Friday 15 March 2024

JOY DIVISION

 








"unknown pleasures"
Year:  1979
Country:  UK
City:  London
Label:  Factory
Format:  CD, LP
Tracks:  10
Time:  36 min.
Genre.  rock
Style:        Post-Punk











Rock history is jammed with messy, stupid, and tragic ends to promising starts -- plane crashes, overdoses, gunshots -- but Ian Curtis' death is still striking. Sometime early on the morning of May 18, 1980, Ian Curtis, at the age of 23, watched Werner Herzog's Stroszek, played Iggy Pop's The Idiot, and hung himself in the kitchen.

It's easy to say, in retrospect, that people should have seen it coming. His marriage was falling apart, his epilesy was worsening, and at their most uplifting, his band's lyrics set new benchmarks for melodrama, paranoia, and depression. "This is the way, step inside," intones Curtis at the start of the group's posthumous sophomore release Closer, an album title whose double meaning imparts almost as much menace as the fact that Curtis already sounds like he's singing from beyond the grave on the sepulchral lead track "Atrocity Exhibition".

On the other hand, Joy Division's popularity was on the rise. The group was about to embark on a U.S. tour with the Buzzcocks. A month after Curtis' death, "Love Will Tear Us Apart" would become the group's first hit. And unlike such dead-before-their-time predecessors as Nick Drake and Chris Bell, Ian Curtis was a bona fide star in the making whose impact was already being felt throughout the underground, and whose presence was being picked up on by such prescient mimics as Bono. ( "A Day Without Me", a single from U2's 1980 LP Boy, was allegedly inspired by Curtis' suicide.)

And then there's the music, a conflation of tribal primitivism and sophisticated art-rock that set the template for those twin poles of post-punk. A lot of credit goes to eccentric producer Martin Hannett, and it's the production-- not Curtis's well-parsed words or the band's suddenly ubiquitous biopic cachet-- that benefits most extensively from cleaned-up deluxe reissues of the band's two utterly essential albums, Unknown Pleasures and Closer. Simply put, the group's debut full-length Unknown Pleasures, released in 1979, sounds like little that came before it. At its most familiar, it vaguely approximates the cold claustrophobia of Iggy's The Idiot or David Bowie's Low, but from the first notes of "Disorder" on, the music is almost as alien as its iconic cover art.

It's one of the most perfect pairings of artist and producer in rock history, but that shouldn't undersell the band's input. Joy Division, like many of their Manchester peers, were inspired by the DIY anti-ethos of the Sex Pistols; they just didn't know what to do with it at first. So, shaped and prodded by notorious provocateur Hannett (who would turn the heat in the studio down low enough for everyone to see their breath), the group embraced space, ambience, and an imposing austerity. It's noteworthy how many songs on Unknown Pleasures fade in like something emerging from the shadows. It's also worth noting how heavy songs such as "Day of the Lords", "New Dawn Fades", "Shadowplay", and "Interzone" are, while sinewy anthem "Disorder" and the discordant anti-funk of "She's Lost Control" are glorious anomalies in both their precision and concision.

Closer is even more austere, more claustrophobic, more inventive, more beautiful, and more haunting than its predecessor. It's also Joy Division's start-to-finish masterpiece, a flawless encapsulation of everything the group sought to achieve. The hypnotically abrasive "Atrocity Exhibition" leads to the relentless yet somehow still economical "Isolation", the group more capable in its playing and confident in the arrangements. The dirge "Passover" implies that the band is every bit aware of its morbid power, while "Colony" marks a return to the heavy riffage of Unknown Pleasures.

Then, after such an auspicious start, Closer really clicks into gear. "Means to an End" is death disco before the fact, buoyed by a surprisingly rousing (and wordless) chorus. "Heart and Soul" is a remarkable collision of atmosphere and minimalism, the stuttering drum beat, synth and Peter Hook's melodic bass lead linked to one of Curtis' most subdued performances. "Heart and soul," he sings, as the stark instruments intertwine and twist together. "One will burn."

