SHELTER

SHELTER
MANTRA (1995)
320 KBPS

Straight edge has been a popular philosophy within portions of the hardcore community almost from day one, but New Yorkers Shelter arguably took it to its ultimate extreme with their incrementally strict interpretation of the concept, motivated by their Hare Krishna faith. If only their stylistic choices had walked as straight a path or showed as much creative integrity, because Shelter seemed to have an uncontrollable habit of switching musical gears with almost every new release, and 1995's Mantra was certainly no exception. The band's first album for Roadrunner Records, it countered the surprisingly mellow direction pursued by 1993's Attaining the Supreme with a partial return to their pure hardcore roots via welcome energy blasts like "Appreciation" and "Chance," yet also made plenty of room for surprisingly "establishment-friendly" melodic hard rock in "Here We Go Again" and "Letter to a Friend," as well as pop-punk like "Empathy," "Surrender to Your T.V.," and the title cut (which may or may not have been inspired by the mid-'90s successes of Green Day and the Offspring). Surprisingly, additional hardcore hybrids such as "Message of the Bhagavat," "Civilized Man" and "Not the Flesh" also contain serious attempts at honest-to-goodness rapping (!), and an inspired but confusing amalgam of all of the above crowds inside tellingly named album closer "Metamorphosis." This last song wasn't quite capable of elucidating (or justifying) the whys behind Shelter's head-spinning eclecticism to most conservative hardcore fans, but at least the quality of the material at hand — like the band's Krishna-driven message — was comparatively consistent (if at times tiresomely preachy) enough to make Mantra one of the band's strongest, most popular efforts.

1. Message of the Bhagavat
2. Civilized Man
3. Here We Go
4. Appreciation
5. Empathy
6. Not the Flesh
7. Chance
8. Mantra
9. Surrender to Your T.V.
10. Letter to a Friend
11. Metamorphosis

BIOHAZARD

BIOHAZARD
URBAN DISCIPLINE (1997)
320 KBPS

Biohazard's Urban Discipline introduced the band's one-of-a-kind, Brooklyn thrash-rap sound to hardcore fans outside the five boroughs. It's an authentic mix of inner-city vocal rhythms with metal's take-no-prisoners attitude, one that granted them international credibility. Urban Discipline is an original hardcore metal-rap album, debuting a half-decade prior to the rap-rock explosion of the late '90s. It is defiant and distinctive — in some senses a precursor of bands such as Korn, Limp Bizkit, and the Deftones, and in other ways in a class all its own. It's not the self-indulgent, "I-gotta-get-mine" rap-rock of the late '90s, as it's loaded with social criticism. It's a blue-collar metal record made by rough-shod, tattooed, fighting men. The album's highlight is "Punishment," a hard-charging anthem with a surprisingly melodic chorus. This hook was strong enough to earn them moderate playtime on MTV, even though nothing else sounded like them at the time.Though intended merely as simple music for slam dancing, Biohazard does well to mix things up within those parameters. The group successfully rearranged their typical song structure with divergent bass, drum, and guitar parts in "Shades of Grey." They're technically competent enough to implement light crescendos and decrescendos, tempo variation, and a diffuse focus of the instruments within the band. It's not Mozart, but it is one of the most authentic combinations of thrash and rap ever made.

1. Chamber Spins Three
2. Punishment
3. Shades Of Grey
4. Business
5. Black And White And Red All Over
6. Man With A Promise
7. Disease
8. Urban Discipline
9. Loss
10. Wrong Side Of The Tracks
11. Mistaken Identity
12. We're Only Gonna Die (From Our Own Arrogance)
13. Tears Of Blood

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
DON'T KNOW HOW TO PARTY (1993)
320 KBPS

An attempt to mainstream the Bosstones' sound and accentuate their metal influences backfires somewhat here. The band's connection to ska has sometimes seemed tenuous at best, but on Don't Know How to Party, the ska is reduced to a mere stylistic quirk punctuating a set of essentially heavy metal songs, which mutes the band's originality. "Holy Smoke" and a cover of the Stiff Little Fingers' "Tin Soldiers" do manage to make an impact, and "Someday I Suppose" is recycled (in an inferior version). I heard many people claiming this is the Bosstones' finest and I'm puzzled at how they can produce such argument. It sure isn't a bad album but it remains the weakest of the MMB's discography. But, who knows, I might be wrong so, if you want to know what the metal side of the Bosstones sounds like or just want the too few good songs featured here, this might be a good idea to try it anyway.

