Best Punk Album in World Ever V.2

Product Information

This volume features repeats of songs featured in previous volumes from the series; The Stone Roses' "What The World Is Waiting For" featured on Volume 3, and Mansun's "Wide Open Space" featured on Volume 5, although the version of "Wide Open Space" here is a remix by Paul Oakenfold.

The Dead Boys could easily have been one of the bands of their generation. Frontman Stiv Bators should have been punk’s poster boy. But, somewhere along the line, it all went wrong. Volume 3 was released November 2003. Intended to be "the last Air guitar album in the world... ever!" according to the liner notes, there was later a "best of the best" album. Volume 3 featured a rare recording of the Pink Floyd song " Have a Cigar" by the Foo Fighters with Brian May. Queen's " Now I'm Here" also featured. The liner notes feature small quotes about each song/artist by May. Volumes 1 & 2 also did this, but focused mainly on the guitarist, rather than the song. Sadly, the band imploded under a cloud of misbehaviour, violence and a sophomore album flop in 1979, and we never got to find out how great they really could have been. Every album from the first volume to The Best Club Anthems 2003 was digitally mixed. Starting with The Very Best Club Anthems ...Ever!, The songs were unmixed. Another identical release has "Printed in the UK", "Made in Holland" and has SID Codes is here: The Best Punk Album In The World...Ever!.EMI, Chrysalis, Polygram, Polydor, Phonogram, A&M, Warner Music, Sony Music, Castle Communications, Demon, Bright Music, Trojan and Templemill Music. The Prodigy are credited as simply 'Prodigy'. The Chemical Brothers are credited as simply 'Chemical Brothers'. The concept of the album is similar to the Harmless collections and to BMG Global TV's Blaxplotation album series. The Clash articulated the frustrations of working class kids in a way that the chin-stroking protest pop of previous generations couldn’t hope to, in a way that was more inclusive than the fury of the Pistols or the Damned’s goth theatre. (And, yeah genius, we know the irony: Joe Strummer went to a private boarding school and his father was a top diplomat. Hate to break it to you but David Bowie wasn’t really a spaceman, Tom Waits wasn’t a hobo and Ice-T didn’t really kill cops.) The holy trinity of punk were so perfectly formed in 1977 that it’s hard to imagine the scene without any one of them. The Pistols: searing and sneering, nihilistic and iconic (the artwork, the clothes). The Damned: the court jesters. Daft, tough, Tiswas-anarchic, a British Stooges/MC5. And The Clash: the guttersnipes and street punks, the voice you could relate to, and without whom it’s hard to imagine The Jam, Stiff Little Fingers, Sham 69 or Generation X, let alone Green Day, Rancid, or maybe even U2.

If this had been called 'The Best New Wave Album in the World...Ever! Vol. 1' it would have made more sense because it's a very decent collection of New Wave music, with just a sprinkle of Post Punk, and a pinch of punk for seasoning. There's a few real gems here too - Spizzenergi's 'Where's Captain Kirk?', X-Ray Spex 'The Day the World Turned Day-Glo', Bow Wow Wow's 'I Want Candy', John Cooper Clarke's epic 'Beasley Street' and Wires great hit-that-never-was, 'Outdoor Miner'! None of those are punk though they're powered by the same energy and attitudes that inspired punk. Why it was so influential: Without Elastica’s Justine Frischmann we might not have M.I.A – they lived together post-Elastica and the vocalist became something of a mentor, earning co-writing credit’s on M.I.A’s 2003 debut album ‘Arular’. Interpol, ‘Turn On The Bright Lights’ (2002) Many of the albums in the series were compiled by Ashley Abram. [ citation needed] History [ edit ] Why it was so influential: Gang of Four’s kid-in-a-sweet-shop approach to genre – snatching up elements of disco, funk and dub – didn’t just shape post-punk’s scattershot approach. ‘Entertainment! also influenced everything from rap to grunge: Kurt Cobain once said that Nirvana began as a partial rip-off of Gang of Four. Joy Division, ‘Unknown Pleasures’ (1979) Even 40 years later, this is a divisive album. The bottom half of the internet will light up at the merest suggestion of its name. There are still plenty who believe that the Sex Pistols were a mere construct, a prototype Take That fashioned simply to sell unfortunate trousers, and that their solitary album of original material was, well, just an album; unsophisticated, iconoclastic, raw, but a bit of a paper tiger.

Statistics

The greatest punk album of all time was made by a band trying to escape punk. Not its intent, force or even attitude, but its implied restrictions and captivity by fundamentalists. The Clash had gently expanded their scope on their second album Give ‘Em Enough Rope, but on London Calling they blew everything apart: styles, dynamics, vantage point and subject matter. In 2004, a 1-disc edited version of the first volume was released to unknown ventures with different artwork. At the time, punk wasn’t that well known in Derry,” reflects guitarist John O’Neill. “We had a core following of 50 people or so, but apart from that we were treated with a lot of suspicion.” The Best Air Guitar Album in the World...Ever!, referred to in retrospect as Air Guitar I, released 5 November 2001, was compiled by Brian May. A sequel was released in November 2002 and another in November 2003, the latter proclaiming itself to be the last Air Guitar Album in the World...Ever!. Both sequels were again compiled by Brian May. In 2005, a 3CD The Best of the Best Air Guitar Album in the World...Ever! was released. Whilst Air Guitar III proclaimed to be the final volume, the liner notes written by May in The Best of the Best start with "OK, we lied." The series was immensely popular, and most of the volumes performed well in the compilation charts, with some even making number one. The series started to become subject to popular culture parodies, such as spoof band Shirehorses titling their first album from 1997 The worst...album in the world...ever...EVER!. Blur, who appeared on some of the albums in the series, were originally going to title their 2000 compilation Blur: The Best of as Best Blur Album in the World Ever.