"Twenty Four Hours" briefly tries to pry free from the album's looming inevitability before "The Eternal" and "Decades" draw the music back down and the listener back in to Curtis' world. "The Eternal" is the bleakest thing the band ever recorded, and if "Decades" comes off a relative respite in comparison, the lyrics quickly quash that idea. "We knocked on the doors of Hell's darker chamber," moans Curtis. "Pushed to the limit, we dragged ourselves in."

The re-release of the collection Still is a little more frustrating, especially considering the singles collection Substance-- the only single disc on which you can find "Love Will Tear Us Apart", "Atmosphere", "Transmission", as well as several early tracks, some of Joy Division's most beautiful and brutal work-- is not included in this slate of reissues. (Perhaps the assumption is that older fans already have the awesomely comprehensive Heart and Soul box.) Still, originally released in 1981, a month before the surviving Joy Division members issued their first New Order album, Movement, is a ragged, enigmatic coda, an uneven odds-and-ends collection of lost tracks that fills in some gaps in Joy Division's history and legacy. Yet for a band that recorded so little, it's hard to quibble with the availability of more, especially when that means such songs as the actually uptempo "Ice Age", "The Kill", "Glass" (B-side to "Digital"), the metallic "The Sound of Music", and the immortal "Dead Souls".

The rest of Still is Joy Division live, for better and for worse-- captured mostly at the group's final appearance in Birmingham High Hall. Most notable is the presence of "Ceremony", eventually issued as New Order's first single. As tempting as it may be to project parallels with Joy Division's near-future incarnation as New Order, they're really not there, at least not beyond the most vague and nascent of stylistic precursors. As the band progresses, more synths make their way into the soundscape, and Peter Hook's bass creeps higher and higher, but there's otherwise little from Joy Division that ports over to New Order (though in a pinch, "Decades", which concludes Closer, could be the missing link between Power, Corruption and Lies and a track like "Elegia" from Low-Life).

In true "deluxe" fashion, each of these reissues is packaged with live disc that, while hardly pristine recordings, serve an important purpose. In fact, the furious sets documented-- 7/13/79, 2/8/80, 2/20/80-- prove that, free from the constraints but also the polish of the studio, Joy Division could be a decidedly aggressive beast. In these recordings, their chilly veneer melted away with visceral guitar slashing, Hook's no-nonsense bass, and Stephen Morris' spastic drums. The group also proves itself ruthlessly effective despite the conspicuous lack of proficiency. In the studio, Joy Division and Hannett could meticulously craft the album, note by note. Live and unleashed, they were undeniably powerful-- especially Curtis, whose Mancunian Jim Morrison croon fills each respective hall with foreboding-- but also pretty sloppy (it's no wonder the surviving members of the band later hitched themselves to drum machines and sequencers).

Yet the live sets are vital reminders that these purveyors of almost indomitable gloom were also human. Lest one forget, these were just young men caught up in the excitement of punk. They covered "Sister Ray" and "Louie Louie". They tried out then-new songs and trotted out staples for their growing legion of fans. They were making it up as they went along, and to an extent, still are. Only Curtis knows how the story really ends, and he's not talking ( Review by Joshua Klein ).
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"closer"
Year:  1981
Label:  Factory
Format:  CD, LP
Tracks:  9
Time:  30 min.
Genre:  rock
Style:        Post-Punk








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Friday 8 March 2024

SOVIET SOVIET

 







"endless"
Year:  2016
Label:  Felte
Format:  CD, LP
Tracks:  9
Time:  30 min.
Genre:  rock
Style:        Post-Punk













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"fate"
Year:  2012
Label:  Felte
Format:  CD, LP
Tracks:  10
Time:  25 min.
Genre:  rock
Style:        Post-Punk








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"summer, Jesus"
Year:  2011
Label:  Tannen
Format:  CD, LP
Tracks:  9
Time:  27 min.
Genre:  rock
Style:        Post-Punk








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Thursday 15 February 2024

GBH

 