1. Our Only Weapon
2. Last Dead Mouse
3. Don't Know How To Party
4. Someday I Suppose
5. A Man Without
6. Holy Smoke
7. Illegal Left
8. Tin Soldiers
9. Almost Anything Goes
10. Issachar
11. What Was Was Over
12. Seven Thirty Seven/Shoe Glue

BIOHAZARD

BIOHAZARD
STATE OF THE WORLD ADDRESS (1994)
320 KBPS

"State of the World Address" is one of those records that defined an undeniable moment in time. Many have accused Biohazard of being "fakes" or mocked them for being a "one trick horse", but this record stands alone. The band managed to unleash a sonic fury on that few have ever captured though many have made pale attempts at imitation. The production is warm and captures the NYHC/hip-hop mix perfectly, and the band themselves sound as pissed off as possible. Biohazard came to this party to tell a story, and while that story may be a little too "out there" for some people...it's an exciting ride nonetheless.
Catchy numbers such as "What Makes Us Tick" and "Down For Life" bridge the NYHC/hip-hop feel brilliantly with "How it Is" bringing in the slightly archaic rappers Cypress Hill to add to the vocalization. Other, heavier tracks such as "Love Denied" and "Five Blocks From the Subway" also paint horrific landscapes of urban decay and inner city stressfests. The songcraft here defined an entire career, and possibly defeated many later records by perfecting the formula to a point in which we may have never needed another record of this type.
"State of the World Address" may be the one perfect record Biohazard will unleash. While some will love it and some will hate it...Biohazard remain the lone kings at what Biohazard do. Respect must be given...

1. State Of The World Address
2. Down For Life
3. What Makes Us Tick
4. Tales From The Hard Side
5. How It Is
6. Remember
7. Five Blocks To The Subway
8. Each Day
9. Failed Territory
10. Lack There Of
11. Pride
12. Human Animal
13. Cornered
14. Love Denied

WARZONE

WARZONE

Warzone was an American hardcore skinhead band formed on the Lower East Side of Manhattan in 1982. The band helped develop the New York hardcore sound, the hardcore skinhead style and the youth crew subgenre. During the band's 15 years and many line-up changes, their primarily hardcore sound was flavored by influences ranging from Oi! (they toured several times with The Business and played a cover of their song The Real Enemy), to traditional punk rock, and a heavy metal phase (on their self-titled LP, Warzone). Their fan base was diverse, with their concerts usually attended by skinheads (both anti-racist and racist), straight edge teens, metalheads and punks of all ages.
Frontman Raymond "Raybeez" Barbieri was the band's only consistent member, from its formation until Barbieri's death on September 11, 1997 due to pneumonia. A U.S. Navy veteran, he was receiving treatment in a Veterans Health Administration facility when the illness damaged his liver and took his life at the age of 35. For more than a year following his death, every release on the Victory Records label was dedicated to his memory, as well as two independent compilations. These albums — as well as benefit concerts following his death — raised funds for several non-profit groups Ray had worked for which helped at-risk youth.
The band featured several non-white members through its history. Tim Glomb of MTV's Viva La Bam played guitar in 1993 and wrote the song "Can I Get A Witness" on Old School to New School. Barbieri sang lyrics urging unity and spoke out strongly against anything that divided the youth of America against itself. Their song "Under 18" decried the age-based discriminatory practices at many venues that demanded IDs for entry; "War Between Races" demanded an end to racial violence and prejudice within the hardcore scene, and "Brother and Sisterhood" encouraged young women and girls to become active in the traditionally male-dominated hardcore punk scene.
Their concerts were often marred by violence, so Barbieri usually sang out in the crowd, using it as an opportunity to stop fights before security could respond. This tactic often cooled tempers more quickly than stopping the show might have, and prevented fans from being escorted out of the show. His position in the crowd rather than elevated on a stage also endeared him to fans in a way few other performers in the genre have ever achieved. Warzone fans were not simply encouraged to sing along, they often dictated the band's entire set list and even decided how long the group would play, with some sets lasting until Raybeez could barely speak.
This double set gives you Warzone's first two albums. This is essential for whoever want to know the roots of the NYHC scene or simply wants some good, unaltered punk/hardcore.

