sound, NoFX decided to go the complete opposite direction and record one super long song. The 2 minutes or less tracks on Fuck the Kids (1996) and later on Surfer (2001) were written by Fat Mike in 2 minutes or less and recorded by the band without rehearsal in one take. In comparison, The Decline took time and consideration to write, practice, record and perfect, culminating in 3 trips to the studio, and 4 remasterings before it was finally finished.

This is the Thick as a Brick of punk rock. The EP is one track, 18 minutes and 19 seconds long. Only Crass wrote a punk song longer when they released Yes Sir, I Will at 20 minutes in 1983. However, Fat Mike stated they got the idea from the Subhumans song From the Cradle to the Grave.  

The band rocks out to lyrical themes of the decline of values and constitutional rights in favor of capitalism, complacency and conformity. There are horn parts, including a trombone solo by Lars Nylander from Skankin' Pickle. Fat Mike called this song a "total nightmare", and they almost never play it live.

This is worth listening to just for curiosity's sake. Fans of NoFX probably consider it a must own, especially on vinyl. There is an extra b-side track on the vinyl version.  I agree with the note on the back sleeve of the album that states not to pay more than $11.00. It is one track, regardless of how long it is. iTunes charges $7.99, which I think is still too high. You can probably pick it up for around $5 or less on Amazon or eBay. The limited edition clear vinyl pressing goes for around $1000 when put up for auction, which is insane.  

Not Welcome Here

I have one of those cases for CDs. It has only my punk rock music in it. There was a time where I moved around often, and decided that I couldn't stand carting around all of these hard plastic CD cases, one for each CD. So, I put many CDs into CD wallet cases and threw out the individual plastic cases. This particular CD case has only punk music in it, everything from Anti-flag to X-Ray Spex.

This post though is all about Bad Religion. I love this band, and I don't think they get enough credit for a pretty excellent career. Greg Graffin (the singer), Brett Gurewitz (Mr. Brett), and Jay Bentley (the bass player) started the band in 1979 in high school. Mr Brett started Epitaph as a DIY record label and grew it into one of the most successful indie labels of all time. One of the albums I wish I had, but don't, is Suffer, and since I don't own it, it won't appear here.

Bad Religion

How Could Hell be any Worse?

1982, Epitaph

Greg Graffin - vocals
Brett Gurewitz - guitar
Jay Bentley - bass
Pete Finestone - drums
Jay Ziskrout - drums

This is Bad Religion's debut album, recorded and distributed by their own record company, Epitaph, one of the most successful DIY labels ever. This album has the sound and feel of earlier American Hardcore groups like Black Flag and Bad Brains, however, Greg Graffin's pedantic vocal and the subject material are unique. Over time, the sound becomes more refined, but the Bad Religion sound has its beginnings here. This is the last recording with original drummer Jay Ziskrout, and has a guest appearance by Greg Hetson from the Circle Jerks. He would join the band full time in 1985. Fuck Armeggedon... this is Hell and We're all Gonna Die are the most famous tracks. Sublime covered We're all Gonna Die on their 1992 album 40oz to Freedom.  

Bad Religion

Recipe for Hate

1993, Epitaph

produced by Bad Religion

Greg Graffin - vocals
Brett Gurewitz - guitar
Greg Hetson - guitar
Jay Bentley - bass
Bobby Schayer - drums

singles-

• American Jesus
• Struck a Nerve

A lot of people credit Green Day and The Offspring with bringing punk to the mainstream, where it has clowned around ever since in cookie-cutter mediocrity, like most pop music. I disagree, however. This album came out a year before, scored radio hits and MTV play. Really the credit should go to Nirvana, but no one likes to call them a punk band.  Not only is this my favorite Bad Religion album, it ranked number 14 on Billboard's Heatseeker and features Eddie Vedder as a guest vocalist for a verse on Watch it Die, and a back-up for Greg Graffin on American Jesus. It would take Bad Religion until 2002 (Process of Belief) to make an album this good.  Every track is good, nothing to skip over, except the last "hidden track" Stealth, which is just weird-ass gobbly-gook and noise anyway. Some would argue that Bad Religion doesn't really count for culture revival, since they were making music since 1981 and never really left the scene. But this is a departure from early '80s American Hardcore, and British Punk. Plus it went mainstream for the first time.

