Brian Hogg , Away From The Numbers Issue 1, October 1977 , Pages 1–2, 6, 8,

COMPLETE CONTROL, CITY OF THE DEAD REVIEW

AWAY FROM THE NUMBERS FANZINE

ISSUE 1.

'Away From The Numbers' is published from Flat One , Castellau , Dunbar , East Lothian , Scotland .

All material copyright to Big/Sky/You Tore Me Down Productions .

Written and published by Brian Hogg . Editors:- Brian Hogg , jacki .

Contents:- Jolt interview; Battle of the Bands : the Damned v. The Jam . Reviews:- singles: Clash & the Damned ; albums: the Boys , Talking Heads & Dwight Twilley Band . Reggae:- Burning Spear & Culture . U.S. New Wave .

Interested in '60's stuff? Send for a sample issue of 'Bam Balam' ; a mag. devoted to '60's pop & psychedelia. Past issues have included the Move , Creation , Jook , the Seeds , the Flamin' Groovies & lots more. 35p. inc. p&p from the above address. Future issues will have Merseybeat , the Scottish beat boom, Downliners Sect & more. All good stuff. New issues in November / December .

A Ramones logo badge ( Johnny , Joey , Tommy , Dee Dee ) like the one on page 7, is also available from the Dunbar address. It's 40p. including p&p. Write & ask about other punk badges too. Please address it to jacki .

* * * * * * * * * * * *

Hi. This is the first issue of 'Away From The Numbers' . It's an outgrowth of Bam Balam , a mag. written around '60's pop and new releases. As 1977 has provided more relevant releases; more exciting music than most others, there simply wasn't enough room to do both in the one magazine. Thus 'Away From The Numbers' . Now there's space to do both old & new, without having to miss things out. There's two reasons for the title. I love the Jam ; and 'Away From The Numbers' is my fave Jam song. Also, the mag. is that; away from the numbers; away from the detail & discographies of 'Bam Balam' . 'Away From The Numbers' is about pop; about the excitement of the new music.

1. Complete Control: Clash.

2. Your Generation: Generation X.

3. Talking Heads 77: Talking Heads.

4. Truly: The Jayes with Ranking Trevor.

5. The Boys: the Boys.

6. Put You In The Picture: PVC 2.

7. You're Cold: the Jolt.

8. Twilley Don't Mind: Dwight Twilley Band.

9. My Generation: Patti Smith.

10. I Got A Right: Iggy Pop & James Williamson.

Bubbling Under :- Egyptian Reggae : Jonathan Richman & The Modern Lovers . Two Sevens Clash : Culture . The Young Ones : Secret .

See ya next time, Brian Away From The Numbers 1 . October 1977 .

(Missing text) … connection makes it more original. It's teen and it's fun; and it's one to play. RIP TOFF .

Talking Heads : TALKING HEADS 77 ( Sire Import).

77 is a great album; quirky & innovative. But it's a little disappointing too. Live, the group are a group, they're tight and David Byrne & Jerry Harrison make it tighter; cutting chords at each other across the stage. 77 isn't like that. Songs which were live songs live, become studio songs. I don't know. I guess it's different. But that's all the bad bits. 77 is hard to pin down, David's songs are so original. Only on 'Don't Blame The Government' does any influence come thru' ( 10cc. ) & there only for a moment. Anyway, it's not important; all of the influences have been completely reshaped into something completely original. David's voice dominates. There's guitars & pianos but it's a vocal record, especially on 'Pulled Up' , where he gasps for breath twice. He sings like it's a habit. I like 'No Compassion' & 'Psycho Killer' the best. 'Compassion' is powerful, musically & in it's feel. 'Psycho Killer' is more tense; like the Otis / Stax stuff. It's the drumming; Chris Frantz is so good, he pulls all the songs in if they start to wander. The rest's great too. There's a new 'New Feeling' showing how the group has changed. Yeah, the more I hear it, the less the disappointment. In a month I'll wonder what the doubts were. JOHNNY ROMANTIC

Dwight Twilley Band : TWILLEY DON'T MIND ( Island / Shelter ).

