Pere Ubu emerged from the urban wastelands of mid-'70s Cleveland to impact the American underground for generations to follow; led by hulking frontman David Thomas, whose absurdist warble and rapturously demented lyrics remained the band's creative focus throughout their long, convoluted career, Ubu's protean art-punk sound harnessed... [+] Read More

Pere Ubu emerged from the urban wastelands of mid-'70s Cleveland to impact the American underground for generations to follow; led by hulking frontman David Thomas, whose absurdist warble and rapturously demented lyrics remained the band's creative focus throughout their long, convoluted career, Ubu's protean art-punk sound harnessed self-destructing melodies, scattershot rhythms, and industrial-strength dissonance to capture the angst and chaos of their times with both apocalyptic fervor and surprising humanity. Named in honor of Alfred Jarry's surrealist play Ubu Roi, Pere Ubu was formed in the autumn of 1975 from the ashes of local cult favorite Rocket From the Tombs, reuniting Thomas (aka Crocus Behemoth) with guitarist Peter Laughner; adding guitarist Tom Herman, bassist Tim Wright, keyboardist Allen Ravenstine, and drummer Scott Krauss, the group soon issued its debut single, "30 Seconds Over Tokyo," on Thomas' Hearthan label. The follow-up, "Final Solution," appeared on the renamed Hearpen in early 1976, and resulted in a series of live dates at the famed New York City club Max's Kansas City.

Laughner's longstanding battles with drugs and alcohol forced his exit from Pere Ubu in June of 1976; within a year, he was dead. The group continued on as a quintet, with bassist Tony Maimone signing on in the wake of Wright's move to New York, where he joined the pioneering no wave band DNA. In the wake of their third single, "Street Waves," Thomas was approached by Mercury label A&R exec Cliff Burnstein, who convinced the label to form a new imprint, Blank Records, for the express purposes of signing Pere Ubu; their debut LP, The Modern Dance, was issued in early 1978, and although the record made little commercial impact at home or abroad, its manic intensity and dark impenetrability proved profoundly influential on countless post-punk acts on both sides of the Atlantic. The follow-up, Dub Housing, was even better, pushing the band to further extremes of otherworldliness, but already the cracks were beginning to show, and upon completing 1979's New Picnic Time (working title: "Goodbye"), Ubu disbanded. Although the group re-formed months later, Herman opted not to return, and was replaced by Red Krayola mastermind Mayo Thompson.

The Art of Walking followed in 1980, with subsequent tours in support of the record heralding the increasingly pop-centric sound which would distinguish later Ubu projects; a live record, 390 Degrees of Simulated Stereo, appeared a year later. Krauss was replaced by drummer Anton Fier for 1982's Song of the Bailing Man, but as before personal and creative differences began taking their toll and Ubu again disbanded; while Maimone and Krauss reunited in the group Home and Garden, Thomas continued the solo career he'd begun with the 1981 effort The Sound of the Sand (And Other Songs of the Pedestrians), a collaboration with guitar virtuoso Richard Thompson. He recorded 1987's Blame the Messenger with the Wooden Birds, a backing band including fellow Ubu alums Ravenstine and Maimone; after Krauss sat in for a Cleveland live date, the decision was made to begin working as Pere Ubu again. Guitarist Jim Jones and drummer Chris Cutler were also recruited for 1988's comeback effort The Tenement Year, a vividly idiosyncratic pop album far more accessible than anything in the band's back catalog.

1989's Stephen Hague-produced Cloudland further refined the approach, with the video for the single "Waiting for Mary" even earning limited MTV airplay; after both Ravenstine and Cutler exited Pere Ubu (the former becoming a commercial airline pilot), one-time Captain Beefheart sideman Eric Drew Feldman was installed for 1991's Worlds in Collision. Feldman soon departed as well to join Frank Black, and the remaining quartet recorded 1993's Story of My Life for the short-lived Imago label; Maimone was the next to go, with bassist Michele Temple and keyboardist Garo Yellin stepping in for 1995's planned swan song, Ray Gun Suitcase. As Ubu again slipped into limbo, the band's massive influence was celebrated in 1996 with the release of the five-disc box set Datapanik in the Year Zero; the renewed interest spurred Thomas back into action, and he reunited with Tom Herman for the first time in two decades to record 1998's sprawling Pennsylvania (also featuring holdovers Jones and Temple in addition to keyboardist Robert Wheeler and drummer Steve Mehlman). Four years later, Pere Ubu captured their darkest and most theatrical work to date with St. Arkansas. Why I Hate Women followed in 2006. ~ Jason Ankeny, All Music Guide [-] Hide

