- What can I say about reggae music, I was smitten back in 73 when I bought the MAYTALS album "Funky Kingston". Didn't think all that much about reggae music until, in 1977 Micheal Kowalski played a dub album for me that just blew my mind and I was completely nuts about the music again. He had played a crazy Lee Perry track and I went out and bought Augustus Pablo's "King Tuby's meets Rockers Uptown" which remains one of my all time favorite albums. Why Reggae? Well think about it. Reggae is the perect anctidote for too much of anything! to much loud fast punk. too much... well anything. the exact polar oposite of Punk. Based on the heart-beat reggae is good for what ails you. That's how it works for me anyway. If you want more I will tell you that in 1977 we didn't have much contemporary music to listen to, with the exception of a hand full (literally) of punk singles and then what?! Well, reggae was NOW reggae was true rebel music and reggae was fuckin' brilliant! The perfect "chill" music for any hard-core punk rocker. I remember Tony from the Dils saying that the punk "spike" doo was the "white mans equivalent to dreadlocks." sounded great to me! Fuck yea! Reggae's influence on me then is the same as it is on me today... reggae music is spiritual music. Punk rock was (is, almost without exception) strictly white man's music and we all need black music too! What were you gonna listen to, fuckin' disco!? Reggae is my music, from ska and blue-beat to ragga and dig-Ital. Rightious! Penelope has often mentioned that her formula to combat "stage-fright" was 2 gin and tonics. mine was to smoke a spliff, and after the first song I was "strait" again! sweated the shit right out! NO PROBLEM!
We never ever considered trying to play reggae ourselves as reggae is not (or so I thought at the time despite the clash's excellent version of "police and theives") a rock and roll idium. however a later "early" band, the OFFS, tried reggae style punk with pretty good results. the band that did it best (and one of my all time fave's) is of course the RUTS.
- Tony (Kinman from The Dils) played bass, with Jimmy on guitar, at some gigs in 1978, why was that?
- Sometime in early january 1979 Greg announced he was quiting. We were fighting about something in the rehearsal space when he just said, well, fuck-it I quit! We were shocked but pressure was taking it's toll already on our band. We were frustrated at having to play for the same audience gig after gig and without real help of any kind (we'd fired our manager for incompetence or something...) and I being a very pushy "leader" greg had simply had enough. He also met a new women whom we had never met, and Greg was allways the type of guy who had to have a dominating women in his life so we suspected she was behind his wanting out. Naturally we were devastated as Greg was an intregal member and the most "laid-back" member of the band. Besides being a truly brilliant and original guitar player and song-writer. I've had very little contact with him since. I blamed myself for his leaving until a couple of years ago when he explained it wasn't me but the whole damn AVENGERS thing and his frustration with Penelope's ego. We didn't know what to do and we almost broke up right then and there. Jimmy expressed his willingness to take over guitar duties and I wish he had BUT, a friend and former D.O.A. alumni named BRAD KUNT (Kent) phoned and said he heard we were looking for a new guitar player and that the AVENGERS were his favorite and and would we consider auditioning him for the job. I liked Brad alot and thought it was a great idea so he was in! I think Jimmy kinda resented the fact he didn't get to be the new guitar player and it was me who said yes to Brad. But we had a few gigs lined up when Greg walked out so Jimmy took over and Tony Kinman from the DILS said he'd play bass. I think we did 2 gigs with Tony on bass and Jimmy on guitar.
Brad was really excited about being in the AVENGERS and set out strait away writing songs with us - songs that for the most part never got properly finished because as much as we wanted to write new stuff with Brad he had to learn all the "old" stuff as well. It felt very much like starting a new band. It could have been the begining to something very good but unfortunatly we were all, at that point, starting to grow apart and the new guy only made it more apparent. Brad did a great job but something was definately missing in the chemestry and that's all there is to say about that. We gave it our all but ultimately it didn't work. At the time of Greg's departure we were still a very "young" band (year and a half at that point) and if you listen to live stuff available with Greg compared to the later live stuff with Brad you'll know what I mean. Chemestry is everything to a band. We lost ours when Greg left. Mabey we didn't give the "new" band a chance but what's done is done.
