Originally released in May 1982, ‘Combat Rock’ is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the band’s most well-known songs, ‘Should I Stay Or Should I Go’ and ‘Rock The Casbah’. Now re-released as a 2CD special edition, with an additional 12-tracks compiled by The Clash.
Having returned to London following their pivotal 17-show residency at New York’s Bond’s Casino in 1981, the band rehearsed and recorded at The People’s Hall in the squatted Republic of Frestonia near Latimer Road in London and from there they embarked on a tour of the East and South East Asia, during which the album sleeve image was captured by Pennie Smith in Thailand.
The tracks on ‘The People’s Hall’ chart the period from what was their last single Radio Clash right up to the release of Combat Rock, including unheard, rare and early versions of tracks.

Everybody know that novelty bands have a hard time growing up, but the Presidents of the United States of America made a large leap toward that during their re-formation of 2000, with Freaked Out and Small demonstrating a decrease in their stylized silliness mellowed into something more genuine. It wasn't that the band rocked less, but their humor seemed less forced, a development that continued on 2004's Love Everybody. Evolution continues to be the name of the game on their 2008 follow-up These Are the Good Times People, as the group replaces departing guitarist (and founding member) Dave Dederer with Andrew McKeag, while they bring Seattle underground mainstay Kurt Bloch in as producer, all elements that help make These Are the Good Times People perhaps their most eclectic album to date.

This goes beyond the usual "deluxe edition." You get the Femme's 1983 debut LP ( Blister in the Sun; Kiss Off; Please Do Not Go; Add It Up , etc.) plus demos of all of the above and more. That's disc one; disc two has unissued live recordings of Gone Daddy Gone; Promise; Country Death Song; To the Kill; Never Tell , and more by Milwaukee's indie-rock heroes!
Emerging, literally, from the streets of Milwaukee, Wisconsin, where they gained notoriety through busking, this strange trio led by guitarist-vocalist Gordon Gano became a cult favorite with their self-titled debut album in 1983. Influenced greatly by Jonathan Richman's Modern Lovers, the Femmes' minimalist sound pitted Gano's low-volume electric guitar against Brian Ritchie's acoustic bass guitar and Victor De Lorenzo's ashcanlike homemade drum kit–all of which only served to make Gano's angst-ridden adolescent tirades more arresting. Highlights here are the rockabillyish "Gone Daddy Gone," the snotty "Kiss Off," and the emblematically nervous "Blister in the Sun." All in all, a fond reminder of the innocent days of alt-rock. Note: this deluxe, 20th anniversary version of the album includes an additional 26 demos and live tunes, 22 of them never before released.–Billy Altman

Collection includes all studio albums by Australian alternative rock band from Sydney. In 2010, their album Diesel and Dust ranked no. 1 in the book The 100 Best Australian Albums.

Freaked Out and Small is the third album by The Presidents of the United States of America. It was released in 2000 by MusicBlitz Records, which was a web based label. An interesting note about this album is that all of the songs were played with normal guitars and bass guitars. This is different from all of the other albums by the band, as they usually played with guitbasses and basitars, which were guitars with fewer strings that were tuned differently than usual.

One of the most admired guitarists of the early 21st century, Jack White helped restore the popularity of punk-blues as the frontman of the White Stripes. Meanwhile, he widened his reach by participating in a range of other projects, including the Raconteurs, the Cold Mountain soundtrack, Loretta Lynn's comeback vehicle Van Lear Rose, the Dead Weather, and a solo career. Although White's nasal voice and loose, fiery guitar delivery were mainstays of the White Stripes' early work, the group branched out as its reputation grew, building upon an initially minimalist sound with elements of metal, backwoods country, pop, and early rock & roll. White followed a similar evolution in his own career, and by the time the White Stripes celebrated the tenth anniversary of their debut album, the frontman had already issued two pop-oriented records with the Raconteurs, starred in several films, collaborated with Electric Six, duetted with Alicia Keys, and produced records for a number of artists.

Arista remastered Graham Parker's masterpiece, Squeezing Out Sparks, for CD reissue, adding the previously promotional-only live album Live Sparks as an added bonus. Though it is somewhat disconcerting to hear the same songs in the same order in a row, it's an excellent addition for hardcore collectors, especially since the sound on the original album is considerably improved. And, Live Sparks is a nervy, energetic live recording, especially with the addition of "I Want You Back (Alive)" and "Mercury Poisoning".

55 tracks on 4 CDs, all digitally remastered, featuring 34 tracks on CD for the first time, including The Thorn EP. 76-page booklet with an introduction by Siouxsie and full track annotation by all 3 band members plus full lyrics for all B-sides, printed for the first time. Sleevenotes by Mark Paytress. Packaged in a three panel fold-out digi-sleeve housed in carboard slipcase.