"leather, bristles, studs and acne"
Year:  1981
Country:  UK
City:  Birmingham
Label:  Clay
Format:  CD, LP
Tracks:  12
Time:  30 min.
Genre:  rock
Style:        Punk Hardcore











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"city baby attacked by rats"
Year:  1982
Label:  Clay
Format:  CD, LP
Tracks:  14
Time:  36 min.
Genre:  rock
Style:        Punk Hardcore








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"city baby's revenge"
Year:  1983
Label:  Clay
Format:  CD, LP
Tracks:  14
Time:  36 min.
Genre:  rock
Style:        Punk Hardcore








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"midnight madness and beyond"
Year:  1986
Label:  Rough Justice
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Punk Hardcore








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"a fridge too far"
Year:  1988
Label:  Rough Justice
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Punk Hardcore








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"from here to reality"
Year:  1990
Label:  Rough Justice
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Punk Hardcore








     




























"punk junkies"
Year:  1997
Label:  We Bite
Format:  CD, LP
Tracks:  15
Time:  47 min.
Genre:  rock
Style:        Punk













The mid-'90s was a time of tribulation for GBH, having in quick succession been dropped by their label, fired their manager, and seen their drummer deported. Thus, when the German indie label We Bite offered them a deal, the group bit quick. The resulting album refracts much of this turbulence, ferocious in sound and delivery, and echoing with the band's frustration and fury. It's also longer, by four tracks, than their previous sets, a reflection of the extra time they'd been saddled with between full-lengths. And so across 16 numbers, GBH seethe, boil and roil, in an aural exorcism to finally conquer the demons that were dogging their lives. In times like these, even everyday annoyances can become overwhelming, as the raging "Impounded" makes clear, the angriest song ever written about having one's car towed. And the band's bitter mood permeates everything, even the delights of "Tokyo After Dark" quickly sour, with a "Damn Good Time" to be had by none. That latter number is a dire warning about casual sex in the age of AIDS; the making of a child murderer, life in death row, and sleazy politicians also raise their wrath, while life itself is mostly misery. But it's this sheer fury that makes the album so compelling, along with the band's vociferous sound. "We had a great time making this record," they claim in the sleeve notes. Not surprising, having finally been able to put their fury to bed. And although Punk Junkies was released in 1996, it was available only briefly, thus this reissue is welcome, as are the inclusion of three bonus tracks (Review by Jo-Ann Greene ).
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"ha ha"
Year:  2002
Label:  Go Kart
Format:  CD, LP
Tracks:  17
Time:  48 min.
Genre:  rock
Style:        Punk








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"perfume and piss"
Year:  2010
Label:  HellCat
Format:  CD, LP
Tracks:  13
Time:  40 min.
Genre:  rock
Style:        Punk








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"momentum"
Year:  2017
Label:  HellCat
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Punk













The 12th studio long-player from the British punk stalwarts, and their first outing since 2010's Perfume and Piss, Momentum finds G.B.H. both raging against the machine and taking in the scenery. Recorded in Birmingham with engineer Michael Rosen and producer Lars Frederiksen (Rancid), the 12-track set opens with the fiery "Birmingham Smiles," a heartfelt ode to the band's industrial stomping ground that muses "Everybody's got a hometown/Not everybody's got a home." "Tripwire Strange" continues to mine nostalgia and the banality/weirdness of a life spent on the road, but that maverick benevolence is quickly dispelled via combustive, old-school pit offerings like "No News," "The Perfect Storm," and "Population Bomb." The band addresses their longevity on the feisty title cut, and again on the surprisingly sultry (sounding), groove metal-laced "Fifty What," the latter of which manages to lament the socio-political aimlessness of the 2010s musical zeitgeist -- "If we borrowed and we stole/well at least we had a goal" -- without coming off like a gang of addled, lager-headed ex-hooligans defending their lawns. Late album cuts like "I Never Asked for Any of This," the Give 'Em Enough Rope-era Clash-inspired "Blue Sky Thinking," and the boozy "Liquid Paradise" deliver the goods as well, confirming that even after nearly 40 years together, G.B.H. have plenty of petrol left in the tank ( Review by James Christopher Monger ).
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Saturday 3 February 2024