DON'T FORGET THE STRUGGLE, DON'T FORGET THE STREETS (1987)
320 KBPS
1. Intro Bust
2. It's Your Choice
3. Crazy But Not Insane
4. Fuck Your Attitude
5. As One
6. We're the Crew
7. Don't Forget the Struggle, Don't Forget the Streets
8. In the Mirror
9. Skinhead Youth
10. Growing-Up, the Next Step
11. Judgement Day
12. Fighting for Our Country

OPEN YOUR EYES (1989)
320 KBPS
13. Open Up Your Eyes
14. Dance Hard or Die
15. Face up to It
16. Always - A Friend for Life
17. Racism - World History, Pt. 1
18. Back to School Again
19. American Movement
20. Fight the Oppressor
21. Deceive Us - No More
22. Striving Higher for a Better Life

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
QUESTION THE ANSWERS (1994)
320 KBPS

From the leadoff track, the sizzling and real-life-realization of "Kinder Words," to the sizzling, real-life observation of "Jump Through the Hoops," the Bosstones opened up wide and said "ahh!" on "Question the Answers." Packing a sonic punch they had only hinted at in many of their earlier releases, the 'Tones brought ska core to the fore several years before the world's second (or maybe 10th) ska revival became all the rage. It was frat-party music for the thinking crowd: social commentary quite frequently pops up on their earlier albums, but the lyrics are especially strong here, especially on "We Should Talk" (actually one of the weaker cuts) and "Hell of a Hat." If you want to sample the Bosstones and their ilk, this is the one to try.

1. Kinder Words
2. A Sad Silence
3. Hell Of A Hat
4. Pictures To Prove It
5. We Should Talk
6. A Dollar And A Dream
7. Stand Off
8. 365 Days
9. Toxic Toast
10. Bronzing The Garbage
11. Dogs And Chaplains
12. Jump Through The Hoops

MAXIMUM PENALTY

MAXIMUM PENALTY

As part of the original Hardcore movement, Maximum Penalty has been and still is, one of the most original hybrids of the New York Hardcore sound. From the band’s inception, the founding members have fused different styles such as Hardcore, Metal, Hip-Hop and melody which put MP’s unique stamp on the scene. The band started out at the tail end of the first wave of the hardcore movement in the late 80's. They played the infamous hardcore matinee at the now deceased CBGB's with friends and family from the N.Y. scene. From that point the Crossover Metal scene exploded into the 90’s with MP's unique brand of Hardcore, along with their peers such as Sick of it all, Killing Time & Agnostic Front.
Here are two albums demonstrating the band's quality. The production may not always be of the best quality but the music still is the enjoyable proof of the Maximum Penalty's unique signature sound. If you're into hardcore punk and have never heard of these lads, you owe it to yourself to try this double offering. And, trust me, disappointment is out of the question.

INDEPENDENT (1996)
320 KBPS
1. Face Value
2. Find a Better Way
3. Could You Love Me?
4. ...So God Help Me
5. Nowhere to Turn
6. Justice Paid
7. Where Were You
8. Life Jacket
9. Hate [Live]
10. Comin' Home [Live]
11. Be Yourself [Live]
12. Burning Bed [Live]
13. Acceptance [Live]
14. Ivory Tower [Live]

SUPERLIFE (1997)
320 KBPS
1. Believe
2. Overdue
3. Too Little, Too Late
4. Among Friends
5. 70's boXXX
6. Heartless
7. Hate
8. Life Jacket
9. Mood Swings
10. Could You Love Me
11. East Side Story
12. Identify
13. Immaculate Conception
14. For What It's Worth
15. No More Mondays