Something's gone wrong. Last year, they put out 'Sincerely' which was great. Now this. Which isn't. Like, it isn't bad, it's just less exciting. It sounds like they've played for safety. 'Sincerely' was crammed with snappy pop songs. These songs are much less catchy much more careful. 'Invasion' is most like the old stuff, like the Twilley's who pumped out songs for fun. At the other end is 'Sleeping' , 6 minutes long, with strings. Even worse; some of the cuts have horns. Ok so the Clash use a sax on the flip of 'Control' , but these are the real toot-toot ones. There is lots to like, 'Invasion' , 'Here She Comes' , 'Looking For The Magic' (yeah, me too) & 'Trying To Find My Baby' , but nothing matches 'I'm On Fire' or 'You Were So Warm' or 'Sincerely' itself. Apparently, they had about three albums' worth of stuff to choose from. Maybe that's the problem. They tried too hard. BLANK FRANK .

The Clash : 'Complete Control' / 'City Of The Dead' ( CBS ).

I love this single. So many new-wavers, like the Stranglers , are stuck. The Clash aren't. They've expanded musically, Mick Jones gets a solo, but it is still very much the Clash . It's a protest; about something close to the feelings of the group, so the anger is more real. Strummer spits out the words; disgusted; and the group play tight and intense. It's raw; like 'I Can't Explain' or 'You Really Got Me' . Not musically; it's clashmusic, but in feel & urgency. And the slight Lee Perry touch is marvellous.

'City Of The Dead' is great too. Saxophones, harmonies ( Clash 'uns) & a stunning riff blast thru'. This has to be the single of the year. ALBERT RAMSBOTTOM .

The Damned : 'Problem Child' / 'You Take The Money' ( Stiff ).

The Clash progress, and succeed. The Damned try, and slip. 'Problem Child' isn't the worst single ever as I've heard it described, but it's disappointing. Now Scabies has quit too so there's problems ok. It's not powerful. Where they try to zoom in on the chorus, it doesn't work. I guess you can blame Nick Mason , but the group must have liked it too. It isn't bad; just weak, and so's the flip too. Even the pic. sleeve is bad. Certainly, If this is Lu's beginning; why he was brought in, then they were better without him. But then the new album (all with Nick the Pink ) is meant to be great. We'll see.

Shorts:- I've not heard the Jolt single yet, but live the song is great. The weeklies have pulled it apart & somehow I can't see it's that bad. Tell ya in issue 2. The Secret have a fun version of 'The Young Ones' out. Jerry Nolan has split from the Heartbreakers , but the tour goes on. Rat Scabies may replace him. First Chelsea , now the Damned & the Heartbreakers . Howard Devoto (ex Buzzcocks ) has formed a new group called Magazine . Also coming to Edinburgh (see page 5) are the Tom Robinson Band , but not 'til November .

BATTLE OF THE BANDS BATTLE OF THE BANDS BATTLE OF THE BANDS BATTLE OF

The Battle of the Bands was a US sixties thing where a whole bunch of local groups would play each other to find a winner. Here's another; this time on paper: the Jam v. the Damned .

Score out of ten:- Debut album: Jam 7, Damned 9. Non-album singles: Jam 5 songs (one point per song (includes new single)) Damned 4 points. Pic covers 3 points each. Rare artifact single: Damned 5 points for 'Stretcher Case Baby' / 'Sick Of Being Sick' . Image: Jam 10 points, Damned 3 points. Album cover: Jam 6 points, Damned 4 points. Single pic sleeves: both groups 10 points each for having all 45s in pic covers. Production: Damned would have had 10 for Nick Lowe but get cut to 5 for Nick Mason . Still they tried Shel Tamy .....7 points. (mind you they should lose some for giving him up). Jam 8 points coz their production fits perfectly. Say hello to the 60's: Jam 10 points Damned 5 points (for 'Help' ) Say hello to the 70's: Jam 4 points Damned 8 points (for 'Help' ) Best 3 cuts from the album: Jam :- 'Away From The Numbers' 10 'In The City' 10 'Sounds From The Street' 9 Damned : 'Neat Neat Neat' 10 'Fan Club' 10 'New Rose' 10. Rare artifact album: 5 points to the Damned for the 'Rods' cover. Best single pic cover: Jam 10 points for 'All Around The World' ; Damned 7 points for 'New Rose' . (Maybe they should get 10 for 'Sick Of Being Sick' . Nah. That wasn't generally available.)