The Ramones are the first punk rock band. Other bands, such as the Stooges and the New York Dolls, came before them and set the stage and aesthetic for punk, and bands that immediately followed, such as the Sex Pistols, made the latent violence of the music more explicit, but the Ramones crystallized the musical ideals of the genre. By cutting... [+] Read More

The Ramones are the first punk rock band. Other bands, such as the Stooges and the New York Dolls, came before them and set the stage and aesthetic for punk, and bands that immediately followed, such as the Sex Pistols, made the latent violence of the music more explicit, but the Ramones crystallized the musical ideals of the genre. By cutting rock & roll down to its bare essentials -- four chords; a simple, catchy melody; and irresistibly inane lyrics -- and speeding up the tempo considerably, the Ramones created something that was rooted in early '60s, pre-Beatles rock & roll and pop but sounded revolutionary. Since their breakthrough was theoretical as well as musical, they comfortably became the leaders of the emerging New York punk rock scene. While their peers such as Patti Smith, Television, Talking Heads, and Richard Hell all were more intellectual and self-consciously artistic than the Ramones, they nevertheless appealed to the same mentality because of the way they turned rock conventions inside out and celebrated kitschy pop culture with stylized stupidity. The band's first four albums set the blueprint for punk, especially American punk and hardcore, for the next two decades. And the Ramones themselves were major figures for the next two decades, playing essentially the same music without changing their style much at all. Although some punk diehards -- including several of their peers -- would have claimed the band's long career wound up undercutting the ideals the band originally stood for, the Ramones always celebrated not just the punk aesthetic, but the music itself.

Based in the Forest Hills section of Queens, NY, the Ramones formed in 1974. Originally, the band was a trio consisting of Joey Ramone (vocals, drums; born Jeffrey Hyman, May 19, 1951), Johnny Ramone (guitar; born John Cummings, Oct. 8, 1951), and Dee Dee Ramone (bass; born Douglas Colvin, Sept. 18, 1952), with Tommy Ramone (born Tom Erdelyi, Jan. 29, 1952) acting as the group's manager. All of the group's members adopted the last name "Ramone" and dressed in torn blue jeans and leather jackets, in homage to '50s greaser rockers. The group played their first concert on March 30, 1974, at New York's Performance Studio. Two months after the show, Joey switched to vocals and Tommy became the band's drummer. By the end of the summer, the Ramones earned a residency at CBGB's. For the next year, they played regularly at the nightclub, earning a dedicated cult following and inspiring several other artists to form bands with similar ideals. All of the Ramones sets clocked in at about 20 minutes, featuring an unrelenting barrage of short, barely two-minute songs. By the end of 1975, the Ramones secured a recording contract with Sire; discounting Patti Smith, they were the first New York punk band to sign a contract.

Early in 1976, the Ramones recorded their debut album for just over 6,000 dollars. The resulting album, Ramones, was released in the spring, gained some critical attention, and managed to climb to 111 on the U.S. album charts. On July 4, the band made their debut appearance in Britain, where their records were becoming a big influence on a new generation of bands. Throughout 1976, the Ramones toured constantly, inaugurating nearly 20 years of relentless touring. By the end of the year, the group released their second album, Ramones Leave Home. While the album just scraped the U.S. charts, Leave Home became a genuine hit in England in the spring of 1977, peaking at number 48. By the summer of 1977, the Sex Pistols and the Ramones were seen as the two key bands in the punk rock revolution, but where the Pistols imploded, the Ramones kept on rolling. Following the U.K. Top 40 hit "Sheena Is a Punk Rocker," the Ramones released their third album, Rocket to Russia, in the fall of 1977.