- Why did the Avengers break up?
- Jimmy was leaning towards his "fave" music rockabilly, and had aspirations to play guitar, whilst I was sorta interested in being the DIL's new drummer as they were , once again drummerless, and that left Penelope trying to keep things together after Greg's departure. and as previously mentioned, Greg's exit left us a tad depressed, as he simply split without even saying good-bye really. We started to disintigrate, so Brad's new role in the band was to inspire us to stay together and that is too much to dump on one individual - but he tried, he really tried! In fact we managed to hold out another 5 months but those months are kinda blury and the end felt imminent.. we finnaly called it a day in june of 79.
- According to Penelope you had already decided to split up, but still did the last 3 already booked gigs anyway? Wasn't that strange doing gigs when you knew it was over?
- I honestly don't remember those last few months. We had moved outa our North Beach abode to a sleazy Mission district industrial neigborhood and no one was very happy. I suppose we just said "yes" because we were not the type to cancel gig's that were already booked. We were a very proud band. We all knew we deserved better than we'd been given up to that point. David Fergusson (of the soon to be C.D presents ltd.) was trying to manage us at that point and we were all very skeptical of his intentions and they turned out to be not so honorable. Penelope has a song about him called "scum" and he certainly was but we were still green-eyed and trusting and... we NEVER should have had anything whatever to do with this low-life. Penelope has a song about him called "SCUM". nuff said!
- Did you compile the album relesed by CD Presents in 1983?
- David Fergusson approached me after I moved back to San Francisco. Sometime in 81 or 82 I don't remember, and asked me if we could put out an AVENGERS album. I seemed to have nearly all the existing tapes and what not and even though I was wary I desperately needed the money he offered to be the "executive producer". I had the backing of Jimmy so I didn't have to feel too gulty about doing it. We both signed the contract, which locked us in for "life" and I proceeded to sit in a studio somewhere in Frisco whilst we tried to re-mix the stuff which included recording the WE ARE THE ONE e.p. of a virgin single as DANGERHOUSE were unavailable or unwilling to send the tapes whatever. I was in such a state of heroin fog at that time in my life the whole sordid buisness is hardly even a memory. I did, however manage to put a half way decent document together which included the Steve Jones rough mixes and other demo's, plus 2 songs we recorded with Brad CORPUS CHRISTI and CHEAP TRAGEDIES plus a live rehearsal of a favorite cover MONEY and a very early live at the Mabuhay version of FUCK YOU an early favorite and the album worked. The cover was also conceived and layout chosen along with the photo's by me as well so it was my project. Penelope was in england doing a botched duet album with HOWARD DEVOTO on which she is heard (bairly) on one song and when she returned she fuckin' flipped. We've never been the same since. no one except me, for my "executive" expenses, ever saw any money from the release. We got totaly but fucked by mr. "scum".
- It was originally out on Go! Records, but most of these copies were destroyed or something?
- I know nothing about the GO RECORDS alternative cover. it remains a mystery to me even today. I do have a copy that was sent to me few years ago by Hector from the ZERO's otherwise I wouldn't even have known what it looked like. I didn't like it much. I (naturally) prefer the "pink" album cover. I'm sure the "alt." cover was some buisness scam on the part of mr. you know who.
- What is your fondest memories from your early punk days?
- The fondest memories are most definately the whole experience. The beginnings of PUNK was a unique point in time for all involved and the feeling of "this is exactly what must be done and we're gonna do it" was pre-imminent. It was a rightious feeling! and I'm very glad to have been a part of the whole thing. There are many funny and not-so-funny anctedotes to tell but... just getting a chance to see so many great bands back in the day was incredible. the DILS, the SLEEPERS, the ZERO's the MUTANTS. the WEIRDO's, NEGATIVE TREND, ALLEYCATS, X, GERMS, CONTROLLERS (Mad Dog Rules!), LIARS, DEADBEATS, D.O.A., the SCREAMERS, MIDDLE CLASS and early DEVO are amoungst my favorites. what can I say, I fuckin' love good music and believe it - PUNK was great music! the brilliant thing was that at the onset all the bands had their own sound and style. and women were very much a part of early PUNK. That was a BIG plus and as much as PENELOPE and I have our differences I am very proud of her accomplishments and I know she has influenced countless young women to follow suite. BELINDA CARLISLE, when we first met her, wanted to start an AVENGERS fan club. instead she started the GO GO's, a far superior project.
