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Oi! The Album

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Burial from Scarborough show a lot of promise though on the jumping ska beat of Old Man’s Poison and the more punky Friday Night, though they had gone far more pop-orientated by the time of their sole album A Day On The Town in 1988. I feel that Bushell is a bit harsh in the sleeve note on Garry Johnson’ set closer If Looks Could Kill, granted he didn’t quite have the singing voice to pull off a piano ballad, but fair play to him for trying something different. Overall The Oi! Of Sex wasn’t quite strong enough to spawn any subsequent Oi albums, so that was that.

The latter were the real catalyst behind Oi! and, rightly, this opens with their bruising, joyous stomper, Oi! Oi! Oi! Blitz were really on the rise at the time and both Nation On Fire and Youth are simple but very powerful statements. I think it is fair to say Peter & The Test Tube Babies contributions are a bit more problematic this time round and though the Ejected would go on to record the minimalist classic Have You Got 10p, their two offerings here East End Kids and What Am I Gonna Do are decent shoutalongs and nothing more. The album became the first in a series, followed by Strength Thru Oi! ( Oi 2, 1981), Carry On Oi! ( Oi 3!, 1981), Oi! Oi! That's Yer Lot! ( Oi/4, 1982), Son of Oi! (1983) and The Oi! of Sex (1984). France’s Lion’s Law (“Pathfinder”) and Germany’s Stomper 98 (“Bessere Zeiten”) give a little international flavor to this mostly English and American comp. Crashed Out provide another standout, “Against All Odds”, and European festival favorites Gimp Fist supply “One Shot”. Detailed liner notes by label boss Captain Oi! give the inside story behind each of the seven albums.When Oi! The Album came out in 1980, it went a long way toward legitimizing the growing streetpunk movement. It chronicled a new breed of working class punks who carried on the rebellious spirit when punk’s first wave disintegrated. They embraced a blue collar ethic and rejected the fashion and artsy-fartsy tendencies of the class of ‘77. Interesting that this various artists compilation that quite literally gave birth to the punk subgenre of "Oi!" would not be nearly as definitive an introduction to the style, especially compared to it's two successors, Strength Thru Oi! and Carry on Oi!!. Then I suppose this could be expected, as compiler Gary Bushell's initial intentions were never to create a new genre, but rather give a glimpse of the United Kingdom's working class punk groups, especially at a time when the 77 punk explosion was dying down and/or being cleaned up and marketed as "new wave". It was the beginning of the end for the movement really, as from now on the press painted all skinheads as National Front supporters (which wasn’t true). EVERY album from 1981s Oi The Album right through to 1984s Oi Of Sex are faithfully recreated with the original artwork and remastered to produce the best audio quality available.

If ever a genre of music really didn’t help itself, it was Oi!, the working class strain of punk which emerged at the tail end of the ’70s. Where the original punk music had been born in art schools, Oi! came from the rough-arsed council estates and football terraces.


To celebrate the 40th anniversary of Oi! The Album, Garry Bushell curated Oi! 40 Years Untamed. This new volume walks a tightrope between the old school and more modern acts. All but a couple of the songs are brand new or previously unreleased. Still, no matter how you slice it, the big stories and highlights here revolve around a couple of legacy acts. Garry Bushell, a columnist with the then-influential weekly music paper Sounds, coined the phrase “Oi!” (after a familiar London greeting) to describe what he called a new breed of punk, and although his intentions were good, it all went wrong, in spectacular fashion.

Many items are no longer available so please don’t ask us for a copy! If its still available it will be in the main online shop under CD or Vinyl etc COMPACT DISCS

Oi! didn’t do itself any favours, with song titles and lyrics frequently glorifying violence, which might have been the reality of life on the estates the bands came from, but played into the hands of the tabloid press.

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