The Teen Idles Minor Disturbance EP Mp3, Flac

Total Page：16

File Type：pdf, Size：1020Kb

The Teen Idles Minor Disturbance E.P. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Minor Disturbance E.P. Country: US Released: 1980 Style: Hardcore, Punk MP3 version RAR size: 1187 mb FLAC version RAR size: 1186 mb WMA version RAR size: 1908 mb Rating: 4.4 Votes: 161 Other Formats: MIDI MMF VOX ADX FLAC AU MOD Tracklist Hide Credits A1 Teen Idles 0:44 A2 Sneakers 1:27 A3 Get Up And Go 0:52 Deadhead A4 1:19 Written-By – MacKaye*, Sullivan* B1 Fleeting Fury 1:19 B2 Fiorucci Nightmare/Getting In My Way 1:44 B3 Too Young To Rock 2:00 Companies, etc. Recorded At – Inner Ear Studios Recorded At – 9:30 Club Pressed By – Nashville Record Productions – NR12367 Credits Bass – Ian MacKaye Drums – Jeff Nelson Engineer – Don Zientara Graphics [Label And Sleeve] – Jeff Nelson Guitar – Geordie Grindle Photography By [Back] – Jay Rabinowitz Photography By [Front] – Susie Josephson Producer – Skip Groff Songwriter [All Songs By] – Teen Idles* (tracks: A1 to A3, B1 to B3) Vocals – Nathan Strejcek Notes B3 recorded live at the 9:30 Club 11/6/80 Two pressings of 1,000 copies each: first had covers printed on shiny cardstock, second (this) had photocopied sleeves on plain paper. Changes for second press: Band address added to right side of back cover. Back cover states "Thanks a lot, Jan ($ - 2nd pressing)" Black Flag bars drawn on Henry Rollins' (née Garfield) fingers on back cover photo. Comes with the same 11" x 17" photo and lyric insert as the first pressing. Some lyric sheets have messages hand-written on them. Other versions Category Artist Title (Format) Label Category Country Year The Teen Dischord Dischord 1 Minor Disturbance E.P. (7", EP) Dischord 1 US 1980 Idles Records The Teen Minor Disturbance E.P. (7", EP, Dischord dischord 1 dischord 1 US 2015 Idles Ltd, RE, Unofficial, Pep) Records The Teen Minor Disturbance E.P. (7", EP, Dischord dischord 1 dischord 1 US 2015 Idles Ltd, RE, Unofficial, Gre) Records The Teen Minor Disturbance E.P. (7", EP, Dischord dischord 1 dischord 1 US 2015 Idles Ltd, RE, Unofficial, Cle) Records The Teen Minor Disturbance E.P. (7", EP, Dischord dischord 1 dischord 1 US 2015 Idles Ltd, RP, Unofficial, Cle) Records Related Music albums to Minor Disturbance E.P. by The Teen Idles Sandy Nelson - Teen Beat '65 Minor Threat - Out Of Step The Idles - Agroculture Minor Threat - Minor Threat Various - 20 Years Of Dischord (1980 - 2000) Minor Threat - Complete Discography Scream - Still Screaming / This Side Up Ricky Nelson - Teen Age Idol EP Various - Flex Your Head The Nurses - Love You Again / I Will Follow You.