One of my favorite memories was driving up to Vancouver for the first time in early ' 78 to do a show with D.O.A. (...think we were the first Cali band to play Canada). Anyway, we're driving around looking for the venue and we finnally find it and park our van, and standing there to greet us is this very tuff looking biker-skinhead dude who extends his hand to shake ours and announces very seriously "Hi, I'm Joey Shithead, welcome to Vancouver!". Fucking brilliant! we had a blast playing Vancouver. That night after the show we all drove to Burnaby to party and jam in this house with no walls (?) a candle atop Jimmy's amp burnt down and set fire to the speaker cabinet but that didn't stop anyone from playin'. Almost burnt the place down! Loved playing Vancouver. Great fuckin' town!
- And your worst?
- My worst memories includes the demise of so many great bands. In England every "punk" band was being signed while in California the whole scene was virtually being ignored. It got to be too frustrating for alot of people and bands started to break-up and that was really too bad. It happened to us and countless others. Perserverence from tough second generation bands like BLACK FLAG travelling the country and tolerating all forms of disapointment and abuse deserve special props for making Punk happen in the U.S. On the other hand, the hard-core scene that followed in the wake of early U.S. punk virtually killed the female element and diversity of the early scene. Women were afraid to attend gigs cuz you litteraly took your life in your hands if you tried to enter the mosh-pit. Punk became cliche and a tad mindless as suburban boys caught the bug and started their own "punk" band. I looked elsewere for new music and found it in early hip-hop. Which was like a breath of fresh air in the early 80's. Today I love the EXPLOITED but in 1981 I just thought them D-U-M-B! With the exception of DISCHARGE, and "DAMAGE "era BLACK FLAG I was bored with what had happened to punk.
One of my worst memories (and there were many) was in late 78 when the suburban boneheads had caught wind of punk and had seen some of us with swatstika's etc so in to town they'd swarm and violence would errupt and folks would get seriously injured. Down in L.A. the police would do the beatings. They'd even send out the riot squad. Serious beatings ensued! check the history books!
The Blackhearts showing off Joan's new Converse sneakers.
Eric Amble, Joan Jet, Danny 'Popstar' Furious and 15 year old Gary Ryan
- I joined JOAN JETS new band in january of 80 after quiting my gig with JORMA KAUKONEN (of HOT TUNA and JEFFERSON AIRPLANE fame) whom I'd been playing with just for the bucks together with my best friend DENNY DEGORIO who was the bass player and who got me the gig and said it'd be a good laugh! Well it wasn't too funny really so after a tour in the fall of 79 of the eastern seaboard (Vermont to Jersey) Denny and I both gave notice. Gary called and said he'd got the roll of new bass player and that Joan wanted an AVENGER in the band and would I audition once again stating we'd have a good laugh so I went down to Hollywood and got the gig. ERIC AMBLE was the guitar player and he was dead serious about hitting the big-time so he was constantly in a rage over Joan's drunkeness and my getting high. Denny's constant insistence to try some heroin finnally paid off in New York City after our tour with Jorma and I was entering my "honeymoon" period with the sleaziest of drugs. I was hooked from sniff one and soon started shooting the shit. My mind was definately NOT on being a pop star! I spent most of my 3 months in hollywood as Joan's drummer fucking rich teenage punk "groupies" and shooting dope with DARBY CRASH who lived across the street with his "girlfriend" Michael. By the way it was me who named the band the BLACK HEARTS. I had "fuck-band" that encompassed various members of other bands whatever, and that is where I met GARY RYAN who was dating LORNA DOOM, the GERM's bass player. I really didn't like the music Joan was playing nor did I like her management.. in fact aside from Gary and Joan herself, I didn't like anything