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  Artist Title Label Price

Joy Division

Format: Vinyl 7 Inch
Genre: Punk

Love Will Tear Us Apart

A Love Will Tear Us Apart (3:17)
B Leaders Of Men (2:20)

Radiation Reissues

Cat No: RRS71002
Released: 2015


The Clash

Format: Vinyl 12 Inch
Genre: Punk

Rock The Casbah reissue

A1 Rock The Casbah (3:41)
A2 Mustapha Dance (4:21)
B1 The Magnificent Dance (5:30)
B2 The Magnificent Seven (2:12)

rare reissue - unplayed

Epic (

Cat No: 49-03144
Released: 2005


Jonathan Richman & The Modern Lovers

Format: Vinyl 7 Inch
Genre: Punk

The Morning Of Our Lives / Roadrunner (Thrice)

A The Morning Of Our Lives (4:55)
B Roadrunner (Thrice) (8:25)


Cat No: BZZ7
Released: 1977



Format: Vinyl 7 Inch
Genre: Punk

Last Christmas I Gave You My Heart (But The Very Next Day You Took It To Record And Tape Exchange)

Hard One:
A1 Cuckooland Silver Bells
A2 Rugrat (2) Mistletoe And Wine
B1 The Phantom Pregnancies Gee Whizz, It's Xmas
B2 Monkhouse Guinness And Wine
Floppy One:
FlexiC1 Wat Tyler We Curse You A Wicked Satan
FlexiC2 Spizzenergi Happy Xmas (War Is Over)

Damaged Goods

Cat No: DAMPUD 57
Released: 1994


Mega City Four

Format: Vinyl Album
Genre: Punk


A1 Start
A2 Pride And Prejudice
A3 Severe Attack Of The Truth
A4 Paper Tiger
A5 January
A6 Twenty One Again
A7 On Another Planet
B1 Things I Never Said
B2 New Years Day
B3 Occupation
B4 Alternative Arrangments
B5 Promise
B6 What You've Got
B7 Stupid Way To Die


Cat No: DYL 3
Released: 1989
Out Of Stock

Siouxsie & The Banshees

Format: Vinyl Album
Genre: Punk

Once Upon A Time/The Singles

A1 Hong Kong Garden (2:55)
A2 Mirage (2:49)
A3 The Staircase (Mystery) (2:44)
A4 Playground Twist (3:02)
A5 Love In A Void (2:29)
B1 Happy House (3:50)
B2 Christine (3:00)
B3 Israel (4:54)
B4 Spellbound (3:15)
B5 Arabian Knights (3:06)


Cat No: POLS 1056
Released: 1981
Out Of Stock


Format: CD Album
Genre: Punk

Death Before Musick

1 Liberation For... (1:42)
2 Hello (One Chord Lovers) (3:06)
3 California's Bleeding (2:38)
4 The Abolishment Of Luxury (2:34)
5 Money Infection (3:15)
6 Westwood Fallout (2:45)
7 Oblivion Stereo (3:00)
8 Please Kill Me (3:28)
9 EXTERMINATE ! (3:16)
10 We Got The Bait (2:16)
11 Neutron Liars (2:39)
12 Sorry, Not Sorry (3:10)
13 Bring Me The Heads (2:47)
14 F*** In LA (2:41)
15 The Summer Of Guns (3:59)


Cat No: 513754 2
Released: 2004


Rage Against The Machine

Format: CD Album
Genre: Punk


1 Microphone Fiend (5:01)
2 Pistol Grip Pump (3:19)
3 Kick Out The Jams (3:12)
4 Renegades Of Funk (4:35)
5 Beautiful World (2:35)
6 I'm Housin' (4:57)
7 In My Eyes (2:55)
8 How I Could Just Kill A Man (4:05)
9 The Ghost Of Tom Joad (5:38)
10 Down On The Street (3:39)
11 Street Fighting Man (4:43)
12 Maggie's Farm (6:34)


Cat No: 499921 2
Released: 2000


The Rotted

Format: CD Album
Genre: Punk

Ad Nauseam

1 Anarchogram Sun
2 Rex Oblivione
3 Surrounded By Skulls
4 Non Serviam
5 Just Add Nauseam
6 Entering The Arena Of The Unwell
7 The House Of Bedlem
8 Apathy In The UK
9 Motörbastärds
10 The Hammer Of Witches
11 Put Me Out Of Your Misery