Bad Religion

Process of Belief

2002, Epitaph

produced by Mr. Brett and Greg Graffin

Greg Graffin - vocals
Brett Gurewitz -guitar
Greg Hetson - guitar
Brian Baker - guitar
Jay Bentley - bass
Brooks Wackerman - drums

singles-

• Sorrow/ Who We Are
• Broken
• The Defense
• SuperSonic

This is the first Bad Religion album I bought, shortly after seeing the video for Sorrow and shortly before I saw them at the Avalon in Boston with Less Than Jake and Hot Water Music. This is the first album with Brett Gurewitz since 1994, and the first album ever with new drummer Brooks Wackerman from Suicidal Tendencies and the Vandals. It also marks the band's return to their own label Epitaph after spending 8 years on Epic and Atlantic. It's fast paced, loud, melodic... a call back to earlier '90s stuff.  My favorite track is Evangeline. This album marks the second coming of a band that had been around since the early '80s and had drifted into irrelevance, and it does a great job of reinvigorating and reinventing a classic group.  

Bad Religion.  

Empire Strikes First

2004, Epitaph

produced by Mr. Brett and Greg Graffin

singles- 

• Los Angeles is Burning/ Empire Strikes First

Aside from the We're all Gonna Die Sublime cover, and sometimes 21st Century Digital Boy, Bad Religion was never heard on radio. However, with this album, I started hearing their stuff all over the place.  Lakers games played Los Angeles is Burning, Empire Strikes First was played on ESPN during commercial spots for the Yankees. They blew up for a moment in 2004. This album is a great follow up to Process of Belief. If this was the beginning of their career, these two albums would make the band instant legends.

Bad Religion

New Maps of Hell

2007, Epitaph

produced by Joe Barresi

singles-

• Honest Goodbye
• New Dark Ages

This album at first glance appears like a sappy nostalgic trip to the past. The name and the artwork are both throwbacks to How Could Hell be any Worse in celebration of the 25th anniversary. This third release since the 2002 reboot continued mainstream popularity by contributing to downloadable content for the video game RockBand and debuted at number 35 on Billboard's 200. In my opinion the last two albums were better.    

Bad Religion  

The Dissent of Man

2010, Epitaph

produced by Joe Barresi

singles-

• The Devil in Stitches
• Cyanide
• Wrong Way Kids

This album is great, and more than makes up for New Maps of Hell. I love Wrong Way Kids, and the video has fan involvement, relying on fan submissions featured in the video, much like Dirty Little Secret by All American Rejects. Bad Religion's music relies on themes of religion, and politics unlike any other punk band. Greg Graffin's lyrics are intelligent, and thought provoking, and although his writing style is better suited to folk music, it makes Bad Religion's sound unique and easy to identify. I hope this band continues to produce solid punk rock albums in the future.  

The Other Minor Threat

Rancid

And Out Come the Wolves

1995, Epitaph

produced by Jerry Finn

singles-

• Root Radicals/I Wanna Riot
• Time Bomb/ Wars End/ Blast Em
• Ruby Soho/ Thats Entertainment/ Disorder and Disarray

One might ask what could be better than Operation Ivy, or So Long and Thanks for all the Shoes? The answer, of course, is this album. Tim Armstrong and Matt Freedman from OpIvy and Lars Fredericksen united to bring us a ska influenced street punk band which would become my favorite punk sound.  

After finding NOFX, Rancid would be a next logical step, followed by countless other Epitaph signed bands, including the legendary Bad Religion. From a 14 year old's eyes, this was epic. I borrowed this album from my buddy for weeks. I also have the Time Bomb single/EP/ 7". Sometimes they still play it on the local radio station.

The cover art may look familiar. It is a homage to the Minor Threat EP cover, which is actually a photo of Alec MacKaye. I'm pretty sure this photo was taken by Henry Rollins, but I can't find any proof.