about being in this band. But soon we were off to England and I could'nt skip the opportunity having never been to Europe so in May 1980 we left for England. I was truly excited and loved England (London) immediately. We rehearsed in the WHO's studio in Battersea and I got to play one of KEITH MOONS drum kits. We were soon off to Holland to do a festival thing with MOTORHEAD and we got on great with them even being invited to Philthy Phil's home when we got back to London for drinks and a night at their fave club the Nashville where the Pistol's once played. we did a show at the MARQUEE opening for the BOY's and we met JIMMY (sham) PURSEY who was Shamless at the time and studying ballet (?). I also met a couple of girls who took me to their squat in south London and made me feel very much at home, they also being into smack. none of my pursuits in London went over too well with the rest of the band outside of Joan whom we never saw, her staying in Posh hotels while we were slumming it Joan being the star and all but no matter 'cuz I had found my London connection so who cared! I promptly gave notice, agreeing to do a 3 week tour of the Netherlands before calling it a day with Joan and Co. Whilst in Holland Joan stayed in Amsterdam and the band stayed in a terrible Motel in a town called Apeldorn. Such fucking shit! Joan was ... how should I say, a complete asshole for treating her band so badly and I have no regrets for quiting although I have no ill feelings towards her. In fact I'd love to see her again as we had some good times together. We'd pick up girls together... she being the "shy" lesbian.
So I quit the band and got some bucks and moved into a squat in Clapham Comman with a bunch of junky-punks that included the girlfriend of CHARLIE HARPER and he was there often and we'd all take the bus south somewhere and catch the U.K.SUBS playing some hole in the wall joint. All in all London was a great time despite my being strung-out and I have very fond memories of the place.
It was the start of OI! So we all went to see the COCKNEY REJECTS and were shunned for being improperly dressed for the BLITZ club. SEDITIONARIES was still open for buisness and JORDAN was still running the shop which was a kick. I bought a few souvenirs (including the bondadge "destroy" shirt) but gave them all away. I fell in love with an English actress by the name of SUZANNA HAMILTON and we moved in together but ultimately my adiction got the best of me and, in sept 80 I flew back to San Francisco and moved in with Jimmy and my friend Mark Hubbard and took up where I had left off... drug wise. It was all very depressing but at least I was "home"!
Jimmy was getting a band together with a discovery of his by the name of CHRIS ISSAK and since I was designated living quarters in the basement, which doubled for a rehearsal space, I played drums and sang alot with Jimmy and Chris. I was asked to be drummer for the then "SILVERTONES" but declined due to more important undertakings like scoreing drugs! life was getting ugly!
Went to see the DARBY CRASH band and was asked (begged) to join as drummer but again declined. A month later Darby was dead. Things were getting really depressing and I was considering moving back to London when I met a women from SWEDEN and fell in love and she too was into U KNOW WHAT and phase 2 of my addiction began.
- And you played with Mike Ness for a while too, didn't you? When and where was that?
- After several years of living on the bottom with my new partner and just going down, down, down, I decided to bail. We'd just leave in the dead of night, 3 months behind in rent and with no electricity, having not eaten in days and covered with black soot from the only light source we had, which was kerosine lanterns, we flew (courtesy of mom) down to L.A. To my parents house to "clean-up". It felt like we'd finished our term in Viet Nam! I had dreams of "starting over". those dreams were soon dashed on the rocks because after 9 days of being drug-free in Fullerton, who do you suppose I meet? None other than MIKE NESS, high as a kite on my "drug of choice"! wow! I found my new connect, man!!