Copy Link

Recommended publications

Rill^ 1980S DC
rill^ 1980S DC rii£!St MTEVOLUTIO N AND EVKllMSTINO KFFK Ai\ liXTEiniKM^ WITH GUY PICCIOTTO BY KATni: XESMITII, IiV¥y^l\^ IKWKK IXSTRUCTOU: MR. HiUfiHT FmAL DUE DATE: FEBRUilRY 10, SOOO BANNED IN DC PHOTOS m AHEcoorts FROM THE re POHK UMOEAG ROUND pg-ssi OH t^€^.S^ 2006 EPISCOPAL SCHOOL American Century Oral History Project Interviewee Release Form I, ^-/ i^ji^ I O'nc , hereby give and grant to St. Andrew's (interviewee) Episcopal School llie absolute and unqualified right to the use ofmy oral history memoir conducted by KAi'lL I'i- M\-'I I on / // / 'Y- .1 understand that (student interviewer) (date) the purpose of (his project is to collect audio- and video-taped oral histories of first-hand memories ofa particular period or event in history as part of a classroom project (The American Century Project). 1 understand that these interviews (tapes and transcripts) will be deposited in the Saint Andrew's Episcopal School library and archives for the use by ftiture students, educators and researchers. Responsibility for the creation of derivative works will be at the discretion of the librarian, archivist and/or project coordinator. I also understand that the tapes and transcripts may be used in public presentations including, but not limited to, books, audio or video doe\imcntaries, slide-tape presentations, exhibits, articles, public performance, or presentation on the World Wide Web at t!ic project's web site www.americaiicenturyproject.org or successor technologies. In making this contract I understand that I am sharing with St. Andrew's Episcopal School librai-y and archives all legal title and literary property rights which i have or may be deemed to have in my inten'iew as well as my right, title and interest in any copyright related to this oral history interview which may be secured under the laws now or later in force and effect in the United States of America.
[Show full text]
Read Razorcake Issue #27 As A
t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
[Show full text]
Four Old Seven Inches on a Twelve Inch Mp3, Flac, Wma
Various Four Old Seven Inches On A Twelve Inch mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Four Old Seven Inches On A Twelve Inch Country: US Released: 2007 Style: Hardcore, Punk MP3 version RAR size: 1239 mb FLAC version RAR size: 1382 mb WMA version RAR size: 1928 mb Rating: 4.6 Votes: 752 Other Formats: AU MOD MP2 MP4 AAC APE VOX Tracklist A1 –The Teen Idles Teen Idles A2 –The Teen Idles Sneakers A3 –The Teen Idles Get Up And Go A4 –The Teen Idles Deadhead A5 –The Teen Idles Fleeting Fury A6 –The Teen Idles Fiorrucci Nightmare A7 –The Teen Idles Getting In My Way A8 –The Teen Idles Too Young To Rock A9 –State Of Alert Lost In Space A10 –State Of Alert Draw Blank A11 –State Of Alert Girl Problems A12 –State Of Alert Blackout A13 –State Of Alert Gate Crashers A14 –State Of Alert Warzone A15 –State Of Alert Riot A16 –State Of Alert Gang Fight A17 –State Of Alert Public Defender A18 –State Of Alert Gonna Have To Fight B1 –Government Issue Religious Ripoff B2 –Government Issue Fashionite B3 –Government Issue Rock & Roll Bullshit B4 –Government Issue Anarchy Is Dead B5 –Government Issue Sheer Terror B6 –Government Issue Asshole B7 –Government Issue Bored To Death B8 –Government Issue No Rights B9 –Government Issue I'm James Dean B10 –Government Issue Cowboy Fashion B11 –Youth Brigade It's About Time That We Had A Change B12 –Youth Brigade Full Speed Ahead B13 –Youth Brigade Point Of View B14 –Youth Brigade Barbed Wire B15 –Youth Brigade Pay No Attention B16 –Youth Brigade Wrong Decision B17 –Youth Brigade No Song B18 –Youth Brigade No Song II Companies, etc.
[Show full text]
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending.
[Show full text]
The College News 1989-9-21 Vol.11 No. 2 (Bryn Mawr, PA: Bryn Mawr College, 1989)
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College News Collections, Digitized Books 1989 The olC lege News 1989-9-21 Vol.11 No. 2 Students of Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_collegenews Custom Citation Students of Bryn Mawr College, The College News 1989-9-21 Vol.11 No. 2 (Bryn Mawr, PA: Bryn Mawr College, 1989). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_collegenews/1417 For more information, please contact [email protected]. Choice Articles Want to write for us? Arts and Entertainent See centerspread - pages 6 and 7 Seepage 3 See pages 8 and 9 [ I ^ • ■ • THE COLLEGE NEWS VOLUMEHE XI Numbert- FOUNDEt) 1914 ~T^ BRYN MAWR COLLEGE SEPTEMBER 21,1989 How committed is BMC to campus accessibility? BY GRETCHEN JUDE towards the physical aspects of Bryn Mawr College, this reporter wondered Renovations and improvements of —"what about accessibility for the mobil- several campus buildings—most nota- ity impaired? Why weren't ramps or bly Pembroke East, Merion and Brecon— elevators included in the rather gener- cost the college nearly three million dol- ous construction budgets? Although, lars this summer. The most obvious according to Moshen Malek of physical construction, Pern East, was completed plant, the college is planning a complete . in thirteen weeks at a cost of $2 million; study of campus-wide accessibility Merion's staircases and fourth floor were "within the next couple months", the renovated atapproximatelv$180,(X)0,and college already "feels that there is ade- the first and fourth floor Brecon bath- quateaccess".