MOST PRECIOUS BLOOD

MOST PRECIOUS BLOOD
OUR LADY OF ANNIHILATION (2003)
320 KBPS

Most Precious Blood is a hardcore punk band from New York City, formed from the ashes of the band Indecision. They blend the song structures of hardcore with heavy metal, and the band cites Aphex Twin, The Sisters Of Mercy, and The Obsessed as influences, among others.
Originally, the band featured former Indecision guitarists Justin Brannan and Rachel Rosen, as well as on-again off-again Indecision vocalist, Tom Sheehan. In 2003, after Sheehan departed the band to return to school, the band teamed up with former One King Down vocalist Rob Fusco, added Atlanta's Matt Miller on bass and moved Rosen to second guitar for their second album Our Lady of Annihilation. Surprise hits "The Great Red Shift" and "Your Picture Hung Itself" launched the bands profile. The Album also features a guest appearance from Sick Of It All's Lou Koller.
Of course, the album art created quite a controversy but the band stated it wasn't intentional and they were just voicing an opinion. Musically, this will please those who love their hardcore with just a twist a metal to spice it up a bit.

1. The Great Red Shift
2. Collusionist
3. Quiet Pattern
4. Growing Square Eyes
5. Your Picture Hung Itself
6. Funeral Photography
7. Life During Wartime
8. It Runs In The Blood
9. So Typical My Heart
10. Why Hyenas Laugh
11. Closure

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
LET'S FACE IT (1997)
320 KBPS

With No Doubt and Sublime having dominated the pop airwaves in 1996, it wasn't too much of a stretch for the Mighty Mighty Bosstones to hope for similar success, even if their sound was louder and heavier overall — after all, they had been arguably the best-known ska band in the American underground for some time and had laid much of the groundwork for the style's commercial success. So the Bosstones took their time with Let's Face It, crafting a catchy, solidly written record with accessible mainstream production courtesy of longtime collaborator Paul Q. Kolderie and Sean Slade. The results paid immediate dividends, with "The Impression That I Get" becoming a runaway smash on modern-rock radio and pushing the album into the Top 30 (it eventually went platinum). Some longtime fans complained that the band had toned down their manic metal tendencies too much in their push for mainstream acceptance, but really, Let's Face It simply draws more upon other influences the band had had all along. It's the Bosstones album most inspired by the British Two-Tone movement of the early '80s, when pop melodies and pleas for tolerance and equality were often as important as the grooves — and that's certainly the case here, as the band turns in probably their most substantive set of lyrics to date. There are a few punky hard rock numbers, too, and even if they don't quite have the hard-partying energy of past efforts in that vein, they are well-constructed songs that keep the album's momentum flowing. Even if the production is a tiny bit slick, and the playing time is rather short (a little over half an hour), it's still difficult to view Let's Face It as anything but a rousing success and easily one of the band's best albums.

1. Noise Brigade
2. The Rascal King
3. Royal Oil
4. The Impression That I Get
5. Let's Face It
6. That Bug Bit Me
7. Another Drinkin' Song
8. Numbered Days
9. Break So Easily
10. Nevermind Me
11. Desensitized
12. 1-2-8

THE MIGHTY MIGHTY BOSSTONES

THE MIGHTY MIGHTY BOSSTONES
MORE NOISE & OTHER DISTURBANCES (1992)
320 KBPS

This has become my favorite Bosstones album, bumping 'Let's Face It' to a very close second. 'Where'd You Go' is probably my favorite Bosstones song and their version of Slapshot's 'What's at Stake', their finest cover. In fact, the first seven tracks on this album are fantastic, with the only slowdown occuring at the start of 'Guns And The Young'. It almost seems awkward to have the Bosstones delivering a serious message. Aren't these guys just about partying and ripping through their unique blend of ska-punk-rock? Nevertheless, a very excellent outing and definitely the first album I would recommend to anyone wanting to try into the Bosstones of anything labeled ska-core.