Candlelight Records

Released: 2012


The Damned

Format: Coloured Vinyl 12 Inch
Genre: Punk


A Eloise
B1 Beat Girl
B2 Temptation

MCA Records

Cat No: GRIMT 4
Released: 1986
Out Of Stock

Sham 69

Format: Vinyl 12 Inch
Genre: Punk

Hersham Boys

A Hersham Boys (Long Version)
B1 I Don't Wanna (Live)
B2 Rip Off (Live)
B3 I'm A Man, I'm A Boy (Live)
B4 Tell Us The Truth (Live)


Cat No: POSPX 64
Released: 1979


The Undertones

Format: Vinyl 12 Inch
Genre: Punk

My Perfect Cousin

A My Perfect Cousin
B1 Hard Luck
B2 I Don't Wanna See (You Again)


Cat No: 12ARDS 6
Released: 1983
Out Of Stock

The Clash

Format: CD Album
Genre: Punk

London Calling

1 London Calling (3:18)
2 Brand New Calling (2:09)
3 Jimmy Jazz (3:55)
4 Hateful (2:47)
5 Rudie Can't Fail (3:27)
6 Spanish Bombs (3:18)
7 The Right Profile (3:53)
8 Lost In The Supermarket (3:47)
9 Clampdown (3:50)
10 The Guns Of Brixton (3:12)
11 Wrong 'Em Boyo (Including Stagger Lee) (3:10)
12 Death Or Glory (3:55)
13 Koka Kola (1:49)
14 The Card Cheat (3:50)
15 Lover's Rock (4:01)
16 Four Horsemen (3:00)
17 I'm Not Down (3:00)
18 Revolution Rock (5:36)
19 Train In Vain (3:10)


Cat No: 4953472
Released: 1999
Out Of Stock


Format: Vinyl Album
Genre: Punk


A1 Blitzkrieg Bop (2:12)
A2 Beat On The Brat (2:30)
A3 Judy Is A Punk (1:30)
A4 I Wanna Be Your Boyfriend (2:24)
A5 Chain Saw (1:55)
A6 Now I Wanna Sniff Some Glue (1:34)
A7 I Don't Wanna Go Down To The Basement (2:35)
B1 Loudmouth (2:14)
B2 Havana Affair (2:00)
B3 Listen To My Heart (1:56)
B4 53rd & 3rd (2:19)
B5 Let's Dance (1:51)
B6 I Don't Wanna Walk Around With You (1:43)
B7 Today Your Love, Tomorrow The World (2:09)

New 180g vinyl


Cat No: 8122 79766 7
Released: 2011
Out Of Stock

The Clash

Format: Vinyl Double Album
Genre: Punk

London Calling

A1 London Calling (3:18)
A2 Brand New Cadillac (2:09)
A3 Jimmy Jazz (3:55)
A4 Hateful (2:47)
A5 Rudie Can't Fail (3:27)
B1 Spanish Bombs (3:18)
B2 The Right Profile (3:53)
B3 Lost In The Supermarket (3:47)
B4 Clampdown (3:50)
B5 The Guns Of Brixton (3:12)
C1 Wrong 'Em Boyo (3:10)
C2 Death Or Glory (3:55)
C3 Koka Kola (1:49)
C4 The Card Cheat (3:50)
D1 Lover's Rock (4:01)
D2 Four Horsemen (3:00)
D3 I'm Not Down (3:00)
D4 Revolution Rock (5:36)
D5 Train In Vain (3:10)


Cat No: 88875112701
Released: 2015
Out Of Stock
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Information on the Punk genre

Punk rock is a rock music genre that developed between 1974 and 1976 in the United States, the United Kingdom and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock. They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.

By late 1976, bands such as the Ramones, in New York City, and the Sex Pistols and The Clash, in London, were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement. By the turn of the century, pop punk had been adopted by the mainstream, with bands such as Green Day and The Offspring bringing the genre widespread popularity.

The first wave of punk rock aimed to be aggressively modern, distancing itself from the bombast and sentimentality of early 1970s rock. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of [1960s] stuff was innovative and exciting. Unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock 'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was also a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth."[5] Patti Smith, in contrast, suggests in the documentary 25 Years of Punk that the hippies and the punk rockers were linked by a common anti-establishment mentality.

Throughout punk rock history, technical accessibility and a DIY spirit have been prized. In the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have very much skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band." The title of a 1980 single by New York punk band The Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach.

Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared The Clash song "1977". The previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". Even as nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future"; in the later words of one observer, amid the unemployment and social unrest in 1977, "punk's nihilistic swagger was the most thrilling thing in England." While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."

The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult"; as the punk scene matured, he observes, eventually "everyone got called a poseur".