[Show full text]
Punk Lyrics and Their Cultural and Ideological Background: a Literary Analysis
Punk Lyrics and their Cultural and Ideological Background: A Literary Analysis Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens Universität Graz vorgelegt von Gerfried AMBROSCH am Institut für Anglistik Begutachter: A.o. Univ.-Prof. Mag. Dr. Hugo Keiper Graz, 2010 TABLE OF CONTENTS PREFACE 3 INTRODUCTION – What Is Punk? 5 1. ANARCHY IN THE UK 14 2. AMERICAN HARDCORE 26 2.1. STRAIGHT EDGE 44 2.2. THE NINETEEN-NINETIES AND EARLY TWOTHOUSANDS 46 3. THE IDEOLOGY OF PUNK 52 3.1. ANARCHY 53 3.2. THE DIY ETHIC 56 3.3. ANIMAL RIGHTS AND ECOLOGICAL CONCERNS 59 3.4. GENDER AND SEXUALITY 62 3.5. PUNKS AND SKINHEADS 65 4. ANALYSIS OF LYRICS 68 4.1. “PUNK IS DEAD” 70 4.2. “NO GODS, NO MASTERS” 75 4.3. “ARE THESE OUR LIVES?” 77 4.4. “NAME AND ADDRESS WITHHELD”/“SUPERBOWL PATRIOT XXXVI (ENTER THE MENDICANT)” 82 EPILOGUE 89 APPENDIX – Alphabetical Collection of Song Lyrics Mentioned or Cited 90 BIBLIOGRAPHY 117 2 PREFACE Being a punk musician and lyricist myself, I have been following the development of punk rock for a good 15 years now. You might say that punk has played a pivotal role in my life. Needless to say, I have also seen a great deal of media misrepresentation over the years. I completely agree with Craig O’Hara’s perception when he states in his fine introduction to American punk rock, self-explanatorily entitled The Philosophy of Punk: More than Noise, that “Punk has been characterized as a self-destructive, violence oriented fad [...] which had no real significance.” (1999: 43.) He quotes Larry Zbach of Maximum RockNRoll, one of the better known international punk fanzines1, who speaks of “repeated media distortion” which has lead to a situation wherein “more and more people adopt the appearance of Punk [but] have less and less of an idea of its content.
[Show full text]
Atom and His Package Possibly the Smallest Band on the List, Atom & His
Atom and His Package Possibly the smallest band on the list, Atom & his Package consists of Adam Goren (Atom) and his package (a Yamaha music sequencer) make funny punk songs utilising many of of the package's hundreds of instruments about the metric system, the lead singer of Judas Priest and what Jewish people do on Christmas. Now moved on to other projects, Atom will remain the person who told the world Anarchy Means That I Litter, The Palestinians Are Not the Same Thing as the Rebel Alliance Jackass, and If You Own The Washington Redskins, You're a ****. Ghost Mice With only two members in this folk/punk band their voices and their music can be heard along with such pride. This band is one of the greatest to come out of the scene because of their abrasive acoustic style. The band consists of a male guitarist (I don't know his name) and Hannah who plays the violin. They are successful and very well should be because it's hard to 99 when you have such little to work with. This band is off Plan It X records and they put on a fantastic show. Not only is the band one of the leaders of the new genre called folk/punk but I'm sure there is going to be very big things to come from them and it will always be from the heart. Defiance, Ohio Defiance, Ohio are perhaps one of the most compassionate and energetic leaders of the "folk/punk" movement. Their clever lyrics accompanied by fast, melodic, acoustic guitars make them very enjoyable to listen to.