THE SLACKERS

 








"don't let the sunlight fool ya"
Year:  2022
Country:  US
City:  New York
Label:  Pirates Press
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Ska Reggae











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"idem"
Year:  2016
Label:  Special Potato
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Ska Reggae








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"the radio"
Year:  2012
Label:  Moanin'
Format:  CD, LP
Tracks:  11
Time:  36 min.
Genre:  rock
Style:        Ska Reggae








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"the great rocksteady swindle"
Year:  2010
Label:  HellCat
Format:  CD, LP
Tracks:  11
Time:  36 min.
Genre:  rock
Style:        Ska Reggae








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"self medication"
Year:  2008
Label:  Pirates Press
Format:  CD, LP
Tracks:  12
Time:  40 min.
Genre:  rock
Style:        Ska Reggae


































"close my eyes"
Year:  2003
Label:  Hellcat
Format:  CD, LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:      Ska Reggae








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"wasted days"
Year:  2000
Label:  HellCat
Format:  CD, LP
Tracks: 10
Time.  32 min.
Genre:  rock
Style:        Ska Reggae








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"the question"
Year:  1998
Label:  HellCat
Format:  CD, LP
Tracks:  19
Time:  54 min.
Genre:  rock
Style:        Ska Reggae








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"redlight"
Year:  1997
Label:  HellCat
Format:  CD, LP
Tracks:  12
Time:  34 min.
Genre:  rock
Style:        Ska Reggae








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Friday 2 February 2024

BORN AGAINST

 








"nine patriotic hymns for children"
Year:  1991
Country:  US
City:  New York
Label:  Vermiform
Format:  CD, LP
Tracks:  9
Time:  22 min.
Genre:  rock
Style:        Hardcore Punk











One reason history is studied and analyzed is to prevent the repetition of mistakes. Born Against were the product of eight years of boot-to-mouth Reaganomics and a dangerously regressive conservative agenda in the judicial system. With the election of Vice President Bush Sr. and the looming Gulf War along with the explosion of punk into the mainstream with Nirvana meant punks had plenty to be pissed off about. History is repeating itself and depending on your sense of humor, Born Against is the luckiest band in the world. They should have become a relic and a mere timemarker for the feelings of the working class and youth at the time, but instead they've become one of the most relevant bands again today and in my opinion even more so than in the early nineties.

This Kill Rock Star reissue is the combination of the Veriform-released "nine patriotic hymns for children" and the 10 inch-only Battle Hymns Of The Race War. These 18 songs are some of the heaviest songs I've ever heard and are a creation of genuine anger; nothing is forced here. It's honestly refreshing in the cesspool of metalcore and hardcore bands cashing in today who have no real hardcore influences or knowledge of punk. The problems sung about still exist, and for the most part have gotten worse, and lyricist/vocalist Sam McPheeters holds nothing back. The lyrics are progressive as expected, but the real charm of McPheeters' writing comes in his versatility. His intelligence is prominent and he takes many roles and forms and uses satire and sarcasm to effectively get his point across. In "Test Pattern" he plays the role of a TV drone barely able to contain his excitement as he snarls in a lightening fast manner:

Not on until ten but it's gonna be good, two niggers gonna beat each other raw. The New Season's just starting and we're sure you'll agree it's the best one yet!

Somehow with globalization and the spread of disposable culture through new mediums such as the Internet, songs like "Mount The Pavement" ridiculing "pre-fab culture" are all too poignant. Other topics covered include the spreading of racial divisions through conservative media (with McPheeters calling out Rush Limbaugh!), pro-choice, free speech, capital punishment, with the band even penning their own "Holiday In Cambodia" with "Poland;" eh, kinda. Anyways, the issues are fucking relevant nonetheless, written by a band that broke up ten years ago.