Singles Reviewed by Ian Birch

Clash conquer all

Essential

CLASH : " Complete Control " ( CBS ). Without a shadow of a doubt, let me present you with the most imaginative and significant single yet from the new wave (excuse the threadbare term). Good though the Pistols' singles are, this knife-edged masterwork makes mincemeat of them.

Reggae and punk are forever talked of in the same breath, companion soul brothers in the current explosion. So far attempts at actually mating the two have been dicey to say the least. Generation X , for example, have toyed with dub versions of Gary Glitter stompers. They also jammed with the Cimarons on the rasta anthem " M.P.L.A. "

But now the relationship has been consummated. The Clash , arguably new wave's premier band, have recruited in addition to stalwart Micky Foote , JA producer Lee Perry , (also) arguably reggae's most distinctive control operator. Perry's normal style relies heavily on phasing, echo, a bass-accented rhythm, a light drum sound (which can often be as minimal as a brushed cymbal) and a constantly changing, multi-textured sound.

The Clash's style you all know. Bring the two together and the result is stunning. Neither one influence dominates, as should be the case in a new hybrid. The perpendicular frenzy eases out and gives way to a strong melody line with a pared-down, slightly echoed (I suppose the most identifiable Perry touch) middle break which is as surprising as it is effective.

The song follows fascinating twists and turns, and the only disappointing aspect is not being able to disentangle much of Strummer's vocals.

There is an official comment: " It tells the story of conflict between two opposing camps. One side sees change as an opportunity to channel the enthusiasm of a raw and dangerous culture in a direction where energy is made safe and predictable. The other is dealing with change as a freedom to be experienced so as to understand one's true capabilities, allowing a creative social situation to emerge. "

My bet is that the lyrics condense all that into a couple of razor couplets. Terrorise your neighbourhood with this record.

Major League

STRANGLERS : " No More Heroes " ( UA ). " Whatever happened to Leon Trotsky? / He got an ice pick that made his ears burn. " The Stranglers explode myths (" They watched their Rome burn ") while — however unwittingly — they are in the process of becoming one themselves.

But that is unimportant. The song once again confirms their position in the new wave Top Three (the other two being the Pistols and Clash , naturally). Hugh Cornwell snarls out the lyrics with incisive clarity and paces them expertly between the instrumental breaks.

As usual, Dave Greenfield's ... [text cuts off]

Tony Parsons , New Musical Express , September 24th, 1977, Page 26, “Clash ‘n’ Scratch in complete control” 1,032 words

NME, Scratch 'n' Scratch Complete Control

Clash ‘n’ Scratch in complete control

DEAD HEAT FOR THE SINGLE OF THE WEEK. SO, IN ALPHABETICAL ORDER . . .

THE CLASH: Complete Control (CBS). “I don’t trust YEW! Why do YEW trust ME? Haaaahhh?” Scratch City Rocker benefiting immeasurably from Lee Perry’s J.A. connection, The Upsetter sharing production credits with the Boy Wonder Producer Mickey Foote , sound-scourge of their studio/workshop.

“Rehearsals, Rehearsals.” The alliance was forged when Lee Perry spent some time in the studio with The Clash a few weeks back — mutual respect blossoming when he heard the band’s worthy version of the Perry/Junior Murvin classic “Police And Thieves.”

It’s a Protest Song, of course, concerning the friction between punks and business men after they’ve legally agreed to use each other. High Finance Capitalism opens its jaws to feed and if you think it wants to kiss you on the mouth you run the risk of getting chewed and swallowed.

Clipped chord-change dynamics open the song, redolent of “Pretty Vacant” and the best of their album’s material, and Joe snarls the story of The Single That Should Never Have Been. “They said that, ‘It’s’ Remote Control’, / We didn’t want it on the ley-hey-bel!” Nemesis for making The Sound Of The Westway blush with humiliation. P-A-R-A-M-O-U-N-T-F-E-D! The Press went MAAAAAD! On the road hauled at every Holiday Inn where they found shelter, a weak album track was pushed out by CBS for product to follow-up the “White Riot” single. “Ooooo-oooh, some-one’s REALLY SMART! Complete Control, you feel like a LAAARF!”

There’s stunning plectrum fluidity by Mick Jones , and Joe flexing his sense of humour/sharing a tender moment with the guitarist as he shouts over, “You’re MY guitar-hero!” But the solo’s too Lofgren -length for comfort — put it down to the Poodle-Cut . A barricade of sound assaults the record company offices. The rhythm section of Topper and Paul are offbeat and in their element.