Tommy Ramone left the band in the spring of 1977, although he produced the group's subsequent album. He was replaced by former Voidoid Marc Bee, who immediately changed his name to Marky Ramone. With their new drummer in place, the Ramones recorded their fourth album, Road to Ruin, which was released in the fall. Road to Ruin marked the band's first significant attempt to change their sound; not only were there stronger bubblegum, girl group, surf, and '60s pop influences on the music, it was the first of their albums to run over a half hour. Although their sound was more accessible, it didn't gain the band a noticeably larger following. Neither did Rock N' Roll High School, the 1979 Roger Corman film in which the Ramones had a pivotal part. The soundtrack to Rock N' Roll High School and the U.K.-only live album It's Alive were the band's only releases of 1979. For most of the year, they were in the studio recording their fifth album with legendary '60s pop producer Phil Spector. The title song to the Corman movie was the first track released from the sessions, although the soundtrack album did feature a number of older Ramones songs remixed by Spector. End of the Century, the Spector-produced Ramones album, finally appeared in January of 1980 to mixed reviews. Despite the lukewarm reception to the album, the record's cover of the Ronettes' "Baby I Love You" became their only Top Ten British hit; in America, none of the singles made an impact, although the record became their biggest hit, peaking at number 44.

The Ramones continued their attempts at crossover success with their sixth album, Pleasant Dreams, which was released in 1981. Featuring a production by former Hollies and 10cc member Graham Gouldman, the record was a commercial disappointment in both America and England. The band was relatively quiet during 1982, spending most of their time touring. In the spring of 1983, the band returned with Subterranean Jungle, which was produced by Ritchie Cordell and Glen Koltkin, the heads of the American indie label Beserkley Records. Not only did Subterranean Jungle fail to gain the band the larger audience they desired, it continued the erosion of the band's diehard fan base, as well as their decline in the eyes of many rock critics. Following the album's release, Marky Ramone left the band; he was replaced by Richard Beau, a former member of the Velveteens, who changed his name to Richie Ramone.

With 1984's Too Tough to Die, the Ramones delivered a belated response to America's burgeoning hardcore punk scene that was largely produced by Tommy Erdelyi. The album helped restore their artistic reputation, as did the 1985 single, "Bonzo Goes to Bitburg," an attack on President Ronald Reagan's 1985 visit to Germany. Instead of continuing with the sound of Too Tough to Die, the Ramones began pursuing a more streamlined, stylized, and conventional take on their songwriting formula with 1986's Animal Boy. This was a direction the group followed for the remaining ten years of their career. Following the release of 1987's Halfway to Sanity, Richie Ramone left the band and Marky Ramone re-joined the group. In 1988, the career retrospective Ramones Mania appeared. In 1989, the Ramones contributed the theme song to the Stephen King movie Pet Semetary, and the track was included on Brain Drain, which was released in the summer of that year. After its release, the group's bassist, Dee Dee Ramone, left the band to pursue a career as a rapper called Dee Dee King; after his debut rap recording failed miserably, he formed the band Chinese Dragons. Dee Dee was replaced by C.J. Ramone (born Christopher John Ward).

In the early '90s, the Ramones sobered up, with both Joey and Marky undergoing treatment for alcoholism. The band returned to recording in 1992, first releasing the live Loco Live and then Mondo Bizarro, their first studio album in three years. Mondo Bizarro turned out to be a commercial failure, as did their 1994 covers album, Acid Eaters.

Following the release of Acid Eaters, the mainstream guitar rock audience in America finally embraced punk rock, in the form of young bands like Green Day and the Offspring. Sensing that the climate may have been right for the crossover success they had desired for so many years, the Ramones immediately followed Acid Eaters with Adios Amigos, claiming that unless the new album sold in substantial numbers, the band would call it quits after a final farewell tour. Adios Amigos only spent two weeks in the charts. Nevertheless, the Ramones embarked on a long farewell tour that ran throughout the rest of 1995. The band was set to split in the beginning of 1996 when they were offered a slot on the sixth Lollapalooza, and they toured with the festival that summer. Following the completion of the tour, the Ramones parted ways, 20 years after the release of their first album. Just a few years later, Joey Ramone passed away on April 15, 2001, at age 49, the victim of lymphoma. Little more than a year after Joey's death, Dee Dee Ramone was found dead in his home in Los Angeles on June 5, 2002. Johnny Ramone passed away two years later on September 15, 2004 after a long battle with cancer. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Of all the punk-inspired bands that came out of Boston in the early '80s, none were better than Mission of Burma. Arty without being too pretentious, capable of writing gripping songs and playing with ferocious intensity, guitarist Roger Miller, bassist Clint Conley, drummer Peter Prescott, and tape head Martin Swope galvanized the city's... [+] Read More

Of all the punk-inspired bands that came out of Boston in the early '80s, none were better than Mission of Burma. Arty without being too pretentious, capable of writing gripping songs and playing with ferocious intensity, guitarist Roger Miller, bassist Clint Conley, drummer Peter Prescott, and tape head Martin Swope galvanized the city's alternative rock scene, and despite a too-short existence, set a standard for excellence that has rarely been equalled -- a standard the band upheld when they unexpectedly reunited in 2002.