Fat Mike, I Think I'm a Sofa

NOFX

So Long and Thanks for all the Shoes

1997, Epitaph

produced by Ryan Greene

Fat Mike - vocals, bass

Smelly - drums

Eric Melvin - guitar

El Hefe - guitar, trumpet

singles --

• All of Me/ Desperation's Gone
• Timmy the Turtle/ The Plan

This band was pretty much my first look at punk rock. Not a bad initiation. This album is the height of their Ska era and fit right into the Mighty Mighty Bosstones, Less than Jake, Rancid trend.  I had seen friends wearing the t-shirts and decided to give it a shot.  I liked the rebellious fuck you attitude (I was 14, this was angsty and cool). The album cover is neopolitan and the title is borrowed from The Hitchhikers Guide to the Galaxy and references NOFX fans that throw shoes onstage, lost by crowd surfers, skankers, and assholes in the pit.  

The music has a ska influence. In fact, it is different than anything else they have done since. Musically diverse, lyrically clever, I would argue this was, and continues to be, their best album. Shortly after, they released a song called We Don't Play Ska Anymore, but they were pretty good at it. Murder the Government, and I'm Telling Tim are reworked tracks from their Fuck the Kids EP, which was released the year previous.  

The band photos for the album are pictures of other guys from other bands. Howard Stern is included at the end of the album telling his DJ that they should be called No Talent. The liner notes are pretty clever too.  

I love this album, and it's definitely on my top punk albums of all time list.

punk can be pink too

Only Posers Die

Black Flag

Damaged

1981, SST

produced by Spot

Henry Rollins: vocals

Greg Ginn: lead guitar

Dez Cadena: rhythm guitar

Chuck Dukowski: bass

Robo: drums

I saw Paul Rackman's documentary American Hardcore a few years ago.  This is when I realized that there was a difference between the New York Hardcore I had been listening to in middle and high school (bands like Hatebreed, Warzone, and Earth Crisis for example) and American Hardcore.  I hadn't really lumped punk into categories really, and wasn't too aware of chronology.  Some punk bands had a similar sound, some were more ska, some more pop-rock, and some more dirty.  And then there were weird-ass bands lumped into the punk genre that had really nothing similar to anything, like Elvis Costello, Blondie, the Ramones, and the Misfits.  So... after seeing American Hardcore, I came to understand the American scene a little more, and appreciate bands like the Germs, TSOL, Bad Brains, and Minor Threat.  

Above all, Black Flag became a favorite again.  I bought this album in college because of the scene in SLC Punk when Heroine Bob punches his mirror (clearly a homage).  This album is the perfect example for American Hardcore.  The songs are a mix between goofy satire and angsty social commentary.  Punk music is not for the people that appreciate good song structure, musicianship, or even melody.  But, if you only care about raw emotion, this band is for you.  

Henry Rollins would go on to be Henry Rollins, and Robo, the drummer, would become one of the Misfits.  This is a must have for punk enthusiasts.  On top of influencing just about every punk rock band to come out after, they basically invented the DIY record label, releasing all of their stuff on Greg Gint's company, SST.  

Extended Play

The use of the terms LP and EP have nearly fallen out of use. They mean, for those that already forgot, Long Play and Extended Play and were a term that made sense when the music industry pressed records. An Extended Play record, or EP, is longer than a single track recording, and shorter than a full length 33rpm album. EPs also played at 45rpm and have also been known as 45s, or 7inches. Obviously, this post is about the EP.

Descendents 

Im the One 

1997, Epitaph.  

produced by Stevenson/Egerton

Milo Aukerman - vocals
Bill Stevenson - drums
Stephan Egerton - guitars
Karl Alvarez - bass

tracks:

• Im the One
• Everything Sucks
• Lucky
• Shattered Milo 

I love the Descendents, and this particular EP is also the first songs from the band that I ever heard. Two tracks from the Everything Sucks album are paired with two b-side tracks not on the album. It is a good thing to have from a fan's standpoint. Lucky is a great track too.

Queers

Today 

2001, Lookout!  

produced by Mass Giorgini

Joe Queer - vocals, guitar
Matt Drastic - drums
Dangerous Dave - bass

tracks:

• Yeah, Well, Whatever
• I don't want to go to the Moon
• I've Had it with You
• I'm the Boy for You
• Salt Lake City

Another poppy sounding punk band in the tradition of the Ramones, the Queers have a surfer vibe to them, which is weird, since they're from New Hampshire. The sound is actually melodic, and better musically than other contemporary punk sounds (think Screeching Weasel). I enjoy the first and last tracks the most. In true punk rock fashion they also all use pseudonyms.

Rage Against the Machine

People of the Sun.  