“They said we’d be artist-ically free / That was just a bit of paper / They meant, ‘WE’LL MAKE YOU LOTS OF MON-EEE / WORRY ABOUT IT LATER!’” There’s a quasi- Jon Landau sense of The Epic to the climax of the tirade, the harmonies still terraces-derived, but far off and spiritual, like those The New York Dolls ripped off The Herd’s “From The Underworld” hit single for their own “Trash.”

“TOTAL! C-O-N CONTROL / TOTAL C-O-N CONTROL / This Is The Punk Rockers!” Even paranoids got enemies.

SECOND SINGLE OF THE WEEK

KRAFTWERK: Showroom Dummies (Edited Version) (Capitol). “EINS! ZWEI! DREI! VIER!” The introduction sets the neo- Cabaret ambiance-precision-honed Disco-Muzak soundtrack. A triumph of technological skill that dissolves the mind and stimulates the souls of your feet better than a shot of Novocaine pain-killer.

“We’re standing here / Exposing ourselves / We are show-room dummies / We are show-room dummies.” They don’t share your pleasures, don’t share your pains, they go down the Mecca , and robotonize their brains. The machine will always outlast the man. Relentless, cold as a numb Nun , as dehumanised as turning a screwdriver 30 degrees every 30 seconds for an eight-hour graveyard shift on a car plant assembly line. But it’s a pay-cheque, Jack .

“We look around and we change our pose / We are show-room dummies / We start to move and we break the glass / We are show-room dummies / We are show-room dummies / We go to a club and we start to dance / We are show-room dummies / We are show-room dummies.” They’ve got a wonderful sense of humanity and humour. But they’ve got problems.

REVIEWS BY TONY PARSONS (CONT.)

BUNNY WAILER: Get Up, Stand Up (Island). For your RIGHTS . Excel in thy life, celebrate Jah , Jeff’s brought some cider. The Marley/Tosh classic receives fine tribute from Bob’s old comrade, although inevitably it suffers in comparison to the spiritual orgasm the song evokes (must have been having one of Zoe Hot Flushes ) at the end of the album at the Lyceum Wailers album. But you can still hold your head up to it.

LINDA RONSTADT: Poor, Poor Pitiful Me (Asylum). I hear that Laurel Canyon is full of famous stars and, if the sordid experiences confessed on the latest waxing from the silver-larynxed songbird are anything to go by, a few of them could sure use a copy of my Dating Do’s And Don’ts . The peaceful, easy palliative sounds like The Eagles with their necks expanding a couple of inches and turning decidedly crimson. The opening verse has Linda trying to End It All by laying her neck on a railway line in the hope of a bit of self-immolation. Unfortunately, the line is disused so it’s true confessions time. All you dope-smoking weekend gardeners can start licking your vicarious psyches as you glimpse the blood and tears on the cheek of the tarnished woman. “Met a man out in Hollywood / Now I ain’t naming names / Well, he really worked me over good / Just like Jesse James / Yes, he really worked me over good / He was a credit to his gender.” The bounder sounds like he needs a damn good thrashing. Makes The Stranglers look like clean-cut college kids. You can untie yourself from the railway line now, Linda . Five Hail Marys and stop smiling at me like that, Linda .

ROSE-ROYCE: Do Your Dance (Whitfield Records). “Whoo-woo-hey!” Repeat numerous times over liberal dosage of hand-clapping. Then add a funky- Norman bass line, cool to commercial viability with K.C. Sunshine hornblown instructions to get down and have fun all night, party to the morning light, and so forth. Add modicum of pseudo-joyous/heroic strings so that they sound worthy of a “Hawaii Five-O” theme-tune and the lumpenprole can consume the product without remembering that they are not watching television. Or else stay home and wash your car in the garage. Preferably with the garage door closed and the engine running. Stop, I take that back. That would be cruel. You must realise, Carbon Monoxide gets in your eyes.

GOLDEN EARRING: Radar Love (Polydor). Next patient, nurse. “Wewe gotta theeeeng called Ray-dar Luh!” The radio screams her forgotten song, an unsavoury commercially tested re-release although this time in Danish bacon bits, sizzle, spit LIVE version. The Dutch boys let their enthusiasm get the better of them now they’re free from the confines of a studio and their almost Abbarante -like charm is suffocated under the gross portentous overkill that made “A Day In The Life” unlistenable to these earbuds.