1. Awfully Quiet
2. Where'd You Go
3. Dr. D
4. It Can't Hurt
5. What's At Stake
6. Cowboy Coffee
7. I'll Drink To That
8. Guns And The Young
9. He's Back
10. Bad In Plaid
11. They Came To Boston
Bonus Tracks
Where'd You Go E.P.
12. Sweet Emotion
13. Enter Sandman
14. Do Something Crazy
15. Ain't Talkin' 'Bout Love

LOFOFORA

LOFOFORA
PEUH! (1996)
320 KBPS

While they were intensively touring, setting the recordings for their own label (Sriracha Rose), the Parisian proto-metalcore band Lofofora recorded this tasty second album. I won't comment long on this bad boy, if you want something that hits hard while still displaying melodies and fun, Peuh! is not to be missed! While their debut album was sometimes clumsy, here, all seems to fall into place. The riffs are aggressive but manage to build on nicely on the melodies and, with the collaboration with Ekova for a long and breathtaking piece of work, a Berurier Noir cover (Vive le Feu) and a top notch production, Peuh! has everything to content and entertain the listener. A must hear.

1. Jazz Trash Assassin
2. La Chute
3. Amnes' History
4. Envie de Tuer
5. Mental Urbain
6. Bon à Rien
7. Macho Blues
8. Intox Populi
9. Arrache
10. Le Pendu
11. Vice et Rale
12. Vive le Feu
13. Shiva Funk Special Ekova Flavour (feat. Ekova)

TIDAL

TIDAL
MOMENT (2001)
320 KBPS

Whatever you're going to call these 7 songs, it will be anything but average. This is not just an-other trendy emo-screamo-hardcore band. El colectivo TIDAL manages to ban 30 minutes of music on this disc in a blend so unique and touching that you can't just ignore it. The mixture makes this so special. Calm parts reminding of lying on a lonely beach in the Caribbean are interrupted by nervously driving riffs, and from time to time the vocalist starts to sing and the guitars play melodies so urgent and touching that you'll be left entirely stripped and exhausted after listening. All bands you could come up with as comparisons could never even closely describe the complexity of this piece of music. That said, if you like the bands that created the genre of Emo-HC in the mid 90s, and those with the Spock haircuts, you shall like this too.

1. A Dancer's Smile
2. Elcol.
3. Hunger Trotz & Lüge
4. Kälte
5. Moment
6. The Cycle
7. We Are Out Of Step

SNAPCASE

SNAPCASE
DESIGNS FOR AUTOMOTION (2000)
320 KBPS

Snapcase never got the recognizition they deserved. This album brings the pain it is so amazing the riffs that they spew out in each of thier songs. I actually like thier message too, something that a lot of people find unorginal. But think about it, how many bands actually tell you to think for yourself? How many bands tell you that you are your own hero, that you are your leader? So many bands preach that they are correct, that everyone else should eat their crap they are correct. So many bands take thier word for gospel, but then there is Snapcase. I learned so much from these guys (and I always am apprehensive about the things bands say). They have a great message, an almost perfect message. So while many bands claim to carry profound messages, Snapcase go on and speak thier minds. No preaching, all they do is ask "are you who you think you are?" An amazing record.

1. Target
2. Disconnector
3. Bleeding Orange
4. Typecast Modulator
5. Are You Tuned In?
6. 20th Nervous Breakdown
7. Energy Dome
8. Ambition Now
9. Break The Static
10. Blemish
11. Box Seat

JR EWING

JR EWING
THE PERFECT DRAMA (2002)
320 KBPS

Norway's premier indierock/hardcore band met all expectations that people created after their now to be considered classic debut album “Calling in dead”. “The perfect drama” CD rocks harder than their previous work. Still walking the fine line of energy fueled indie/rock and raw punk assault JR EWING set the new standards in the European underground. “The perfect drama” takes a step in the direction towards The MURDER CITY DEVILS or AT THE DRIVE IN without sounding washed out. JR EWING are constantly touring with names such as PRETTY GIRLS MAKE GRAVES, THE LOCUST, DAS OATH, TURBO NEGRO, THE MARS VOLTA. As different as all these bands are, JR EWING manages to cross over to all these crowds.