[Show full text]
The History of American Punk Rock 1980 – 1986
THE HISTORY OF AMERICAN PUNK ROCK 1980 – 1986 A documentary film by Paul Rachman Inspired by the book American Hardcore: A Tribal History by Steven Blush A SONY PICTURES CLASSICS RELEASE East Coast Publicity: West Coast Publicity: Distributor: Falo Ink. Block Korenbrot Sony Pictures Classics Shannon Treusch Melody Korenbrot Carmelo Pirrone Betsy Rudnick Lisa Danna Angela Gresham 850 7th Ave, Suite 1005 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-445-7100 tel 323-634-7001 tel 212-833-8833 tel 212-445-0623 fax 323-634-7030 fax 212-833-8844 fax Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com SYNOPSIS Generally unheralded at the time, the early 1980s hardcore punk rock scene gave birth to much of the rock music and culture that followed. There would be no Nirvana, Beastie Boys or Red Hot Chili Peppers were it not for hardcore pioneers such as Black Flag, Bad Brains and Minor Threat. Hardcore was more than music—it was a social movement created by Reagan-era misfit kids. The participants constituted a tribe unto themselves—some finding a voice, others an escape in the hard-edged music. And while some sought a better world, others were just angry and wanted to raise hell. AMERICAN HARDCORE traces this lost subculture, from its early roots in 1980 to its extinction in 1986. Page 2 ABOUT THE PRODUCTION Paul Rachman and Steven Blush met through the hardcore punk rock scene in the early 1980s. Steven promoted shows in Washington, DC, and Paul directed the first music videos for bands like Bad Brains and Gang Green.
[Show full text]
Punk Record Labels and the Struggle for Autonomy 08 047 (01) FM.Qxd 2/4/08 3:31 PM Page Ii
08_047 (01) FM.qxd 2/4/08 3:31 PM Page i Punk Record Labels and the Struggle for Autonomy 08_047 (01) FM.qxd 2/4/08 3:31 PM Page ii Critical Media Studies Series Editor Andrew Calabrese, University of Colorado This series covers a broad range of critical research and theory about media in the modern world. It includes work about the changing structures of the media, focusing particularly on work about the political and economic forces and social relations which shape and are shaped by media institutions, struc- tural changes in policy formation and enforcement, technological transfor- mations in the means of communication, and the relationships of all these to public and private cultures worldwide. Historical research about the media and intellectual histories pertaining to media research and theory are partic- ularly welcome. Emphasizing the role of social and political theory for in- forming and shaping research about communications media, Critical Media Studies addresses the politics of media institutions at national, subnational, and transnational levels. The series is also interested in short, synthetic texts on key thinkers and concepts in critical media studies. Titles in the series Governing European Communications: From Unification to Coordination by Maria Michalis Knowledge Workers in the Information Society edited by Catherine McKercher and Vincent Mosco Punk Record Labels and the Struggle for Autonomy: The Emergence of DIY by Alan O’Connor 08_047 (01) FM.qxd 2/4/08 3:31 PM Page iii Punk Record Labels and the Struggle for Autonomy The Emergence of DIY Alan O’Connor LEXINGTON BOOKS A division of ROWMAN & LITTLEFIELD PUBLISHERS, INC.
