RELEASES

Released worldwide on 14th June 2010

20 STUNNING TRACKS 7 PREVIOUSLY UNRELEASED

The Cortinas were the first. They played the Roxy Club, released two singles on Mark Perry and Miles Copeland’s Step Forward label, graced the front cover of Sniffin’ Glue and recorded a Peel Session. Guitarist Nick Sheppard remembers the night it all slotted into place: “I think a real turning point for us was seeing the Ramones at the Roundhouse on July 4 1976 – we definitely started to write our own songs after that gig. We had been playing and doing gigs for about a year by then – all covers apart from one song, Tokyo Joe as I remember. After that gig we started writing stuff like Television Families. I think we saw people like us in the audience at that gig, and it must have given us confidence.”

Taking their cue, bands like Social Security (the first band on Heartbeat Records), The Pigs (whose Youthanasia single was released by Miles Copeland’s New Bristol Records), The Primates, The Media, The Posers and The Verdict gave Bristol one of the strongest provincial early punk scenes, mainly centred around the Clifton area of Bristol and Barton Hill Youth Club.

Barton Hill also gave us The X-Certs, who by 1978 could already pull audiences of 500 into Trinity Church, without the aid of a safety net or record contract. Though we didn’t realise it at the time, they effectively bridged the gap between the late 70s Bristol scene and what our American cousins like to term the UK82 bands.

Vice Squad and Heartbeat Records boss Simon Edwards formed Riot City Records toward the end of 1980, releasing the band’s first single Last Rockers in January 1981. It sold well and after a second Vice Squad single the label recruited other Bristol bands like Portishead lunatics Chaos UK, Court Martial and The Undead, while Disorder recorded for their own label, all achieving impressive sales. The less said about Chaotic Dischord, the better.

Lunatic Fringe, with the mighty Bear Hackenbush on vocals, recorded their first single on the short-lived Resurrection Records label.

The Bristol Punk Explosion brings you all these bands, and closes with a track from Death Metal Monsters Onslaught. Before all this “Spitting blood in the face of Gaaaahd!” malarky, Onslaught were a Discharge-style hardcore punk band, and here we include the snapilly-titled Thermo Nuclear Devastation Of The Planet Earth from their first demo.
In short, this is the history of Bristol punk, from its very beginnings, through the early 80s, and up to the point when hardcore began to morph into thrash, metal, and, um, thrash metal.

(Sleeve notes by Shane Baldwin – Vice Squads Drummer and Record Collector / Big Cheese Journalist)

The release includes a 16 page full colour cover with 4000 word sleeve notes.

Tracklisting:

1. The Cortinas – ‘Defiant Pose’ (The Cortinas 1977) (p) Step Forward Music
2. The Pigs – ‘National Front’ (Kit Gould 1977) (p) New Bristol Music
3. Social Security – ‘I Don’t Want My Heart To Rule My Head’ (Social Security 1978) (p) Heartbeat Music/Cherry Red Music
4. The Pigs – ‘Youthanasia’ (Kit Gould 1977) (p) New Bristol Music
5. Social Security – ‘Choc Ice’ – (Social Security 1978) (p) Heartbeat Music/Cherry Red Music
6. The Posers – ‘Good Advice’ (The Posers 1978) (p) copyright control
7. The Media – ‘New Blood’ (J Britton 1978) (p) copyright control
8. The Primates - ‘ Generation Warfare (Live)’ (Britton, Shennan, JJ 1977) (p) copyright control
9. The X-Certs – ‘Fight Back’ (S Justice 1978) (p) copyright control
10. 48 Hours – ‘A Soldier (Demo)’ (A Peters 1979) (p) copyright control
11. The Verdict – ‘IRA Man’ (The Verdict 1978) (p) copyright control
12. The X-Certs -‘ Stop The Fussing And The Fighting’ (Culture 1979) (p) copyright control
13. Vice Squad – ‘Resurrection’ (Bateman, Bond 1981) (p) Heartbeat Music/Cherry Red Music
14. Disorder – ‘Complete Disorder’ (Allen, Curtis 1981) (p) Complete Music
15. Chaos UK – ‘Four Minute Warning’ (Greenham 1982) (p) Heartbeat Music/Complete Music
16. Court Martial – ‘Gotta Get Out’ (Burrough, Burrough, Braybrooke, McPherson 1982) (p) Heartbeat Music / Complete Music
17. The Undead – ‘It’s Corruption’ (Hamm, Hamm, Denning, Scarlet, Simmonds 1982) (p) Heartbeat Music/Complete Music
18. Lunatic Fringe – ‘Who’s In Control?’ (Finch 1982) (p) Heartbeat Music / Complete Music
19. Chaotic Dischord – ‘Who Killed E.T? (I Killed The Fucker!)’ (Chaotic Dischord 1983) (p) Heartbeat Music / Complete Music
20. Onslaught – ‘Thermo Nuclear Devastation Of The Planet Earth’ (Onslaught 1983) (p) Irate Music Publishing