1. 1st Class Suicide
2. The Ludovico Technique
3. A Case Of Evacuation
4. Untitled
5. Delicate Checkout
6. Nickels For (Your) Pity
7. Lights On, Stereo

MURPHY'S LAW

MURPHY'S LAW
MURPHY'S LAW (1986) + BACK WITH A BONG! (1989)
320 KBPS

Riding the fine line between obnoxious skatepunk and sodden metal, Murphy's Law came out of New York City's mid-'80s hardcore scene and formed in Astoria, Queens, around vocalist Jimmy Gestapo, but the group's frequently shifting lineup also included guitarists Todd Youth, Alex Morris, and Jack Flanagan; bassists Pete Martinez, Chuck Valle, and Dean; and drummers Doug E. Beans and Eric Arce. The group's self-titled debut, released on Profile in 1986, contained the usual '80s subjects (boredom, alienation, weed, beer, etc.), but the songs were definitely there, and Murphy's Law improved even more with their second album, 1989's Back with a Bong!
This two-fer combines Murphy's Law's self-titled debut — probably their loudest, snottiest effort — with their 1989 follow-up, Back with a Bong! The latter isn't any heavier on political content — song titles like "Panty Raid," "Cavity Creeps" and "Attack of the Killer Beers" underscore the fact that wild, irreverent fun is the primarily goal of these Astoria residents.

1. Murphy's Law
2. California Pipeline
3. Sit Home and Rot
4. Fun
5. Beer
6. Wahoo Day
7. Crucial Bar-B-Q
8. Day in the Life
9. Care Bear
10. Ilsa
11. Skinhead Rebel
12. I Got a Right
13. Intro
14. Panty Raid
15. Yahoo!
16. Attack of the Killer Beers
17. Cavity Creeps
18. Ska Song
19. Quest for Herbs
20. American Rules
21. Rage
22. Wall of Death
23. Sceret Agent S.K.I.N.
24. Push Comes to Shove
25. Bong

THE BEST OF TIMES (1991)
320 KBPS

New York '80s hardcore goofballs Murphy's Law usher in the '90s with a reinvigorated blast of their debauchery-laced brand of comedic punk. Stylistically, Murphy's Law makes quite a jump on The Best of Times. The band did dabble in skacore long before it exploded, but was always pretty much a flat-out hardcore unit in the '80s. The Best of Times finds Jimmy Gestapo and friends combining funk, reggae, ska, and hardcore into their own distinct brew, shedding any dogmatic restrictions applied to their ilk in the '80s. Production by Fishbone's John "Norwood" Fisher and Philip "Fish" Fisher lends authenticity and diversity to The Best of Times, as does the added instrumentation by several members of Fishbone. The result is a more versatile version of Murphy's Law at the prime of the band's fun-focused glory. Covers of James Brown and Stevie Wonder provide some insight into Murphy's Law's sometimes controversial and misunderstood affiliation with the skinhead faction, finally putting to rest any allegations that racism or fascism have anything to do with the band's outlook. Although the group manages to shed this stereotype and expand musically on The Best of Times, the subject matter doesn't otherwise stray too far from earlier work. Songs about pot, beer, girls, and cars showcase the glorious immaturity and quest for fun that pretty much define Murphy's Law. When the band does get serious, which isn't very often, it's in the interest of unity and friendship. The title track is basically a fan tribute, thanking a small but loyal group of followers for the support that's enabled Murphy's Law to continue the party. The ska-tinged but heavy "1%" revels in the outcast-minded punk rock ethos, giving nod to those who embrace the good and bad of surfing the fringe of culture and society. Classic Murphy's Law rage surfaces on "Harder Than Who," an attack on the mindless aggression and competition that sometimes rule the hardcore scene. On the whole, The Best of Times lives up to its title, with Murphy's Law celebrating its dedication to the band's fans, friends, and music, while maintaining the edge that gave the group its NYC hardcore credibility.

