American Hardcore tracklist

[Dutchman]

Maybe part of the reason 'Nic Fit' is on there is because a million people own Sonic Youth's cover version of it and have never heard the original so why not?

If Philly's gotta be represented why wouldn't you use F.O.D., who not only are probably still going but had a more unique sound than YDI anyway.

Cro-Mags but no Agnostic Front?  I agree, that's really backward--shit, they coulda/shouda put a Heart Attack track on there since Jesse Malin has gone on to some solo success and HA never wrote a bad song.

'Brickwall' is practically a throwaway track for Big Boys--the shortest, most non-descript thing they ever recorded and not really representative of everything they were at all, I'd say.  Christ, 'We're Not In It To Lose' is practically the greatest anthem ever written about punk rock.

No Zero Boys OR Toxic Reasons?  No JFA?  No Suicidal Tendencies?  No C.O.C.?  It's a great track listing overall but I think these bands were definitely big enough to have been included.

-Ryan

[goneoffdatlean]

Bad Brains is what influenced Minor Threat and Heart Attack(who I likve) have a number of not good songs.

[SSR]

The flaws in these kinds of retrospectives are the result of one of two things: 1 the skill/knowledge of the compiler or 2. what they can liscense.  The reason early KBD & Bloodstains comps are so good is because they are bootlegs and no one went through the process of contacting the labels and/or bands to get permission to rerelease the stuff. Rhino has to liscense all the songs on their releases and if they cant get permission they cant release it. All it takes is one band member saying no or thinking they are due $10,000 for their track and you can say goodbye to let us guess the Misfits. Or perhaps the original label has a deal with someone else that prohibits them from liscensing songs by a certain band. On that level things get difficult.

Soul Jazz does plenty of retrospective comps and the ones that are good are the ones that they've liscensed good stuff for. The New Orleans funk comps are great. The Philly soul comps have serious flaws because they couldnt get any Gamble & Huff stuff or Philadelphia International. The NY salsa comps are really spotty because they didnt get the rights to Fania, Cotique, or Tico (which is like doing a LA 77 punk comp without permission to use music on Slash, What, and Dangerfield). 

I am sure everyone of us could list a 30 song US HC comp that would kill but I doubt any of us could get the rights to all the songs. It is pretty amazing that Rhino was able to get all the shit they got, especially any of the stuff that was on Frontier and the Bad Brains cuts - crazy people all of them.

[goneoffdatlean]

I'd like to see a hardcore comp that Steve compiles.

Dangerfield?  Rodney loved the Bags....Avengers too.

[Jared]

I'd like to see a hardcore comp that Steve compiles.

Me too.

I think it's great that the Middle Class made it on here.  And in all your bitching about absentees, how have none of you fuckers mentioned VOID or Angry Samoans or the Dicks?

[SSR]

Voids is on there.

[Jared]

...well I'll be... how I missed that I don't know.

[rr]

Yup, and I'd say the Samoans are more straight up punk than hardcore - especially according to the book.  Samoans hated any association with HC that they got for their 2nd LP.

Despite the Midwest gripe and no Poison Idea (Necros and Zero Boys are sadly missing as has been noted) - it's actually pretty surprising how many things this comp got right for being a major release associated with a movie - and as Scott mentioned, having to deal with licensing issues.  Void, Kreuzen, Jerrys Kids, etc, etc. 

And yeah The Dicks probably should've make it on....JFA....eh, love the band - but not sure they're really that important.  same with FOD. 

The best compliment this comp could get is that it isn't totally getting torn apart here - we could all nitpick all day, but really, this thing wasn't made for anyone who reads this board anyhow.  well maybe for steve....(sorry couldnt resist, troy made the first joke)

[erickelric]

Yeah, and "I Was a Teenage Fuck-up"!

[rr]

Yeah, exactly, that was an unexpected but nice choice.

[Maltodextrin]

The flaws in these kinds of retrospectives are the result of one of two things: 1 the skill/knowledge of the compiler or 2. what they can liscense.  The reason early KBD & Bloodstains comps are so good is because they are bootlegs and no one went through the process of contacting the labels and/or bands to get permission to rerelease the stuff. Rhino has to liscense all the songs on their releases and if they cant get permission they cant release it. All it takes is one band member saying no or thinking they are due $10,000 for their track and you can say goodbye to let us guess the Misfits. Or perhaps the original label has a deal with someone else that prohibits them from liscensing songs by a certain band. On that level things get difficult.

Soul Jazz does plenty of retrospective comps and the ones that are good are the ones that they've liscensed good stuff for. The New Orleans funk comps are great. The Philly soul comps have serious flaws because they couldnt get any Gamble & Huff stuff or Philadelphia International. The NY salsa comps are really spotty because they didnt get the rights to Fania, Cotique, or Tico (which is like doing a LA 77 punk comp without permission to use music on Slash, What, and Dangerfield). 

I am sure everyone of us could list a 30 song US HC comp that would kill but I doubt any of us could get the rights to all the songs. It is pretty amazing that Rhino was able to get all the shit they got, especially any of the stuff that was on Frontier and the Bad Brains cuts - crazy people all of them.

The other thing to keep in ind is that this is meant as companion to a film-- so if someone from the Untouchables is interviewed, or a bunch of other early harDCore punks keep citing Untouchables as the band that really influenced them, then it makes sense to keep them.   A band's rep a quarter century later, or the quality of their recordings in context of hindsight, doesn't necessarily indicate their importance as these things were happening, which had just as much to do with timing, luck, the dedication/charisma of the members or their live power.

[Maltodextrin]

Yup, and I'd say the Samoans are more straight up punk than hardcore - especially according to the book.  Samoans hated any association with HC that they got for their 2nd LP.

I definitely disagree with this.  I've read members talk quite proudly of the fact that they put out one of the best HARDCORE records ever-- and "Back from Samoa" is, in the most elemental musical sense, as definitive a hardcore record as has ever existed.

[steve]

I'd like to see a hardcore comp that Steve compiles.

Dangerfield?  Rodney loved the Bags....Avengers too.

Actually, I've got it on good authority that Rodney was more into Black Randy than anyone else on Dangerfield Records.

As for the first part of your question, your wish is my command.

STEVE'S HARDCORE COMP: IE THE ONLY HARDCORE SONGS STEVE WANTS TO OWN

1) Middle Class "Out of Vouge" EP
2) Rhino 39 first side of the first 7"
3) Black Flag "Nervous Breakdown" + "Jealous Again" EPs. I like most of Damaged too, but I don't think it would fit.
4) Circle Jerks "Deny Everything" (this is the only song by them I wish I still owned)
5) Bad Brains - Umm, something brutal from the first LP. Like "I Luv I Jah" or "Jah Calling."
6) Fix "In This Town" and the other song from that single.


That's it. Also keep in mind that I've only actually heard like half of the bands that are on the real comp being discussed here. I'm not spending my money on a genre that usually bores me when there's so much stuff I know I will like that I can't afford.

[steve]

Oh, I like the Stalin too.

[SinglesGoingSteady]

Rhino's comps are usually excellent. I think if there are any oversights (like the DKs, Misfits, etc) it is due to not being able to nail the rights.

I would assume so, I know that's why The Clash weren't on the "Anarchy in the UK" DIY compiliation.