MILLIE JACKSON: If You’re Not In Love By Monday (Spring). The title’s a sort of young divorcee’s variation on the “Life Begins At Four O’Clock” of school-daze, innit? Sod ya, then. Mellow marriage on the rocks, this is like Billy Paul’s “Me And Mrs Jones” with the hapless hubby in tow. Will Millie’s success match the track record of Gladys? Will Mister Jones accept his wife’s offer of a few more shots at it before the rift is final? Are the rumours true about Stan Ogden and Len Fairclough? Does anybody care?

VINCENT PRICE: The Monster Mash (EMI). Dave Vanian’s Dad sings like Richard Harris with a sense of humour on the charming crypt-kicking oldie that Jimmy Osterberg grave-robbed and mutated for “Funtime” on “The Idiot.” Hopefully both this sick beauty and “Nellie The Elephant” will see chart action and yet another generation of ankle-biters will grow up to be animal-loving necrophiliacs.

FLEETWOOD MAC: You Make Loving Fun (Warner Brothers). Great dance record for all pop-kids who like to be asleep when they work out, buyber, work out, and it looks as if the Platinum-Gold-Platinum status of Fleetwood Mac’s “White Album” and now “Rumours” — from whence this single is culled — will be reflected in album transplants selling like sliced bread in 45 format. There’s tasteful interplay of acoustic and electric guitars, everything in the garden is blooming most rosy, and the entity is so devastatingly innocuous that I can feel my inner-being blanding into oblivion . . . The Bottomless Pit . . . aaaaahhhhhh . . . there is no light here . . . ooooohhhhh . . . my eyes, Lord , the spirits of Peter Frampton shall inherit the earth. I’ll bring the shovel.

BE BOP DELUXE: Japan (Harvest). Chronic mock oriental pastiche of “We Are Siamese If You Please / And Likewise If You Don’t Please” with Willy De Nelson slanting his eyes and voice and musical sensibility (or not) with such . . .

■ Continues page 29

How Clash won complete control

Something was happening. Anywhere you went from Aberdeen to the Rhondda Valley there was a new restlessness in the air at local rock gigs, youth clubs, school dances, discos and parties every Friday and Saturday night.

One moment people would be chatting, drinking, leering, posing, waiting for that night’s band to come on; the next, drinks, seats and conversations would be abandoned in a mad rush for the dance floor, which exploded with manic energy and pogoing bodies.

New rumours, new ideas, new styles, new energies — hundreds of new bands, venues and magazines springing up from nowhere at grassroots level across the country.

Word was out. The nightly detonator would be an ordinary 7in single: sometimes a bootleg " Anarchy " but more often a new CBS single by a group called the Clash .

For the vast majority of disaffected rock ‘n’ roll youth around Britain , punk didn’t die the day Clash signed to CBS , it was born the day " White Riot " reached their record shops.

In the ensuing months word spread like wildfire despite an almost total radio and TV embargo (pace John Peel ) and was fuelled by the revolutionary Clash album, three monumental singles by the Pistols , and — let it be said — a great deal of hoo-hah in the music papers.

Incidentally, mass coverage in these papers doesn’t by any means automatically result in mass popularity; the Damned had a major push from the music press well before the Clash , but never fired popular teenage imagination on the same scale.

The simple difference was that the Clash also made good records. As did the Jam and Stranglers , but that’s another story.

That summer punk rock sprang to national prominence and notoriety, becoming a rallying point for rebellious youth across the country like Presley and the Stones had been before them.

"There are many who feel revolted at the thought of entering a studio or negotiating with the slick executives who run the networks. They detest, or profess to detest, the very machinery of the industry, and would like to withdraw into some abode of refinement. Of course, no such refuge really exists. The seemingly exclusive is just another, slightly more expensive, line of styling within the same giant industry combine." EUZENSBERGER: Industrialization Of The Mind.

"Punk died the day Clash signed to CBS ." — MARK PERRY.

The principle remained true: anything your parents hate that much has to have something in it.

For a while the Clash were somewhat eclipsed by the Pistols , whose swashbuckling exploits brought on them the brunt of Establishment retaliation (and the all-important martyr’s crown).