1. Intro
2. The Best of Times
3. Big Spliff
4. Freaktown
5. Tight
6. Did You Play War?
7. Ebony and Ivory
8. Harder Than Who?
9. Car Song
10. Beer Bath
11. Santa's Got a Brand New Bag
12. 1%
13. Burnt Toast
14. Hemp for Victory

GOOD FOR NOW (1995)
320 KBPS
1. Good for Now
2. Stay Gold
3. Little Pin Eyes
4. Crucial Bar-B-Q
5. Blazing Chalice

MINOR THREAT

MINOR THREAT
COMPLETE DISCOGRAPHY (1989)
320 KBPS

Complete Discography compiles Minor Threat's entire body of recordings on a single compact disc. Hardcore, as a rule, wasn't particularly musically diverse, but Minor Threat were one of the genre's groundbreaking acts and their music has held up better than most of their contemporaries. As the de facto leaders of the Washington, D.C., hardcore scene, the band pioneered the straight-edge mentality by emphasizing impossibly fast tempos, brief songs, political lyrics, and a drug- and alcohol-free lifestyle. Besides setting the precedent for several generations of punk rockers with their music and ideals, Minor Threat were simply a better band than most hardcore groups. They had a tight, distinctive sound that wasn't as heavy as their Californian counterparts and, therefore, were often more bracing and effective. Although some of the music on Complete Discography, like much of hardcore in general, hasn't aged particularly well — with its cheap production, rigid song structures, and political concerns, it is very much a piece of the early '80s — the sound remains invigorating; the band possessed a visceral energy matched by only a handful of their peers. Complete Discography, in fact, is not only one of the cornerstones of any hardcore collection, it's not a bad way to become acquainted with hardcore.

1. Filler
2. I Don't Wanna Hear It
3. Seeing Red
4. Straight Edge
5. Small Man, Big Mouth
6. Screaming at a Wall
7. Bottled Violence
8. Minor Threat
9. Stand Up
10. 12XU
11. In My Eyes
12. Out of Step (With the World)
13. Guilty of Being White
14. (I'm Not Your) Steppin' Stone
15. Betray
16. It Follows
17. Think Again
18. Look Back and Laugh
19. Sob Story
20. No Reason
21. Little Friend
22. Out of Step
23. Cashing In
24. Stumped
25. Good Guys (Don't Wear White)
26. Salad Days

JELLO BIAFRA WITH THE MELVINS [REPOST]

JELLO BIAFRA
WITH THE MELVINS
NEVER BREATHE WHAT YOU CAN'T SEE (2004)
320 KBPS

I have to admit that I was really nervous playing this CD at first because I have high expectations for such an all-star pairing. I shouldn't have worried because "Never Breathe..." had all of the dynamic, high-octane noise-punk I've come to expect from these guys. It's a thrill to hear both parties come up with new music that's just as exciting as their earlier work.
The Melvins have always been amazing, but I've especially appreciated their newer albums like "Hostile Ambient Takeover." That one served notice that they're still decimating everything in sight. This newest outing launches a similar all-out approach, but King Buzzo & company purposefully play more noticeably "standard" (for them!) hardcore punk-influenced structures. That's no insult, however, and this really brought to mind mid-period Black Flag combined with the Dead Kennedys' progressive "Frankenchrist"-style songs. This puppy is LOUD and non-stop.
As for Jello, he provides his always great song topics (probably the one songwriter whose lyric sheet I read front-to-back) with his classic voice, and he's as enthusiastic as he was with his '90s collaborations. In particular, it's on par (maybe even better: still haven't decided yet) with the muscular post-hardcore album he did with Nomeansno back in 1991, but with the real abrasive Lard edge. "Yuppie Cadillac" is the track I keep playing over and over, but the entire disc is really strong, and my other favorites are "McGruff the Crime Dog" and the slam-into-a-wall, sludgy closer "Dawn of the Locusts."
If you're a fan of either artist, this is a great album which you shouldn't hesitate to pick up. This and the Melvins' earlier CD with Lustmord are easily my two favorite albums of 2004, and Jello's really picking up where he left off with Lard's "Pure Chewing Satisfaction." This CD is a dream pairing, and if you like your music edgy and challenging, definitely check it out!