Punks sickened by the overly glossy and poppy production of bands vying for spots on commercial radio will be pleased to hear the production here is very raw and mostly guitar-driven, almost to the point of grating my ears. Like any good band, Adam Nathanson and Sam McPheeters are a formidable pair of guitarist-vocalist, up there with the best in history. The guitar playing seems to be a stepping stone between the muscled intensity of Greg Ginn and the mathy and complex spazz-outs of Frodus's Shelby Cinca. They weren't the most proficient musicians by any means, but there are enough key and rhythm changes and even some math to keep your attention for a seemingly short 41 minutes. The songs range from blistering fast, three-chord rockers to more varied, structured, slow headbangers, all equally intense and angry. Also, as a fair warning, there aren't any catchy choruses or too many memorable melodies. Each to his own. In the booklet, you also get some bizarre McPheeters artwork. He shows how really strange he is in the awesome bonus song at the end, which had me cracking up. This is also essential for any fan of Refused to see that Born Against were "fucking dead" long before the Swedish lads. To contradict the strong anti-capitalist stance of the band, I say, "buy buy buy!" (*Review by Kenjamin ).
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"battle hymns of the race war"
Year:  1993
Label:  Vermiform
Format:  CD, LP
Tracks:  10
Time:  20 min.
Genre:  rock
Style:        Hardcore Punk














Let me start out by saying that this is my favorite Born Against release. It's got everything I love about them both musically and politically, and is possibly the most caustic and concentrated attack they put out. On top of all of that, it's got goofy and iconic samples of children's cartoons, police raids, a talk show which singer Sam McPheeters called into, and even a threat left on one of the band member's (probably McPheeters again) answering machine, which was quite potentially an inspiration for Chris Bickel of In/Humanity using the sample of Jamey Jasta from Hatebreed threatening him.

Born Against is an incredibly important band in terms of helping to define early 90s hardcore punk. Musically, they had a lot in common with so-called emo and post-hardcore bands, but lyrically they were far more aggressive. That's not to say some of those bands were not political, but none of them were nearly as confrontational as Born Against, who took after bands such as The Crucifucks and Dead Kennedys in their respective unrelenting, uncompromising political assaults and sharp, biting satire. While their strange combination of instrumentation and lyrics helped to set the tone for punk and hardcore that would follow, I can't think of any bands who were able to fully pick up where Born Against left off.

So, why post a vinyl rip of the 10" when there are plenty of rips of the CD version which contains both of their LPs? Well, stupid audiophile shit aside, the vinyl version contains a track which never made it to the CD, and I want people to hear it. The track in question is a seven minute intermission which features a cartoonish old woman talking about the wrath of god, terrorist attacks, war, white supremacy, and a whole list of things while the tune of "Santa Clause Is Coming To Town" loops in the background. It's something that needs to be heard to be believed. So what are you waiting for? (*Review by Joey  )
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Tuesday 30 January 2024

THE BURIAL

 








"a day on the town"
Year:  1988
Country:  UK
City:  Norton
Label:  Radiation Reissues
Format:  CD, LP
Tracks:  12
Time:  30 min.
Genre:  rock
Style:        Ska Reggae











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Sunday 28 January 2024

ZARAMA

 








"indarrez"
Year:  1984
Label:  Discos Suicidas
Format:  CD, LP
Tracks:  13
Time:  40 min.
Genre:  rock
Style:        Pop Punk












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"gaua apurtu arte"
Year:  1985
Label:  Discos Suicidas
Format:  CD, LP
Tracks:  13
Time:  32 min.
Genre:  rock
Style:        Pop Punk








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"dena ongi dabil"
Year:  1987
Label:  Elkar
Format:  CD, LP
Tracks:  11
Time:  34 min.
Genre:  rock
Style:        Pop Punk








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"bostak bat"
Year:  1989
Label:  Elkar
Format:  CD, LP
Tracks:  10
Time:  34 min.
Genre:  rock
Style:        Punk n'Roll








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"sexkalextrik"
Year:  1991
Label:  Elkar
Format:  CD, LP
Tracks:  11
Time:  34 min.
Genre:  rock
Style:        Power Pop