The average redneck on the street had never heard of Joe Strummer , but held extremely strong views on J. Rotten and Co, as subsequent violence proved.

This, along with some ferocious records, quickly won them legendary status and undying support, not only among hundreds and thousands of rock ‘n’ roll rebels the world over, but even managed to awe the blasé London in-crowd who usually shout "sell out" as soon as the mass public get their cloddish hands on any trend invented by the capital’s elite.

The Clash were less fortunate; while they encountered similar wrangles with petty officialdom which hampered their attempts to play live, they had none of the enthusiasm and support from CBS that Virgin had been giving the Sex Pistols .

Journalists began to write of Strummer’s "hollow rhetoric" where only months previously they had eulogised "the sound of the Westway ."

Plus they were broke. There were signs of faltering and demoralisation within the band now their initial impetus had slackened.

For all their tough image, the guys in Clash are far more easily disheartened by dumb allegations of going "bigtime" than either the Stranglers (who’re utterly certain it isn’t true) or indeed Bob Geldof (who’s utterly certain that it is).

There’s always harsher criticism of those who attempt something and fall short than there is of those who don’t even try, and for a while the Clash took it to heart.

How on earth do you follow songs like " London’s Burning " and " Complete Control "?

How on earth do you maintain any kind of ideals or integrity when faced with endless criticism for decisions you never made, matters beyond your control, and when everything you do is wrong in somebody’s eyes?

It looked as though their entire future hung in the balance.

We needn’t have worried; in the event they did the only thing possible — carried on regardless.

As Joe Strummer said later, "You go crazy if you listen to all that. You just do what you think is right."

Once they got themselves back out on the road it must have suddenly dawned on them that they’d never been away, and that in the last analysis the only factor that counts is a band’s individual relationship with its own audience. ( Bands like Quo , BJH , ELP , etc, etc, have proved this again and again.)

Unlike the Pistols , Clash had taken the trouble to get out and play to the people, in full-size venues under their own name.

Plus they were a far better performing band onstage. And gradually, with the Ulster gigs, Anti-Nazi League Carnival and general dedication of the band, the cynics and critics began to realise what the fans had never doubted: that the Clash really do mean it, maan.

Personally, I can’t see the point in the current who-cares-the-most sincerity contests. The decisive factor in Clash’s return to supremacy as the number one punk band is simply the fact that they’ve continued to make good records.

" Clash City Rockers " was essentially in the same vein as previous songs, though much tighter and improved.

" (White Man) In Hammersmith Palais ," however, is something else again. It’s certainly the first single I’ve bought in 15 years, and I don’t even have a record player.

The blend of reggae and powerpunk is effortless — much as the Stones built up a new white urban pop style based on black r&b, the style is uniquely Clash’s own; while the lyrics knocked me personally for six with their range and honesty.

It’s a new side to Clash that can afford to admit the contradictions we all face, that there are no easy answers; to indulge in an ironic laugh, or the romantic self-image of the drug-prowling wolf in the sun.

The atmospheric production also shows that they can deliver the goods: Sandy or no Sandy .

Frankly, it’s extremely hard to write objectively about people you know; any criticism you're either bitching, being bitchy, anymore than you're either arselicking or patronising.

Actually, I’ve liked the Clash ever since " White Riot " and as individuals they’ve also given a lot of other bands help and encouragement (including mine) right from the earliest days.

They’ve opened the door to a whole new three-dimensional musical vista with " Palais ," (while " Stay Free " promises more of the same).

Most Clash records sell through small "alternative" outlets which never show up on the national chart returns; added to the no-compromise stance which they mutually share with the electronic media resulting in little or no TV / radio play, it’s a real breakthrough that " Palais " made the Top 30 .

Ironically, the Rolling Stones had a No. 1 hit album the same week — Jagger and co. must have felt much the same back in their own subversive days when Elvis was chalking up monster hits with drivel like " Crying In The Chapel ."

Never mind, each successive Clash single gets progressively higher (unlike some of us whose records do the opposite!).

As the Buzzcocks , Sham and Spex start smashing into the chart the same old cries of "sellout" and "punk is dead" are heard.

Hey, it’s only just beginning to reach the people it was meant for, what are you talking about?

And when the Clash come busting in, which they will real soon, they’re gonna deserve every minute of it. And punk rock will be here to stay.

TOM ROBINSON