Mike and I became inseperable "drug buddies". Mike naturally asked me to be drumer in his band SOCIAL DISTORTION and, having nothing better to do, I accepted. We were both of us much more interested in getting high than in playing music but Mike was a second generation "punk rock star" and his manager and other band members had a purpose in life. Our purpose was copping dope. Needless to say the others found I was "one junky to many" and it was the boot for me! Mike said "sorry! and I replied "...don't matter." so actually I played a total of 3 shows with S.D. And I don't remember much but we did drive up to san Francisco, my old stompin' grounds, and directly to my "dealer" and we did a show that was definately forgetable and another the next night in Oakland (possibly Gilmore St.) and shortly afterwards I was out. It didn't affect our "friendship" however so everything was still "business as usual". Mike was a good friend and when they (S.D.) were here 5 or 6 years ago I went to see them and CHUCK BISCUITS was their drummer so I got to see two old bud's.
Mike was the first of us to get "clean" and he's (as far as I know) been clean since he disapeared just prior to my moving to SWEDEN back in 85. I saw him just once after his treatment in downtown Fullerton and he had a key ring from N.A. for 30 days "clean and sobber" and my response then was "yea man, great! (so fuckin' what!) around the same time I got a phone call from Kira Roesler telling me BLACK FLAG were looking for a drummer (spring of '85) and would I be interested to which I replyed, "Yes!" then she asked if I was still into the "shit" and I said "duh, only on weekends, sometimes." and she said "well, good-bye!" and that was that!
- What other bands were you in after The Avengers?
- The only other bands I played in after the demise of the AVENGERS I've already mentioned with the exception of a band I drummed with in 1981 called the SPIDERS. There is a single out there somewhere but we were forgetable at best. A bunch of junkies. Myself and a former Mink Deville member, Fast Floyd and a singer from Philly named Billy Bastiani. Also a sax player and Lynnwood Land formerly of U.X.A. The manager kept us hopped-up on liquid opium and the singer went back to Philadelphia and was replaced by RICKY WILLIAMS former singer for the SLEEPERS an all around genuine nut case and that band was a tad more interesting based on improvisation which was something Ricky excelled at. I too loved to get crazy "off the wall" experimental so it's really a shame we never recorded anything outside of some rehearsal cassettes which I no longer have. Anyone out there have a copy? Get in touch if you do.
The other band which Jimmy and I put together right after we broke-up was a "fuck band" with ROZZ from NEGATIVE TREND on vocals, JIMMY on guitar, DENNY DEGORIO from the OFF's on bass and your's truly, drums. And we did play 2 shows at the infamous DEAF CLUB in S.F. Every member of the audience got a free martini which ROZZ handed out and we called ourselves the BELFAST COWBOYS. we did only "special" covers from KISS, SHAUN CASSIDY, STEPENWOLF (The Pusher) and an acoustic version of LOU REED's "they're taking her children away". That band could have been something and I think. PENELOPE was our biggest fan! And finaly there was the BLACKHEARTS (original) which featued me, MADDOG (Controllers) GARY RYAN (later Joan's bass player) and a guy called PETE HASKILL. we actually played at the MASQUE and we all changed instruments for every song. this was the summer of 79.
- Why did you end up in Sweden?
- As I mentioned before I fell in with the "wrong crowd" after the demise of the AVENGERS and ended up another near victim of drug addiction. My swedish girl friend, whom I'd met in S.F. moved down south with me to Fullerton where we met Mike Ness and my addiction spiraled further downwards so after losing Mike to recovery things became unbearably boring and as junkies are fond of doing, we did a "geographical cure" by moving to my girl friends home land of Sweden. I was on methadone at the time and my perception of Sweden was that this was a liberal nation and that I'd easily be put on a similar program upon arrival there, but that was not to be, so in essence I was on the streets the first day I got to Stockholm. In addiction nothing ever gets better but rather progressivly worse every minute. A year and several months later I, rather my girl and I, found ourselves in the north of Sweden for exstensive treatment for addiction. It took several months to finnally "throw in the towel" but the bottom line is I've been clean (not sober though) from heroin and all other drugs (with the exception of alcohol) for nearly 17 years. I've a son who turns 16 in december and a daughter of 9 years and life's a struggle but all in all I am blessed. Nothing, absolutely NOTHING compares to the hell of active addiction and I will allways be grateful to the Swedish authorites for the opportunity to get my life back."... sold my soul to the devil and then I stole it back!" you gotta guess who wrote those lines.