Burma's music is vintage early-'80s post-punk: jittery rhythms, odd shifts in time, declamatory vocals, an aural assault similarly employed by bands such as Gang of Four, Mekons, and Pere Ubu -- Burma's peers as well as their influences. Also, conspicuously present in the mix was the proto-punk of the Stooges and Velvet Underground (with just a dash of Led Zeppelin and Roxy Music), bands that inspired Burma's darker songwriting impulses and tendencies toward longish, repetitive jams capable of boring holes into your skull. What Burma added was a sonic texture through the use of extreme volume. Roger Miller's guitar enveloped the band in thick, distorted cascading chords, erupting into squealing solos and (intentional) squalls of feedback. With Prescott and Conley furiously bashing in support, the band's sound was extremely physical (ask anyone who saw them live) to the point of leaving the audience feeling slightly bruised, battered, but extremely happy.

After releasing an explosive single ("Academy Fight Song," still one of punk rock's greatest songs) on Boston's then-hippest indie label, Ace of Hearts, Burma released two excellent records in just over a year: the Signals, Calls and Marches EP and their only full-length studio album, Vs. The former was poppier, but in a breathtakingly intense way; the latter dark and ominous, lacking in riff-heavy punch, but still delivering a wicked blast of aural chaos. Unbeknown to fans, this was the beginning of the end. The massive volume, a key element in Burma's sound, had taken its toll on the bandmembers, especially Miller, who developed a severe case of tinnitus that hastened the band's demise. (Always the trooper, Miller played the band's final tour wearing a protective headset used on shooting ranges to prevent his ears from absorbing more punishment.) After a bittersweet farewell tour in 1983, the shows were released as a live LP entitled The Horrible Truth About Burma, an occasionally thrilling example of their considerable stage prowess. Miller since went on to a career as a solo artist and with his non-touring band Birdsongs of the Mesozoic. Prescott formed the wonderful Volcano Suns, who released a half-dozen records all worth checking out, before starting Kustomized with ex-Bullet la Volta singer Yukki Gipe. Clint Conley produced the first Yo La Tengo record and then left the music business. He went on to work as a producer at Boston television station WCVB.

In 2001, Prescott's short-lived band the Peer Group played a show opening for reunited British art punks Wire, and Miller and Conley tagged along to play an encore with Prescott, marking the first time the three had appeared on-stage together since 1983. Later that year, Mission of Burma was featured prominently in Michael Azerrad's book on the indie rock scene of the 1980s, Our Band Could Be Your Life, and Conley began writing and performing music again with the band Consonant. After the Peer Group folded, the three performing members of Mission of Burma decided to stage a pair of reunion shows in early 2002. (Martin Swope opted not to participate; live sound and tape loops were instead handled by Bob Weston of the group Shellac.) One concert in New York became two sold-out nights at the Irving Plaza, and a single night in Boston became four shows at three venues (including an "open rehearsal" under the name Myanmar); the group also joined the lineup for the 2002 All Tomorrow's Parties festival in England, followed by short tours of the West Coast and Midwest. Along with playing a handful of live dates in 2003 (including the American edition of All Tomorrow's Parties), Mission of Burma returned to the studio for their first recording project since Vs. Onoffon, along with the greatest-hits collection Gun to the Head: A Selection from the Ace of Hearts Era, was released by Matador Records in the spring of 2004. In a press release the label said of the album, "this isn't just a hot new release, it's a goddamn cultural event." It was followed in 2006 by Obliterati. ~ John Dougan, All Music Guide [-] Hide

Although they barely receive credit, Suicide (singer Alan Vega and keyboardist Martin Rev) is the source point for virtually every synth pop duo that glutted the pop marketplace (especially in England) in the early '80s. Without the trailblazing Rev and Vega, there would have been no Soft Cell, Erasure, Bronski Beat, Yaz, you name 'em, and while... [+] Read More