1996, Epic/Revelation

produced by Brendan OBrien

Zach de la Rocha - vocals
Tim Cummerford - bass
Tom Morello - guitar
Brad Wilk - drums

tracks:

• People of the Sun
• Without a Face (live)
• Black Steel in the Hour of Chaos (live with Chuck D)
• Zapatas Blood (live)
• Bulls on Parade
• Hadda be Playin on the Juke Box (live)

There are actually two versions of this. I have them both. The CD has only three tracks, and the vinyl includes Black Steel, Bulls on Parade, and Hadda be Playin on the Jukebox. The first three live tracks are all from the same show, Pink Pop on March 27, 1996. Hadda be Playin on the Jukebox is from Milan Dragway, Detroit on July 9, 1993. I would like to think this is a must have for Rage fans, but the Live and Rare album released in 1998 also includes these tracks, and you get more music if you buy that.

Punching the Emo Right out of You

Screeching Weasel

Emo

1999, Panic Button Records

produced by Brendan Burke

Ben Weasel - guitar, vocals

Jughead - guitar

Mass Giorgini - bass

Dan Lumley - drums

Speaking of punk bands with odd sounds, Screeching Weasle's sound is simple (as punk ought to be) but Ben Weasel's lazy scratchy voice makes this band a little special. This band is worth a listen if for nothing else than a variety of better groups have cited them as an influence. These groups include Chicago's own Alkaline Trio, Blink 182, the All American Rejects, Rise Against, and Less Than Jake. That's a pretty impressive list.  

In addition, the title of the album is meant to make fun of a blossoming emo scene (I used the word blossom on purpose). Any excuse to make fun of sobbing dudes with too much eyeliner is worth it. Although much of the lyrical quality of these songs leans on the emotional and personal side of things.  Also, they cover Linger by the Cranberries. This may make the album an even bigger insult to the emo scene, as Ben Weasel does emo better than actual emo bands.  

Plus, in his liner notes for this album, Weasel states that this may be his favorite album. The band also wrote and recorded it during a blizzard in 1999, which dumped over 21 inches of snow on Chicago. Weather can't stop punk rock!  In true Punk fashion, I didn't pay for this album either. Take that, Establishment!

Everyone has Room for Jello

Dead Kennedys

Fresh Fruit for Rotting Vegetables

1980, Cherry Red Records

produced by Norm

Jello Biafra - vocals

East Bay Ray - guitar

Klaus Flouride - bass

Ted - drums

6025 - guitar on ill in the head

Paul Roessler - keyboards

singles-

• California Uber Alles/The Man with the Dogs
• Holiday in Cambodia/Police Truck
• Kill the Poor/In-sight
• Too Drunk to Fuck/the Prey

Punk as a genre can sometimes be hard to pin down.  Which is okay, this is how Punk likes it.  Keeps you guessing.  Imagine my surprise, after listening to many oi, street punk, american hardcore, and ska bands, when I stumbled onto the Dead Kennedys.  So different in comparison, and yet they do fit into the genre.  This is not Black Flag, not Less than Jake, not the Sex Pistols, and not the Ramones, they could actually play.  The music was melodic, but played fast and aggressive...  like surfers on speed.  Jello actually wrote songs that weren't about teen angst, getting drunk, or breaking things.  Politically motivated, the lyrics are satyrical and shocking.  The music is upbeat enough to get you to sing along words about starvation, chemical warfare, and communism.  

This album is their debut, and has since been rereleased through Alternative Tentacles, and Faulty Products.  The tracks on the album change depending on which record company releases the album and in what year.  Sometimes other tracks are squeezed in or put at the end.  Also, the photo on the back cover changes from version to version.  

Punk Rock Secret Agents

Operation Ivy

Operation Ivy

1991, Lookout! 

produced by Larry Livermore

Jesse Michaels - vocals

Lint (Tim Armstrong) - guitar/vocals

Matt McCall (Freeman) - bass

Dave Mello - drums

I discovered punk rock in middle school. Usually the first few bands a middle school kid finds are radio friendly starter bands... fuck that noise!

The bands I started listening to within this genre included Bad Religion (because Sublime covered We're all Gonna Die on 40oz to Freedom), Rancid, and NoFX. Not exactly Green Day/ Blink 182 territory here, although I did listen to the latter. I bought most of my music on the cheap... the school I went to was down the street from a discount used record store, and this one was one of those 8 dollar purchases.

