While mostly accurate, dismissing Never Mind the Bollocks as merely a series of loud, ragged midtempo rockers with a harsh, grating vocalist and not much melody would be a terrible error. Already anthemic songs are rendered positively transcendent by Johnny Rotten's rabid, foaming delivery. His bitterly sarcastic attacks on pretentious affectation and the very foundations of British society were all carried out in the most confrontational, impolite manner possible. Most imitators of the Pistols' angry nihilism missed the point: underneath the shock tactics and theatrical negativity were social critiques carefully designed for maximum impact. Never Mind the Bollocks perfectly articulated the frustration, rage, and dissatisfaction of the British working class with the establishment, a spirit quick to translate itself to strictly rock & roll terms. the Pistols paved the way for countless other bands to make similarly rebellious statements, but arguably none were as daring or effective.

In a way, the Ramones are an ideal band to anthologize. No matter how cohesive their records were (or not), their albums always played like collections of singles and since singles are easy to anthologize, it stands to reason that the best of the Ramones' songs will sound good in nearly any context; hell, the haphazard Ramones Mania proved that. However, Rhino's double-disc Hey! Ho! Let's Go: Ramones Anthology has much greater goals than being just another collection – it strives to be the final word on the Ramones.

As part of The Stranglers' celebration of their Ruby Anniversary, the definitive collection of the B-side recordings they made whilst signed to Epic is released for the first time, via their own label. Appropriately, as befits a band marking forty years together, Here & There: The Epic B-sides Collection 1983-1991 gathers 40 tracks across 2 CDs and is also released as a 40 track digital package. The Stranglers released no less than 13 singles in the UK during this period, which saw them produce five albums: four studio and one live. The Stranglers signed to Epic Records in 1982 having been with United Artists / Liberty since 1977. The change of label coincided with changes in marketing policy across the UK industry - often dubbed "the Frankie Goes to Hollywood effect". Previously, The Stranglers' had released only one 12" single - an extended version of Bear Cage in 1980 - but from 2nd Epic single, Midnight Summer Dream until 1990, each release had a 12" version which required extra studio or, increasingly, live tracks to "add value" to the package.

White Flame was formed in Connecticut by high-school friends Mark St. John and Rich Ricciuti in the early 1970s. American Rudeness, their only album was recorded between 1977 and 1978 in New Haven and self-released on the band’s own label Rudeness Records. It was in the end a private pressing that never got any distribution outside the band’s state, preventing them from having any success or recognition. Their music is a killer blend of Detroit proto-punk, heroin fueled rock “Berlin style,” with a dash of weirdness (they were huge fans of Frank Zappa). On their title track you can even see similarities to what Wayne County was doing in NYC, or to what British bands like The Count Bishops were up to.

Flogging Molly are less of a band than they are a Transatlantic, Celtic-punk institution. Over the course of 25 years and thousands of shows around the world, Flogging Molly have transcended genres to become one of a very few bands that can literally share the stage with The Chieftains one day and Motörhead the next (this actually happened, by the way). For Flogging Molly’s seventh full-length Anthem, the band, which features married couple Dave King (vocals, guitar, bodhrán) and Bridget Regan (violin/fiddle, tin whistle, backing vocals), decided to get back to their roots and record 14 songs in 14 days with Steve Albini (Nirvana, Pixies) at Electrical Audio Studio in Chicago. “It was quite amazing because I don’t think as band we’ve ever done that before,” King says.