Track 1 originally released on Step Forward Records 1977

Tracks 2 and 4 originally released on New Bristol Records 1977

Tracks 3 and 5 originally released on Heartbeat Records 1978

Tracks 6, 7, 8, 9, 10,11,12 all previously unreleased

Tracks 13, 15, 16, 17, 19 all previously released on Riot City Records and licenced from Captain Oi!  Records 2010

Tracks 14 previously released on Disorder Records 1981

Track 18 previously released on Resurrection Records 1981, never re-released or made available

Track 20 previously unreleased until 2008 when it appeared on the Candlelight Records album Shadow Of Death.

Track 1 Engineered by Simon Humphrey, A Turner, Copeland, Cortina Production

Tracks 2and 4 Engineered by Chris David and Produced by The Pigs at Sound Conception

Tracks 3 and 5 Engineered and Produced by Simon Edwards at GBH

Tracks 6, 9, 11, 12, 16, 17 Engineered and Produced by Steve Street at SAM

Track 7 Engineered by Roger Wall at The Facility

Track 8 Recorded live by Simon Edwards

Track 10 Recorded at Duffys Anerley

Track 18, 20 Engineered by Steve Street and Produced by Shane and Dave for S.A.D Productions at SAM

Track 19 Engineered by Sven and Steve Street at Frome Musical and Produced by Shane and Dave for S.A.D Productions

Track 13 Engineered by Andy Allen and Produced by Vice Squad at Cave

Track 14 Engineered by Andy Allen and Produced by Disorder at Cave

Track 15 Engineered by Andy Allen and Produced by Chaos UK at Cave

All tracks re-mastered by Steve Street Feb 2010

x Hide Release Information

Format – CD plus Digital Download

Ah, Bristol in the punk era! Guitars, cafes, speed and conspiracy theories. Originally one of the main punk centres (early attention for the Cortinas, Social Security and the Plastic Snowmen), by 1979 it had settled into the position it holds today – self-sufficient bohemianism with a hint of cross-over and the occasional defining moment to interest the outside world.

By the turn of the decade, the original punk-oriented labels were already looking beyond the city to fame and big bucks (yeah right) and not reflecting the uniquely pungent flavour of punk, pop, pilfering, piss-take and pretension that has always characterised this inland port.

Someone had to recognise Bristol’s combination of shit-hot musicianship, theatricality and absolute disregard for success, and that man was Andy Leighton, Phil Manzanera look-alike guitarist for the Crystal Theatre (a real 60′s alternative theatre group) and publisher of The Rocky Horror Picture Show.

The Crystal Theatre production of RADIO BLZBUB (featuring a youthful Keith Allen) led to the formation of Shoes For Industry, and then to Fried Egg Records, and then to a John Peel session. Suddenly, a label! Led by the twin poles of musicality and eccentricity, it must have seemed normal at the time to sign anything that sounded good or interesting. A bunch of 13-year-olds performing Dr Feelgood-style R & B? No problem! A performance poet backed by college-rockers who were also Bristol’s premier pop band? Great! Post-punks who split up before they could be accused of inventing Simple Minds? Fantastic! A tour of England and Europe called the Be Limp tour? Spiffing! Fried Egg’s world domination was only prevented (according to local rumour) by Andy inheriting a Caribbean island and disappearing from the scene.

Personally, I remember that time with great affection. I saw all these bands play live in all the local dives and we all had a great time. No one knew anything about The Music Industry, and I’m sure it would all have been different if we had. What we had was clever innocence: useless for paying the mortgage and it won’t get you press coverage, but these recordings were made for the hell of it and to get gigs at the Western Star Domino Club. Nothing quite like this stuff exists today, and whether that’s good or bad is up to you.