Although they barely receive credit, Suicide (singer Alan Vega and keyboardist Martin Rev) is the source point for virtually every synth pop duo that glutted the pop marketplace (especially in England) in the early '80s. Without the trailblazing Rev and Vega, there would have been no Soft Cell, Erasure, Bronski Beat, Yaz, you name 'em, and while many would tell you that that's nothing to crow about, the aforementioned synth-poppers merely appropriated Suicide's keyboards/singer look and none of Rev and Vega's extremely confrontational performance style and love of dissonance. The few who did (Throbbing Gristle, Cabaret Voltaire) were considered too extreme for most tastes.

Suicide had been a part of the performing arts scene in New York City's Lower East Side in the early/mid-'70s New York Dolls era. Their approach to music was simple: Rev would create minimalistic, spooky, hypnotic washes of dissonant keyboards and synthesizers, while Vega sang, ranted, and spat neo-Beat lyrics in a jumpy, disjointed fashion. On stage, Vega became confrontational, often baiting the crowd into a riotous frenzy that occasionally led to full-blown violence, usually with the crowd attacking Vega. With their reputation as controversial performers solidified, what was lost was that Suicide recorded some amazingly seductive and terrifying music. A relationship with Cars mastermind Ric Ocasek proved successful, bringing their music to a wider audience and developing unlikely fans (Bruce Springsteen went on record as loving Suicide's Vietnam-vet saga "Frankie Teardrop"), but after numerous breakups and reconciliations, Rev and Vega settled for being more influential than commercially successful.

Ironically, the '90s proved to be a decade of vindication for Suicide with the rise of industrial dance music, Chicago's Wax Trax! label, and the bands associated with it (Revolting Cocks, Ministry, 1000 Homo DJs, etc.). Although not a big part of the scene anymore, the profound influence of Suicide on a generation of younger bands was readily apparent. When the duo returned in 2002 with American Supreme, its first studio release in ten years, much fanfare resulted, no doubt considerably furthered by Vega's presence around this time as a heavily profiled exhibitionist of art in New York, where he had presented a show at the Jeffrey Dietch Gallery in New York earlier in the year. ~ John Dougan, All Music Guide [-] Hide

Living fast and dying young is one of rock's great clichés, but no phrase better describes the reasons for the demise of L.A. punkers the Germs. Capable of creating a firestorm of noisy, confrontational music, they were ultimately undone by their perversely charismatic lead singer. He was a madman named Paul Beahm, better known to the world... [+] Read More

Living fast and dying young is one of rock's great clichés, but no phrase better describes the reasons for the demise of L.A. punkers the Germs. Capable of creating a firestorm of noisy, confrontational music, they were ultimately undone by their perversely charismatic lead singer. He was a madman named Paul Beahm, better known to the world at-large first as Bobby Pyn, later and more famously as Darby Crash, who died Sid Vicious-style out on the mainline at age 22.

Taking musical cues from the Sex Pistols (and English punk in general), as well as the CBGB's scene, adding the theatricality of Bowie, Iggy, and Lou Reed, Crash was the perfect frontman for the Germs. Backed by guitarist Pat Smear (later of Nirvana and the Foo Fighters), bassist Lorna Doom, and drummer Don Bolles, the Germs kicked up a hellacious racket that strayed from fast/loud punk into art damage and garage grunge. On-stage, their gigs bordered on performance art, with Crash in full Iggy frenzy, diving into the crowd, adorning himself with whatever foodstuffs the audience provided, wearing less-and-less clothing, all done while the band cranked out noisy spasms of simple, but effective, rock noise.

Never capturing this mania on record (how could you?), the Germs' recording career is based on the sole record made during Crash's short life. Produced by Germs fan Joan Jett, (GI) was a fine hunk of early L.A. punk rock that was more literate and compelling that what was being offered by lesser local luminaries such as the Zeroes and the Weirdos. Smear's guitar playing is especially volatile, matching the mewling vocals of Crash note for note. It may not be life-changing music, but the white-hot, adrenal rush is a little bit of heaven.