1. Plethysmograph
2. McGruff The Crime Dog
3. Yuppie Cadillac
4. Islamic Bomb
5. The Lighter Side Of Global Terrorism
6. Caped Crusader
7. Enchanted Thoughtfist
8. Dawn Of The Locusts

BAD BRAINS

BAD BRAINS
RISE (1993)
320 KBPS

Rise is the fifth full-length studio album by hardcore punk pioneers Bad Brains. It is the first Bad Brains album to be released on a major label (Epic Records) and is notable for the absence of two original members: Here, a young Israel Joseph I replaces vocalist H.R. and Cro-Mags drummer Mackie Jayson, who was a session musician on the band's previous album Quickness, replaces drummer Earl Hudson.
The album was released in the wake of a number of funk/rock acts whose sounds recalled the latter work of Bad Brains. Unfortunately for Bad Brains and several of these pioneering rap/funk/metal bands of the early 1990s, the Seattle grunge movement of 1992 had taken over the music industry, leaving Bad Brains without a record contract by the beginning of 1994.

1. Rise
2. Miss Freedom
3. Unidentified
4. Love Is the Answer
5. Free
6. Hair
7. Coming in Numbers
8. Yes Jah
9. Take Your Time
10. Peace of Mind
11. Without You/Outro

ROLLINS BAND

ROLLINS BAND
GET SOME GO AGAIN (2000)
320 KBPS

Nearing mid-life and showing no signs of cooling down, Henry Rollins - he of semi-truck tire neck, bulldog brows and philosophical comedy rants (oh, and former vocalist for hardcore punk vibratos Black Flag) - takes his aging with a steady dose of black back-to-basics, thanks to accompaniment from California punks Mother Superior (a wild bunch that includes old axe-swingers from Thin Lizzy and The MC5). Literaryily speaking, Rollins' saber-toothed righteousness is at full steam, chewing pitilessly through a host of mod social issues (macho stupidity, domestic violence, the failings of love, physical frailty, inner strength, er... scented candles?). But the thrash-a-millisecond verve of his past has been tightened to taut focus; crunching and heaving power rock as synchronized, menacing and purposeful as the approaching footsteps of a hungry Tyrannosaurus Rex. It's rockin' post-punk for aging fellers sans buffoonery, full of noncognito classic rock sturm and drang finessed with potent arena riffing as relentless as shellfire in a military target practice and scented with a sour spritz of Black Sabbath simplicity. Rarely does any of it sound remotely like anything else in the hard rock dungeon, that it is, it ignores all the trappings of mod-metal, qualifying GSGA as mindless jackhammering punk/metal at it's smartest.

1. Illumination
2. Get Some Go Again
3. Monster
4. Love's So Heavy
5. Thinking Cap
6. Change It Up
7. I Go Day Glo
8. Are You Ready?
9. On the Day
10. You Let Yourself Down
11. Brother Interior
12. Hotter and Hotter
13. Illuminator
14. Money Train

THRICE

THRICE
THE ARTIST IN THE AMBULANCE (2003)
320 KBPS

I've been listening to Thrice for a long time, since I picked up a used copy of "Identity Crisis" just after it came out. While I thought their first album was pretty good, these guys have gotten better and better over their short career. "The Artist in the Ambulance," their third album (and first on Island Records), continues the upward trajectory. Thrice combines melody and metal better than most other bands, throwing melodic vocals up against hardcore breakdowns and chugging metal riffs. Singer Dustin Kensrue is capable of letting out some intense screams, too. This is definitely one of the better hardcore/emo/punk/whatever records of the past few years.

1. Cold Cash And Cold Hearts
2. Under A Killing Moon
3. All That's Left
4. Silhouette
5. Stare At The Sun
6. Paper Tigers
7. Hoods On Peregrine
8. The Melting Point Of Wax
9. Blood Clots And Black Holes
10. The Artist In The Ambulance
11. The Abolition Of Man
12. Don't Tell And We Won't Ask