GERARD LANGLEY (ART OBJECTS AND BLUE AEROPLANES)

Tracklisting:

1. Jerusalem – Shoes For Industry
2. Positive Thinking – Pete Brandt’s Method
3. Hard Objects – Art Objects
4. Johnny Runs For Paregoric – Exploding Seagulls
5. Minimum Maximum – Wild Beasts
6. Invasion Of The French Boyfriends- Shoes For Industry
7. Original Mixed Up Kid – Various Artists
8. Following You – The Fans
9. Exceptions – The Stingrays
10. Unofficial Secrets – Various Artists
11. Keep on Walking – The Untouchables
12. Continental Shelf – Electric Guitars
13. Giving Me That Look in Your Eye – The Fans
14. Countdown -The Stingrays
15. Fit of Pique – Art Objects
16. Health – Electric Guitars
17. Angels In The Rain (Demo) – Viceroys
18. Stephens Body – Various Artists
19. Work (Demo) – Electric Guitars
20. Sheepdog Trial Inna Babylon – Shoes For Industry

x Hide Release Information

A COMPILATION OF BANDS FROM THE FORGOTTEN YEARS 1979 – 1981

FEATURING… GLAXOBABIES, TALISMAN, SHOES FOR INDUSTRY,ELECTRIC GUITARS, GARDEZ DARKX and many others.

Awash with 40th birthday parties, it’s been a great couple of years for viewing fat, sag and follicle loss amongst Bristols ‘we’re going to make it’ set of the 70′s and early 80′s.

At the latest we were pre-warned by our hosts (including Gareth Sager -Pop Group, Rip Rig and Panic Kevin (Ebo) Evans- Colour Tapes) to anticipate the onset of the ageing process. So I squeezed into a pair of leathers, applied layers of slap and prayed for dim lighting….. and do you know it plain didn’t matter.

The Tabernacle, Notting Hill was simply oozing with Bristol-weaned artistic talent. From a Make up artist on Eastenders to Dexter Dalwood – Cortinas now an internationally acclaimed artist, what these people shared was a Bristol Music past that must of made an impact long before the Bristol Sound was invented.

Unfortunately together with physical deterioration, memory loss is a big set back for the over 40′s or is it simply that the 60′s catchphrase about not really having been there if you remember it, applies to all decades. In either case, try and get people to remember back then and you get lots of ‘I always stuck to the Dug Out carpet’ and not much more.My very first experience of bands and such like was gawking at my friends brothers band Exiguus Mus containing Ben Young (pre Cold Storage entrepreneurism) and the dabblings of Tony Moore (of Eurovision Fame!). I really can’t remember the music but it was probably of the’progressive’ genre.

In search of a more diverse musical education and boys that wore Ben Shermans, I joined Youth Clubs and lent against palm trees at Tiffany’s hoping for a musical awakening. No sooner positioned than some boys I knew got a gig ‘up the Youth Club.’It was my first local live experience and although Jeremy Valentine was the butt of my newly discovered sharp tongue (I adamantly deny having ever snogged him), I had to concede that together with Mike Fewins, Nick Shepherd, Danny Swan and Dexter Dalwood, The Cortinas were on the road to somewhere.

Now Mark Stewart, who I had considered extremely uncool as I was the only girl at his Birthday party at which his Mother produced a Birthday cake, announced his intention to ‘gig.’ The Pop Group’s first outing was at Tiffany’s and I was there, ready to ‘take the piss’. Instead I came away hooked, hooked on the music, hooked on the rock and roll dream and hooked on the endless possibilities for boys. The Pop Group rise to fame and the esteem with which they are revered today is well documented and the Birthday incident now replaced in my memory by one of Mrs Stewart standing next to Ian Dury at a Pop Group ‘event’ at Hope Centre.

Jeremy Valentine, a bitten off ear, a punkette and presumably Shane McGowan (as he has been credited with the incident), for me it was the first time someone I knew appeared in the national music press.

Meanwhile other groups were emerging on the Bristol circuit and with them my realisation that going to watch a band didn’t need to be the intense experience that Maestro’s Sager and Stewart would have us believe.

The Spics were my first love, not only were they graced with a plethora of good looks (I can’t look at Michaelangelo’s David to this day without remembering John Shennan), but their music was fun, I could dance to it (they did a mean version of Springsteen’s-Fire, before The Pointer Sisters) and Wendy, Sarah and Jo’s backing vocals introduced me to a previously unknown concept, that girls could do it too.

The back bar of The Lion, Cliftonwood, once I’d found it, was the place to hang. The glitterati met and talked in loud voices of big name supports and ‘pie in the sky ‘ record deals, but here too ‘yet-to-be exploited’ innovations were realised. Bands were formed, shuffled and renamed. No one had any money, signing on was fine if you said you were a poet, all our clothes were from second hand shops and DIY record production was the toast of the day. Heartbeat, Fried Egg, Wavelength recorded The Spics, Shoes for Industry, Various Artists, Gardez Darkz, The Europeans, The Untouchables, Wild Beasts, Essential Bop and more. Avon Calling became the first Bristol compilation album and in the absence of anyone spotting my potential as a lead vocalist, I became the first female DJ down the Dug Out Ah, the Dug Out, unique and never cloned, a club for non-clubbers, where chatting was easy and disco scorned. Where Indie could be mixed with Reggae and Glaxo Babies back to back with Joe Loss (1979- I did it first!). From then chronological order becomes blurred.

