Over the last 27 years, some of the biggest names in punk have trusted a bare-bones space in Fort Collins, Colorado to record, mix, and master their stuff.
Perhaps the band’s most melodic release, forgoing much of their past attack-based hardcore in exchange for sweet hooks. Catchy, driving, motivational tunes.
Hopefully, projects like Liberation will do damage control for all PETA’s frivolous lawsuits that mar the organization like spray paint on a mink stole.
It’s muscular, it’s pissed off at Middle America, it’s melodic like old school 7 Seconds and Agent Orange, it’s full-bodied, it’s fucking pure hardcore.
Good Riddance turn in a performance that puts their last three albums to shame. Though only four songs, their contributions are their heaviest tracks to date.
This comp and the tour that supported it brought some of the biggest names in underground music across the nation, raising donations and spreading good music.
The fifth edition in the Fat Music series. I recommend this sampler to anyone who quips that all Fat bands sound the same. That was a long time ago, loser.
A 14-song, 33 minute soundtrack to a snowboarding video and, for a change, not a bunch of songs you wonder how the hell anyone could ever snowboard to.
Despite my admiration for their work ethic, persistence, endurance, and outspoken philosophy, I just can’t get into their every-suburban town style of punk.
Oldies But Goodies is kind enough to include photos, logos, and addresses for all the bands involved, as well as listing who each song was made famous by.
Before You Were Punk coulda been another collection of the same hotshot punk bands covering silly songs from a decade many wish we could deny we were a part of.
I hate calling punk songs pretty, but sometimes Good Riddance comes close, and “A Credit to His Gender,” featuring Cinder Block (Tilt), is a perfect example.