- The Avengers have been heavily bootlegged, with all the live recordings out. How do you feel about these records?
- I've always been into bootlegs myself so why should they bother me. Of course an artist wants his dues but in the case of bootlegs, that's the way it goes. And thank god for those who made the efforts to release these records as we'd be little more than a memory without them. If any of these bootleggers want to send a donation in my direction I'd be more than happy to accept it! But let's face it, bootlegs are a integral part of the Rock and Roll experience. The 4 song E.P. from Winterland entitled "SUMMER OF HATE" is my favorite.
- And how do you feel about The Scavengers recordings and gigging? Did Penelope approach you?
- When Penelope first released "...Died for your sins" I was truly like, "what the fuck!!" She'd gone and hired musicians to play Jimmy's and my parts on re-recordings of old songs that were dropped very early on from our set list and I found it tasteless and vile that she'd do such a thing really. Now I find that that was just the tip of the iceberg concerning what she has "exploitation wise" up her dirty sleeve. The sweet irony lies in the fact that 2 out of 3 songs "they" recorded were written and arranged in their entirty by Your's Truly! Penelope gets credit for the lyrics to "END OF THE WORLD" although her pretentious re-write of the lyrics printed in the cover of a bootleg called "PENELOPE" (same as the "summer of hate" boot) are ridiculous and embarresing. Pathetic!!
- Are you still in contact with any of the other Avengers?
- I've been in contact with Penelope concerning business and what not but that's as far as that goes.
Greg refuses to corespond and I suspect he feels guilty riping Jimmy and I off but can't say no to the opportunity to, say, play England opening for the DAMNED or whoever! I don't hate him but he's definately been X'd from my christmas card list!
Jimmy I'm in contact with, E-mail wise, on a regular basis and that re-connect feels real good. Besides injecting humour into a band that was too often too serious, Jimmy made me aware of so much music-wise. His understanding of modern poular music is uncanny and he educated me to appreciate the virtues of even the dreaded Country Music genre, a genre that gives great satisfaction today. It all started with Jimmy's HANK WILLIAMS records back in 1977. thanks Jimbo!
To put it bluntly I consider Greg and Penelope to be nothing more than petty thieves. They stole half the AVENGERS from Jimmy and me and I'm sure they suffer for it. We were a band of four individuals, It was definately NOT Penelope's band. that she behaves as if it was is a travisty and something I find nausiating and dishonest. Complete and total assholes those two! Jimmy went to see them when they played Hollywood as the scAVENGERS when the "died for your sins" album was first re-leased and he told me that they looked and sounded lame! That's all I needed to know! at least with the PISTOLS re-union they had enough integrity to include ALL former members. Contrary to what Greg and Penny have done I find that commendable. We were (at least I was ) never contacted as to wether or not I'd like to take part in this "re-union" so my resentment stands... fuck 'em... don't support them... support "real" bands!
- You're working as a chef now?
- Yes I am a vegetarian chef here in Stockholm, have been cooking carrots for the last 15 years. I got my start while living in the north of Sweden. The treatment center I attended had a vegetarian kitchen and I'd allways had a flair for cooking, so I voluntered to assist the cook and he handed the job to me so he could pursue his other interests and I've been a chef ever since. Time was out for treatment (I'd been there nearly a year and a half) so I rang the only vegetarian restaurant I knew of in Stockholm and low and behold they needed a cook, so I moved back to Stockholm, took the position of cook and when the place folded, got another offer, took it, and have been employed at the same restaurant (HERMAN'S) for nearly 14 years! I'm completely self-taught, and consider myself the best in the buisness. Simple as that!
- What was that about you playing Country music?