Mike ‘Spic’ knew some people moving into a house in Redland, they needed a sixth. I was that girl, although I seriously doubted my sanity on first meeting Neil and Richard (at least I combed my hair on a regular basis), but Matthew was quite cute. They’d moved in together to form a band and after much deliberation and Pils quaffing in The Kensington, became The Electric Guitars.

The house was a pigsty, the basement a rehearsal room and the kitchen a health and safety hazard. (Why Gary Clail broke in and nicked our baked beans is a mystery to this day.) Proverbially ‘starving in their garret’ these boys produced a new genre of music and stage presence that took Bristol by storm.

At some point the innovative Video Bar, down the Dug Out was Rockfords Restaurant and who better to staff it than Bristols wannabes. Amongst others Mandy Joseph (Art Objects Muse) Mandy Stewart (Scream and Dance), Mike Smith, (Joe Public, Circus Circus) and Ian Mullard (Circus Circus) cooked and waited between gigs. Yours truly not content with the decks downstairs, and the griddle upstairs promoted bands on Wednesday nights, Pete Brandt’s -Slow Twitch Fibres amongst them. We cooked and partied, Green Rooms, The Stonehouse and later Carwardines. Out of towners came proving we were with the groove Echo And The Bunnymen, Paul Young’s Q Tips, U2 at Redland Teacher Training College. Sometime along the way I DJ’d at Trinity Hall, supporting the likes of The Cramps and The Thompson Twins.

Wavelength metamorphisised into The Bristol Recorder, brainchild of Martin Elbourne, Jonathan Arthur and Thos Brooman (sometime drummer, now WOMAD overlord).

Where other Independents had failed trying to promote more than one up-and-coming band at a time, a clever gimmick (then) of incorporating an ad filled magazine between the covers, aimed to fund this compilation album of local bands.

The high quality music became staple diet at my Monday night Dug Out slot, returning the compliment, Recorder 2 mentioned the Dug Out to be ‘excellent with Jill at the controls.’(Spelling forgiven). By the time Recorder 3 appeared, the eighties had begun to take hold and with it a crisis of confidence in the local scene. Major record companies ate ‘indies’ for breakfast, the recorder used The Thompson Twins to boost sales and potential Bristol Sounds were swallowed by way of Tax loss. Pigbag made Top of the Pops, but that didn’t have the knock on effect that Massive Attack has had today.

I moved to London and partied with Shane McGowan, The Higsons and tried to set up an Independent record company with Speedy Keen (Thunderclap Newman), our showcase act Cold Fish dumping us for the first Major that made them an offer, never to be heard of again..(Pete Howard re-emerged with Nick Shepherd in The Clash, who incidentally have a lot to thank me for, I was obviously the catalyst!)

Returning to Bristol with big city ideas. I promoted new bands (Brilliant Corners) at the new function bar Upstairs (above the Dug Out), tried the ‘Club one nighter, ‘The Dug Down Too Far’ ahead of my time, band management (Tootin’ Crocodiles) and gradually gave up DJ’ing. No way was I getting into that scratching business and ruining my vinyl. (Anyway some geezers calling themselves The Wild Bunch seemed to have that all sewn up).

When the lights went on that night at The Tabernacle, the 80’s survivors were revealed and in the corner was a forty year old woman beating herself over the head for giving up DJ’ing at a giddy peak of eight quid a night.

( GILL LOATS )

Tracklisting:

1. GLAXOBABIES – THIS IS YOUR LIFE
2. GARDEZ DARKX – BLISS
3. THE SPICS – YOU AND ME
4. THE NUMBERS – ALTERNATIVE SUICIDE
5. ELECTRIC GUITARS – CONTINENTAL SHELF
6. APARTMENT – THE CAR
7. SHOES FOR INDUSTRY – THE INVASION OF THE FRENCH BOYFRIENDS
8. ESSENTIAL BOP – RAIDERS BLUES
9. FISHFOOD – THE MODERN DANCE CRAZE
10. ART OBJECTS – HARD OBJECTS
11. VARIOUS ARTISTS – TIME OF MY LIFE
12. TALISMAN – DOLE AGE (EXTENDED VERSION)

x Hide Release Information