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"binilo bala"
Year:  1994
Label:  Elkar
Format:  CD, LP
Tracks:  10
Time:  36 min.
Genre:  rock
Style:        Power Pop








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Wednesday 17 January 2024

SAVAGES

 








"adore life"
Year:  2016
Label:  Matador
Format:  CD, LP
Tracks: 10
Time:  36 min.
Genre:  rock
Style:        Post-Punk













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"silence yourself"
Year:  2012
Label:  Matador
Format:  CD, LP
Tracks:  11
Time:  34 min.
Genre:  rock
Style:        Post-Punk








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Thursday 11 January 2024

SKIN DEEP

 








"more than skin-deep"
Year:  1988
Country:  UK
City:  Doncaster
Label:  Mad Butcher
Format:  CD, LP
Tracks:  10
Time:  35 min.
Genre:  rock
Style:        Ska Reggae












Skin-Deep was a short-lived band born in Doncaster, being active from 1985 until 1988. Some of its members had met in another local Punk band called Chuckie Egg & The Soldiers, with only one live show known, which took place in their hometown. Despite having been formed in ’85, the band was unable to perform live until February ’86 as none of them were old enough to hire a van.

After supporting The Business in London, they were approached by Link Records. The relationship between the band and the label turned out to be quite fruitful. In 1986, their first recordings appeared on the famous compilations “Oi! the resurrection”(Link Records, 1986) and “The Sound of Oi!” (Link Records, 1987).

Early in '88 they went to The Billiard Room Studio in Leeds to record their first and only full-length record titled “More Than Skin-Deep”. Finally the album was released in July ‘88 on the ska-focused label Skank Records, subsidiary of Link Records. Several songs on the album were enriched with a brass section and a keyboard.

After three years active the band played their final gig at the iconic Brixton Fridge, supporting Bad Manners. They had already decided to split up after the show, which did not go very well. For some reason, the promoter tried to kick the band off the bill, a thing that didn’t happen thanks to Buster Bloodvessel (Bad Manners singer). Instead of that, as an act of revenge, the organization made them play right at the door opening. Unfortunately, most of his fans missed their final show.

That was the end of Skin Deep, which disbanded with an album and having performed only 19 gigs, none of them in the place where they come from, Doncaster.

The track "Never change" was also recorded in the same session as "Self Respect" (which was the track that appeared on the compilation "Oi! the resurrection"), but remained unreleased until 1997, when the English label Captain Oi! released the compilation "Oi! the demos" on CD, together with other bands like The Burial, Red London, The Crack or Angelic Upstarts.
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Monday 8 January 2024

NUGGETS

 








"NUGGETS Vol.1"
Year:  1965 / 1968
Label:  Rhino
Format:  CD , LP
Tracks:  27
Time:  70 min.
Genre:  rock
Style:        Garage Rock













Nuggets: Original Artyfacts from the First Psychedelic Era is a ground breaking compilation album of American garage rock singles released in the mid-to-late 1960s. It was assembled by Jac Holzman, founder of Elektra Records, and Lenny Kaye, later lead guitarist for the Patti Smith Group. The original double album was released on LP by Elektra in 1972 with liner notes by Kaye that contained one of the first uses of the term "punk rock". It was reissued with a new cover design by Sire Records in 1976 and more recently as an expanded four-CD box set in 1998 by "Rhino Records".
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"NUGGETS: Vol. 2"
Year:  1965 / 1968
Label:  Rhino
Format:  CD , LP
Tracks:  31
Time:  74 min.
Genre:  rock
Style:        Garage Rock








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"NUGGETS Vol. 3"
Year:  1965 / 1968
Country:  US
Label:  Rhino
Format:  CD , LP
Tracks:  30
Time:  79 min.
Genre:  rock
Style:        Garage Rock








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"NUGGETS Vol. 4"
Year:  1965 / 1968
Label:  Rhino
Format:  CD , LP
Tracks:  30
Time:  70 min.
Genre:  rock
Style:        Garage Rock








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