Rare 1991 French-only 12-CD set, comprising all their albums from Three Imaginary Boys to Disintegration in individual card wallet picture sleeves, plus 68-page deluxe illustrated booklet [all text in French], housed in a picture box with pull-out tray and die-cut band logo section with rotating wheel insert!

New York’s punk/blues girl band, follow up their 2016 covers debut No B! with a collection of mostly original material, but the noise levels remain intact. Opening with the lip-curling vocals of Dana “Danger” Athens on the rocking “How Ya Doin’?”, name-checking just about every American city, through to the Lawler – Thornton cover “Black Rat”, the pace never lets up. Having said that, “How Bright The Moon” is a classy ballad, Athens accompanying herself on piano, interspersed with reverent guitar work from Tracy Hightop/Tina “T-Bone” Gorin. The pace hots up again with the rhythm section of drummer Melissa “Cool Whip” and bassist Hail Mary Zadroga doing a sterling job on the Don Robey classic “Turn On Your Love Light”. If classic slow blues is your thing, closer “The Breeze” is for you, cracker! With the plethora of female artists on the blues/rock scene at the moment, gaining momentum must be difficult. But there is enough class on this album for this relatively new band to pull it off. Oh, lastly, keep those names!

The first and best wave of L.A. punk bands from 1977-1979 all broke up under-documented and unsigned, with the exception of X, the Germs, and, to a lesser extent, the Plugz. But the legacy of incredible pioneers such as the Weirdos, Dils, Controllers, and Screamers was the wide success of the harder, faster, younger bands that followed. The interest the 1977 bands awakened not only inspired the formation of Black Flag, Circle Jerks, T.S.O.L., Social Distortion, Agent Orange, Fear, the Adolescents, and others, but helped create a national market, enabling the newer bands to find labels, put out albums, and tour regularly. the Adolescents were perhaps the first of this second wave to put out an LP widely distributed throughout the U.S., selling well over five digits in 1981 (following on the heels of San Francisco's Dead Kennedys, who broke the doors open with their immortal Fresh Fruit for Rotting Vegetables the previous year).

Ian Dury's primary appeal lies in his lyrics, which are remarkably clever sketches of British life delivered with a wry wit. Since Dury's accent is thick and his language dense with local slang, much of these pleasures aren't discernible to casual listeners, leaving the music to stand on its own merits. On his debut album, New Boots and Panties!!, Dury's music is at its best, and even that is a bizarrely uneven fusion of pub rock, punk rock, and disco. Still, Dury's off-kilter charm and irrepressible energy make the album gel, with the disco pulse of "Wake Up and Make Love With Me" making perfect sense next to the gentle tribute "Sweet Gene Vincent," the roaring punk of "Blockheads," and the revamped music hall of "Billericay Dickie" and "My Old Man".

The classic self-titled debut by Gary Numan's Tubeway Army was finally reissued by Beggars Banquet, who have done a masterful job remastering the tracks and adding a live set from 1978 as a bonus. In the past, many have felt that Numan's debut disc didn't measure up to his later triumphs (1979's Replicas, 1980's Telekon, etc.), but listening to it today, you discover that it's the most underrated of all his early albums. Numan & the Tubeway Army were one of the first new wave/punk bands (along with Kraftwerk and Devo) to successfully fuse robotic synthesizers with rock & roll. Gary Numan's guitar riffing is more prominent here than on any other of his albums, which gives the tunes a splendid Ziggy Stardust feel at times. Kicking things off with several strong compositions – "Listen to the Sirens," "The Life Machine," and "Friends" – the album sags momentarily in the middle ("My Love Is Liquid"), but soon returns to its high standards with "Are You Real?" and "Jo the Waiter." The reissue of Tubeway Army wraps up with the 13-track Living Ornaments '78: Live at the Roxy set, which was previously released only as a bootleg.

An explosive effort that every fan should have! The Misfits - Box Set is a coffin-shaped CD package that exhaustively covers all the releases the late-'70s/early-'80s version of the group put out (the exception being Walk Among Us due to a label-rights situation). The first 2 discs feature, respectively, the material on the 2 collection releases and Legacy of Brutality, Evilive, and Earth A.D.. The third compiles a slew of different demo and recording sessions, including the original trio lineup (with Danzig on electric piano). The fourth presents the planned-but-never-released-as-such Static Age for the first time. The accompanying booklet features a great band history from then-roadie/photographer and future Danzig bassist Eerie Von, complete lyrics for every song, a slew of amazing photographs from concerts and other shoots, and an exhaustive discography.

This legendary Talking Heads performance, as captured by director Jonathan Demme, still stands as one of the greatest concert films of all time.