This is actually a reissue comp combining the previously released album Energy, and the Hectic and Turn it Around 7" EPs. Operation Ivy, to me, set the stage for what a ska/street punk band ought to sound like. This album had the oi feel mixed well with melodic riffs and a ska rhythm section. I always thought Operation Ivy was a cool name for a band too, and when I figured out that half of Rancid used to be in this band, I had to hear it... and it pretty much met my expectations. They sound exactly like a proto-Rancid band ought to sound like. This band is definitely a must listen for those interested in good punk bands that burned brightest and quickest. Operation Ivy lasted 2 years, yet were a forerunner for a distinct brand of punk.

They Want to Beat Whom?

Flogging Molly

Drunken Lullabies 

2002, Sideonedummy 

produced by Ted Hutt

singles-

• Drunken Lullabies
• Rebels of the Scared Heart (warped 2001 comp)
• What's Left of the Flag (warped 2002 comp)

I bumped into this in college while listening to college radio. The band played the Warped Tour a few times, and while they cultivated a fan base from the punk rock/ skater scene that the Warped Tour markets to, Flogging Molly does not fit into the same genre niche as Sum 41, Blink 182, Rancid, Pennywise, the Bouncing Souls, NoFX, Bad Religion, and other Warped Tour mainstays. In fact the only discernible thing they do have in common is raw energy and stage presence, and possibly fashion. The musicianship is way out of league of other punk, pop punk, and ska contemporaries. The use of guitar, mandolin, and violin is more suited to bluegrass and folk than the aforementioned genres, and I would agree that Flogging Molly more closely resembles these genres than even rock and roll.  

If no other album was ever produced by this band, this record would still deserve to be talked about forever as a great production and the band's sound would still be the most unique and hard rocking expression of contemporary Irish folk, without sharing the street punk sounds of bands like the Dropkick Murphys, Murphys Law, The Ducky Boys, and the Welsh Boys. Even my father, who is a bit of an old man music snob, fell in love with this group, despite his initial knee-jerk reaction to the group's name.

You Make Me Want to Cry Alone in the Dark

Alkaline Trio

Crimson 

2005, Vagrant.  

Produced by Jerry Finn

Dan Andriano - bass, vocals

Matt Skiba - guitar, vocals

Derek Grant - drums

Singles:

• Time to Waste/ We can Never Break Up/ Dont Say you Wont

• Mercy Me/ Buried

• Burn

There was a time when I was into horror punk.  Punk with a creepy dark edge to it, like the Misfits, the HorrorPops, AFI, and Alkaline Trio.  

I want to start out by saying that I like this band, probably more than they deserve.  They're from Chicago, I have family there.  They have a cool three-piece band with two singers whose voices compliment each other.  And for the most part, they are capable of writing pretty decent poppy punk songs.  

The album prior to this is called Good Mourning, and I cant say enough good things about that album.  Perhaps it will make an appearance on this blog in the future.  As far as pop-punk goes, Alkaline Trio definitely knew how to do this right, catchy tracks with singable melodies and angsty lines, but with some maturity, unlike Blink 182 who still thinks they're 16, and they did it without going too far into the woe-is-me-emo-hipster-realm.  

However, Crimson let me down.  The first track, also the first single, and the first video, Time to Waste, is fantastic!  and then the rest of the album disappoints.  I probably should have known just by looking at the cover.  Alkaline Trio had fallen into the same trap as Blink 182!  They became sentimental and slipped into the trendy emo void, as evident by the black and white cover of half a woman's sad face, and half of a nicely dressed, but miserable looking dude.  Suddenly I was listening to a morbid version of Jimmy Eat World.  I hated every track on here except for Time to Waste and Back to Hell.  Potentially good songs like Sadie are ruined when they stop the flow of the song to add spoken word nonsense.  

Even the title of the album is lame.  I heard that it was almost titled Church and Destroy.  They should have gone with that, way more interesting than Crimson.  

Skip this one...  but buy Time to Waste and Back to Hell on iTunes or something.  Agony and Irony (2008) is better.  Good Mourning (2003) is the best.  and if you can find the BYO split they did with HotWaterMusic, get it.