By the time Crash filled his veins with heroin in 1980, the Germs were pretty much over. Crash's behavior had become increasingly unpredictable, he was spending time in England, and began preforming as a solo act upon returning to L.A. Consequently, the valuable recorded work in this final period is spotty, but, thankfully much of it shows up on the definitive Germs release Germs (MIA) The Complete Anthology. ~ John Dougan, All Music Guide [-] Hide

There are other collections with rarer material out there, notably the live Germicide and Media Blitz, but unless one is a rabid must-have-everything-Crash-breathed-on fanatic, (MIA) is everything one could ever want from the Germs in one perfect collection. Not simply a reissue of (GI) -- thus the joke of the title -- (MIA) pulls together... [+] Read More

There are other collections with rarer material out there, notably the live Germicide and Media Blitz, but unless one is a rabid must-have-everything-Crash-breathed-on fanatic, (MIA) is everything one could ever want from the Germs in one perfect collection. Not simply a reissue of (GI) -- thus the joke of the title -- (MIA) pulls together everything from the very first recordings to the last efforts of the classic lineup, namely six songs done for the film Cruising. Only one was ever actually released on the soundtrack, "Lions Share," so hearing the others in studio form is welcome and long overdue, including the only Crash/Lorna Doom co-write, the brusque strutter "Now I Hear the Laughter." The debut single, the primitive blast "Forming," and its hilarious, chaotic live B-side, "Sexboy," bottles breaking while Crash practically attacks the audibly scared audience, understandably start the collection. Meanwhile, the alternate "Forming 2" (featuring DJ Bonebrake and recorded by Chris Ashford, as compared to the un-produced and proud of it original) wraps it up just as well. All three tracks from the Lexicon Devil EP appear, including the slightly slower original recording of the title song and the sly, self-referential "Circle One," as well as two selections from the What We Do Is Secret EP, with Bonebrake again turning up on a live rip through Chuck Berry's "Round and Round." To be fair, on that number Crash reaches new depths of sheer incoherence. In terms of presentation, one couldn't ask for more -- even the CD case itself has a classic Germs blue tint. There's two separate articles from Pleasant Gehman; the first a piece from 1982 giving a useful history of the group and the second from a decade later reflecting on the band's impact and place in history. Complete lyrics also appear, along with a slew of pictures of the band and Crash in his various incarnations, including one hilarious photo with him sticking his tongue out while a cigarette is propped in his ear. ~ Ned Raggett, All Music Guide [-] Hide

One could argue that Mission of Burma's first 12" release, Signals, Calls and Marches, was the point where "indie rock" as a separate and distinct musical subgenre well and truly began. Mission of Burma's music had the brawn and the volume of hardcore punk, but with a lyrical intelligence and obvious musical sophistication that set them apart... [+] Read More

One could argue that Mission of Burma's first 12" release, Signals, Calls and Marches, was the point where "indie rock" as a separate and distinct musical subgenre well and truly began. Mission of Burma's music had the brawn and the volume of hardcore punk, but with a lyrical intelligence and obvious musical sophistication that set them apart from the Southern California faster-and-louder brigade. Between Martin Swope's tape loops and Roger Miller's often tricky guitar lines, Mission of Burma may have seemed "arty" on the surface, but the bruising impact of "Outlaw" and "This Is Not a Photograph" made clear this band was not part of the skinny-tie "New Wave" scene. And Mission of Burma were one of the first bands that gained a large enough following to attract the attention of major labels, but opted to remain on a small label of their own volition -- a move that would raise the "integrity" stakes for many acts in the years to come. Signals, Calls and Marches features Mission of Burma's best known song, the still-powerful "That's When I Reach For My Revolver," but it hasn't stood the test of time quite as well as the full-length album that would follow, Vs.; there are brief moments where the band still seems to be working out their obvious British influences, and "Outlaw" sounds stiffer than it needs to be. But Clint Conley and Roger Miller were already songwriters to be reckoned with, the band sounds passionate and powerful, and if Mission Of Burma were not yet at the peak of their form, most bands blazing as many trails as this one did lost their footing a lot more often that Burma did on these six songs; Signals, Calls and Marches was as accomplished and impressive a debut as any American band would release in the 1980s. Rykodisc's 1997 CD reissue adds the band's fine first single, "Academy Fight Song" b/w "Max Ernst," as a bonus. ~ Mark Deming, All Music Guide [-] Hide