This is, however, an opinion that disregards all available evidence, because what we have here is not only the best punk album ever made, but it’s also one of the most powerful, enduringly influential and complete recorded statements crafted in any genre. Disagree? Go tell it to your religious fundamentalist flat-earth brethren, because you’re wrong. It’s true that Idol couldn’t keep his predilection for pop under wraps for long – a fact adeptly displayed by Generation X becoming one of the first UK punk bands to appear on Top Of The Pops in late ‘77. Not long after, the band’s descent into obscurity began. Idol fixed his eyes on the bright lights and departed for the charts in 1979. At their peak, Elastica had to put up with a lot of sexist bullshit – namely accusations that they owed their success to vocalist Justine Frischmann’s past relationships (earlier in the ’90s she dated both her Suede bandmate Brett Anderson and Blur’s Damon Albarn). The band were also lumped in with various Britpop bands dominating music at the time, despite the fact that Elastica share far more in common with pop-leaning Talking Heads and Wire at their spiniest. And their self-titled classic album is post-punk revivalism at its finest – as well as a venomous middle finger slung in the direction of people too stupid to underestimate them.In 2003, the success of Volume 1 meant the album was released in the US by Hollywood Records. It was given the new name World's Greatest Air Guitar Album. The album cover featured the same image, but was moved, alongside the new album text. This is a double CD album of various Christmas music, originally released in 1996. In 2000, a new edition was released, The Best Christmas Album in the World... Ever! (new edition). Why it was so influential: Parquet Courts’ breakthrough moment was so distinctive that it accidentally spawned an entire genre of bands who ‘sound a bit like Parquet Courts’. Savages, ‘Silence Yourself’ (2013) Despite the first volume only entering at #5, it achieved at least Gold status, whilst the second volume received Platinum status. I don’t give a shit that Raw Power didn’t make our top spot: If punk is about spewing bile at musical norms, than this album is more punk than any release, by any band, will ever be. Raw Power is eight songs of the filthiest guitar-based music made by American musicians, in any genre. Christ, even “Gimme Danger,” a pop song in many ways, sounds menacing and eventually lapses into chaos.

If The Clash never really disavowed White Riot, they also never recorded anything like it again. It split the audience and ultimately split the band too. Why it was so influential: It’s really impossible to overstate the effect that ‘The Scream’ had on gothic-minded groups like The Cure, Echo and the Bunnymen, and Psychedelic Furs – all post-punk purveyors in their own right. The Fall, ‘Live at the Witch Trials’ (1979)In NMTB producer Chris Thomas, the Pistols found their Visconti. Their savant genius was already there – all they needed was an interpreter to translate passion into the language of vinyl, and here it was. A titanic wall of guitars, The Stooges Spectorised, the Dolls Anglicised and John Lydon distilling a lost, dismissed and disenfranchised generation’s directionless, nihilistic fury into succinct spitballs of vented spleen as intense, uncompromising and affecting as any dead poetry. They didn’t know it at the time, but the Misfits would be the bridge between the US punk scene and its younger, gnarlier brother, hardcore. They muscled onto bills at CBGBs, the ground zero of New York punk; they’d take the stage at 3am to a roomful of strung-out scenesters. In 2005, the series returned with a 3-CD album titled The Best of the Best Air Guitar Albums in the World Ever. Due to the fact volume 3 claimed to be the last volume, the liner notes (written by Brian May) note "OK, we lied". Most of the songs had already appeared on volumes 1, 2 & 3, but there were some which didn't, such as The Darkness' " I Believe in a Thing Called Love" and an exclusive Queen + Paul Rodgers live performance of " Fat Bottomed Girls". Legend goes that the boys were ready to release a single album that would follow in the tradition of their previous work. However, after hearing Husker Du’s double album Zen Arcade they reentered the studio so overflowing with creativity an entire second side was born. That scattershot mess of ideas ultimately serves as the perfect representation of what punk can and should be. Free from constraint, full color and grey, angry and joyous. Punk’s past, present, and future is all here. Traditionally dismissed by a derisory media, Sham 69 have been effectively excised from punk history. It’s not as if they didn’t sell records (a consecutive run of irresistibly hooked late-70s chart singles that left punk contemporaries such as The Clash, Damned and Jam choking on their dust) or become influential (the classic Sham template continues to define today’s street-punk). The truth is that Sham 69 were always just a little too uncomfortably authentic for an essentially middle-class, largely metropolitan music press. As Sham’s vocalist Jimmy Pursey so eloquently nailed it in his lyrics to their breakthrough Angels With Dirty Faces hit: ‘ We’re the people you don’t wanna know, we come from places you don’t wanna go.’