- I spoke earlier of my love for many types of music and country music (mostly stuff from the 50's and 60's) I've just got a weeknes for... big time. I love the shit!. a couple a years ago a friend and I did a show at a local pub called "Garlic and Shots". PER from "Kids Are Sick" on guitar, and me on vocals. the songs were country and rockabilly oddities. I got the voice for the stuff and I can sing it! great fun! and although we weren't asked back (?) it felt good to play music again. I've got plans for a record that hopefully will be realized in the not too distant future and it will definately have country leanings-with an attitude, naturally. My love for "country" began with my falling in love with rockabilly, which is little more than country music with an up-beat tempo. I'm nuts about it! You can do anything with the basics. Just like Rock &Roll and Punk.
- Do you follow today's punk scene at all? And if you would compare the old and the new, what's the difference?
- Those are challenging questions at best BUT, easy as hell to answer; it's absurd and asinine to compare or make comparisons with what's happening now, and what took place nearly 30 years ago. It would be like trying to compare what CHARLIE PARKER and DIZZY GILLESPIE laid down in New York City back in 1948, changing forever what people percieved as music, and the outrage they caused, litterally inciting people to walk out mid-song (and I am sure we did the same), and what is accepted as jazz music today... there is simply NO COMPARISON! This isn't to say, however, that what young bands today are attempting to accomplish is in any way invalid... quite the contrary, PUNK ROCK is more valid today than ever, so fucking get out there and make some noise people!
Start your own band and do something that means something because the reason the whole thing began in the first place was that we were sick and tired of paying our hard earned cash to see some 40-50 year old farts playing their geriatric bullshit (no ageism - just FACT!) when we fuckin' knew that we could do it ourselves... and so much better ... and with a vengence!
THE AVENGERS DISCOGRAPHY:
We Are The One / I Believe In Me / Car Crash 7'' (Dangerhouse Records 1977)
1st press black vinyl in Crucifix cover, 2nd black or red vinyl in Target cover.
American In Me / Uh-Oh / Corpus Christi / White Nigger 12'' (White Noise 1979)
Released w/ front cover in various colour tints.
V/A - Rat Music For Rat People LP (Go! Records 1982)
Featuring the live track Cheap Tragedies. Re-released (by CD Presents) on col vinyl and CD.
Avengers LP (Go! Records 1983)
14-song LP withdrawn and released on CD Presents instead. Some copies survived.
Avengers LP (CD Presents 1983)
14-song LP (later 16-song MC and CD). Re-pressed in semi-bootleg form several times.
Paint It Black / Thin White Line 7'' (CD Presents 1983)
Originally no pic sleeve. Re-released 1989 w/ pic sleeve.
Rough n Rare '78 Live Whiskey a gogo '78 7'' (1990)
5-track live Aug 1978 bootleg. 500 copies.
Summer Of Hate EP 7'' (1990)
4-track bootleg recorded live Winterland, SF Jan 14 1978. 300 copies.
Penelope (Summer of Hate EP) 7'' (Lost Music Label 1991)
As above but european version w/ b/w Penelope poster and lyric insert. 500 copies.
Teenage Rebel / Friends 7'' (Really Fast 1997)
1st press in 3/4 folded cover credits Danny Furious for remix, 2nd in full size doesn't.
Open Your Eyes CD (199?)
22-track bootleg, recorded live at Old Waldorf, SF June 13 1979 and Whiskey, LA Aug 4 1978 plus demos. 550 no:d copies.
2 Black Eyes LP (Bancrupt Records 1998))
12-track bootleg, recorded live at Whiskey, LA Aug 4 1978 plus 3 demos.
Died For Your Sins LP (Lookout! 1999)
13 Avengers tracks recorded in studio or live at various places and 3 Scavengers studio tracks. CD version with 2 bonus live songs.
Zero Hour LP (Get Back 2003)
Italian album with 8 songs recorded live at Old Waldorf, SF June 13 1979 .
The American In Me CD (DBK Works 2004)
8 songs recorded live at Old Waldorf, SF June 13 1979 and 4 studio songs .
Danny today. ''You really know you've done something right when several years after we split-up the band a person stops me on the street and says in effect "I saw you guy's play back in '77 and it changed my life!"
BACK TO PAGE ONE