X cannot be praised enough. The legendary L.A. band wrote countless classics, released consistent albums, and have influenced many along the way (just check out the raves fellow rockers give the band in Beyond & Back's liner notes). It's a testament to their greatness that the material on Beyond & Back: The X Anthology sounds original and fresh... [+] Read More

X cannot be praised enough. The legendary L.A. band wrote countless classics, released consistent albums, and have influenced many along the way (just check out the raves fellow rockers give the band in Beyond & Back's liner notes). It's a testament to their greatness that the material on Beyond & Back: The X Anthology sounds original and fresh in the present day. The group touched on many styles, such as rockabilly, folk, and punk, and successfully made each one their own. This two-CD release is a hefty two hours long, and is 50 percent hits and 50 percent rarities/unreleased material (demos, outtakes, live takes, etc.). Highlights include the riff-heavy "Hungry Wolf," the beautiful vocal harmonies of "I Must Not Think Bad Thoughts," and the Nirvana pop of "White Girl." Some interesting oddities include a cover of the Doors' "Soul Kitchen," a remixed version of their "Blue Spark," and a live take of "Nausea" (a song Jane's Addiction covered). If you're unfamiliar with (or don't own) X's albums, do yourself a favor and get Under the Big Black Sun, More Fun in the New World, and Los Angeles/Wild Gift. Then work your way to Beyond & Back. You won't regret it. ~ Greg Prato, All Music Guide [-] Hide

Perhaps the best album to emerge from the quagmire that was early-'80s California hardcore punk, the visceral, intensely physical presence of Damaged has yet to be equaled, although many bands have tried. Although Black Flag had been recording for three years prior to this release, the fact that Henry Rollins was now their lead singer made all... [+] Read More

Perhaps the best album to emerge from the quagmire that was early-'80s California hardcore punk, the visceral, intensely physical presence of Damaged has yet to be equaled, although many bands have tried. Although Black Flag had been recording for three years prior to this release, the fact that Henry Rollins was now their lead singer made all the difference. His furious bellow and barely contained ferocity was the missing piece the band needed to become great. Also, guitarist/mastermind Greg Ginn wrote a slew of great songs for this record that, while suffused with the usual punk conceits (alienation, boredom, disenfranchisement), were capable of making one laugh out loud, especially the protoslacker satire "TV Party." Extremely controversial when it was released, Damaged endured the slings and arrows of outrageous criticism (some reacted as though this record alone would cause the fall of America's youth) to become and remain an important document of its time. ~ John Dougan, All Music Guide [-] Hide

In 1975, when punk rock and heavy metal were two opposing camps who barely who acknowledged each other's existence, The Dictators' first album, The Dictators Go Girl Crazy!, found New York's finest trying to bring both sides together in a brave, prescient, and (at least at the time) futile gesture. The band's "smart guys who like dumb stuff"... [+] Read More

In 1975, when punk rock and heavy metal were two opposing camps who barely who acknowledged each other's existence, The Dictators' first album, The Dictators Go Girl Crazy!, found New York's finest trying to bring both sides together in a brave, prescient, and (at least at the time) futile gesture. The band's "smart guys who like dumb stuff" humor, junk-culture reference points, and '60s cheeze rock covers ("California Sun" and "I Got You Babe" on one album) would seem tailor made for the crowd at CBGB digging The Ramones and The Dead Boys, but their sludgy and stripped down hard rock (and Ross "The Boss" Funichello's neo-metal guitar solos) were something else altogether. And at a time when the arena rock audience had not yet embraced the less-than-subtle humor and theatrics of Sparks or Cheap Trick, The Dictators ahead-of-their-time enthusiasm for wrestling, White Castle hamburgers, and television confused more kids than it converted. Heard today, the album is a hoot and a half; if the tempos could often stand to be a bit livelier, Adny Shernoff's songs are still great (especially the absurdly anthemic "Two Tub Man," "I Live For Cars and Girls," and "Weekend"), the jokes still register (while the contemporary Political Correctness brigade might blanch at "Back To Africa" or "Master Race Rock," they're merely absurd in the Mad Magazine tradition), and "secret weapon" Handsome Dick Manitoba was truly a find. Dozens of groups borrowed wholesale from The Dictators Go Girl Crazy! later on down the line, but the original is still the greatest ... and the funniest. ~ Mark Deming, All Music Guide [-] Hide