[Show full text]
Západočeská Univerzita V Plzni Fakulta Pedagogická Bakalářská
Západočeská univerzita v Plzni Fakulta pedagogická Bakalářská práce 2014 Filip Fendrych ZÁPADOČESKÁ UNIVERZITA V PLZNI FAKULTA PEDAGOGICKÁ KATEDRA HUDEBNÍ KULTURY Hudební styl post-hardcore BAKALÁŘSKÁ PRÁCE Filip Fendrych Specializace v pedagogice, obor Popularizace hudební kultury Vedoucí práce: doc. Mgr. Tomáš Kun, Ph.D. Plzeň, 2014 Prohlašuji, že jsem bakalářskou práci vypracoval(a) samostatně s použitím uvedené literatury a zdrojů informací. Plzeň, 30. 6. 2014 ................................................................ vlastnoruční podpis Poděkování Rád bych poděkoval vedoucímu své bakalářské práce panu doc. Mgr. Tomáši Kuhnovi, Ph.D. za příkladné vedení práce, vstřícnost a cenné rady při vypracovávání mé bakalářské práce. OBSAH ÚVOD ................................................................................................................................................. 1 1 VZNIK HUDEBNÍHO STYLU POST-HARDCORE......................................................... 2 1.1 STRUČNÁ HISTORIE HARDCOROVÉ SCÉNY ........................................................................... 3 1.1.1 Životní styl ................................................................................................................ 5 1.1.2 Hardcore a politika .................................................................................................. 7 1.1.3 Móda ........................................................................................................................ 8 1.1.4 Taneční styl .............................................................................................................
[Show full text]
PDF of 1 Interview
The subject on hand needs no introduction. The conversation following was conductednot too long ago at the 'House' (in the quietof Arlington, Virginia), and was transcribedfor your reading pleasure.Thank You. SoldOut-Howwas the labelorigi- nally inspiredto form? Ian- We were in the Teen Idles from 1979-80.We'd playedfor a year, did some recording, and wanted to put out a record. It became clear that we weren't going to get on a label, so we decidedtostart our own labeland put out our own rccords.A friend of ours, Skip Groff from Yester- dayandToday Records, saidhe'd help us. We'd been playing all this time and we'd never taken anymoney out, ever. We always savedour money, and we used that moneyto putout thefirst rec- ord and start it. By the time the TeenIdles thing cameout, they'd broken up and both Minor Threat and SOA were together. Henry put up his own moneyandput out the SOA,single, and we distrib- uted that. When the money came backfrom those.we Dutit all into the Minor Threat single, which sold a lot, and then we put it into the nextone, and soon. We were totally in debt for years. SoldOut- How areyou motiyated to do eachconsecutive release? Ian- First of all, Dischordis not a labelproper. It's a creativeoutlet for a community here in Wash- ington. We don't sign any bands or whatever. Everybody who is on the label are all just friends, and actually now increasingly younger brothers and sistersof other people we've released. Basically,it's all part ofa family.
[Show full text]
Le Dogme De La Professionnalisation
Université d'Angers Centre Universitaire de Formation Continue LE DOGME DE LA PROFESSIONNALISATION Mémoire présenté pour l'obtention du Master Professionnel (spécialité de Master) : Direction d'équipements et de projets dans le secteur des musiques actuelles Promotion 2006- 2008 Directeur du mémoire : Damien TASSIN BORNAZ Marion Juillet - 2008 Je tenais particulièrement à remercier le groupe DOPPLeR qui m'a laissée entrer dans son intimité ainsi que Xavier avec qui j'ai pu tenir des échanges stimulants. Je remercie également Marie Rudeaux pour ses prises de positions, l'ensemble des équipes et des groupes que j'ai pu côtoyer au cours de ce mémoire et Mademoiselle Mélodie Della Rossa. 2 La loi étant la loi, les acteurs de l’art ont à respecter ces conceptions de l’intérêt général. Ils doivent se mettre en conformité avec ses règles venues de la politique publique de l’environnement, de la santé publique, de la sécurité des biens et des personnes, de la défense de la propriété, du droit du travail, du droit d’auteur etc. ; On n’en finirait pas de dresser la liste de toutes les règles de conformité à respecter pour avoir le droit de devenir un musicien ! Le pire sans doute, est que toutes ces exigences, fruits de la mobilisation citoyenne, sont présentées dans les manuels et les formations comme des conditions techniques !! Alors qu’elles sont profondément politiques. Toutes ces règles que doit suivre l’acteur artistique avant d’avoir le droit d’exister dans la société, tissent autour de lui un réseau de conduites conformes. Si les artistes
[Show full text]