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<title>Top Old School Punk Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link><description>Top Old School Punk Artists on Rhapsody Online</description><category>Old School Punk</category><language>en</language><ttl>720</ttl><pubDate>Mon, 7 Dec 2009 21:41:40 -0800</pubDate><image>
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<title>Top Old School Punk Artists on Rhapsody Online</title>
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<title>The Clash</title>
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<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
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<description><![CDATA[People weren't joking when they called the Clash "the only band that matters." At the end of a decade when most rock music was being made by increasingly self-possessed millionaires, the Clash were a revelation. They played like the Who on speed (which is a pretty big deal, considering the Who were on speed to begin with) and howled about -- well, it was hard to make out just what Joe Strummer was singing on those first few records, but you could tell he was pissed. More importantly, the band's power and passion sounded like the solution to every social ill they addressed, as well as the cure for every personal disappointment you'd ever suffered. As spontaneous as they seemed, the band's three-chord anthems were marvels of songcraft; lead guitarist Mick Jones' pop smarts gave Strummer's righteous anger plenty of hooks to hang on, while Strummer's rage lent heft to even their catchiest songs. As their career progressed, Strummer and Jones explored the Roots and Reggae hinted at in the band's first recordings with increasing confidence, until hubris eventually did them in. But if the Clash hadn't been so arrogant to begin with, they never could have convinced a generation that rock bands were capable of starting revolutions instead of just singing about them.
- Tim Quirk]]></description>
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<title>The Ramones</title>
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<category>Punk Pioneers</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
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<description><![CDATA["Hey ho, let's go!" And so the Ramones introduced themselves to the world. The song was "Blitzkrieg Bop" and the album was entitled simply <I>Ramones</I>. For many people, those fourteen staggeringly short songs marked a joyous return to real rock 'n' roll -- to a time before the music was muddled by overblown arrangements and self-aggrandizing pomposity. They have been amazingly influential, showing budding musicians everywhere that you don't need technique to create exuberant, catchy and joyous music. Countless imitators followed -- everyone from the Sex Pistols to Blink 182 owe a huge debt to these four Brooklyn-based ne'er-do-wells. Onstage, the frighteningly tall Joey lurched and staggered, dangerously close to falling and impaling himself on the mic stand, while bassist (and primary creative force) Dee Dee shouted "1-2-3-4!" to introduce every song. The Ramones command attention with the sheer energy of their fast and loud sonic onslaught. They love pure pop -- the kind produced by girl groups of the early 1960s and songwriters such as Brian Wilson. "Sheena Is a Punk Rocker," "I Wanna Be Sedated," and even "Pet Sematary" are absolutely infectious songs. By melding such hook-laden tunes with an aggressive stance, high volume, and no-frills songwriting, the Ramones became one of the most important rock bands of all time.
- Will Lerner]]></description>
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<title>Bad Religion</title>
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<category>Punk</category>
<pubDate>Wed, 2 Dec 2009 11:07:01 -0800</pubDate>
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<description><![CDATA[Bad Religion have the distinction of being the longest lasting Punk band from Los Angeles. For nearly twenty years now, they've upheld their tradition of thoughtful and intelligent lyrics (prompting some to call them "lexicon punks") and aggressive play. The chip on this band's shoulder might read "Perseverance Pays" -- despite self-releasing their debut <i>How Could Hell be Any Worse?</i> in 1980 on founding guitarist Brett Gurewitz's Epitaph label, it wasn't until 1988 when <i>Suffer</i>'s (empowering anthem "You are (the Government)" taught more than a few young punks the meaning of "jurisprudence") that the band made a significant splash and settled in for the long haul with a somewhat steady lineup and musical vision. Since then, audiences have received a new earful of gruff-voiced singer Greg Graffin's rants set to frenetic power-chording on a yearly basis. A fine example of staying power gleaned from remaining true (with minor tweaks for maintenance) to an original sound and intent.
- Doug Russell]]></description>
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<title>Social Distortion</title>
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<category>Punk</category>
<pubDate>Thu, 3 Dec 2009 22:53:17 -0800</pubDate>
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<description><![CDATA[Mike Ness and Social D. set themselves apart from the slew of Punk bands to emerge from L.A. during the early 1980s with the release of <I>Mommy's Little Monster</I> -- it's one of the best West Coast Punk albums ever, standing shoulder to shoulder with the Germs' <I>(GI)</I> and X's <I>Los Angeles</I>. Touching on teen alienation, self-destructive behavior and street life, and espousing a total repudiation of middle class America, this debut is one's of Punk's most articulate manifestos. Unfortunately, their future was jeopardized by frequent line-up changes and battles with substance abuse. The band languished until Ness, in a brilliant career move, spent some time in the pokey, got cleaned up and then re-formed the band to cash in on his newly acquired credibility as a convict rock 'n' roller. <I>Prison Bound</I> debuted a new Rockabilly-anchored sound for Social D. and revealed that Ness's lyrical preoccupations had turned from political angst to nihilistic outlaw laments. After this rather tentative return, the band put together two remarkably solid records, a self-titled LP (1990) and <I>Somewhere Between Heaven and Hell</I> (1991). No longer a Punk band in the least, these albums displayed a different sort of brilliance. Social Distortion had established themselves as spokespersons for modern day rebels without a cause. Their newer records are gritty, occasionally campy documents of America's obsession with outsiders -- good-natured, but ill-fated people who try desperately to outrun the mistakes of their past but always wind up inside the same vicious circle of crime and punishment.
- Chad Driscoll]]></description>
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<title>Misfits</title>
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<category>Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
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<description><![CDATA[The Misfits stormed New York City clubs in the late '70s straight out of a horror movie, taking over where KISS left off. Originally fronted by strongman Glenn Danzig, the Misfits played fast and severe Punk anthems that were unique, in part due to Danzig's melodic singing. Their appearance was crude and campy, with fully made-up stage theatrics that helped to create a cult following that has followed them through their recent incarnations.
- Jessy Terry]]></description>
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<title>The Jam</title>
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<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:22 -0800</pubDate>
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<description><![CDATA[Formed by Paul Weller at the tender age of fourteen, the Jam started out as a mod-influenced punk band and quickly evolved into the biggest rock band in late 1970s and early '80s Britain. Their bracing, often lyrically bleak, explorations of modern English life ensured that they wouldn't find the same success in America as they did in the rest of the world but the Jam enjoyed a huge cult following on both sides of the Atlantic. A tight, blistering trio that was initially influenced by the early Who, the Jam also openly embraced and celebrated the work of the Kinks, Beatles, Small Faces, and classic soul at a time when most punk bands were pretending to be disdainful of everything that came before them. The band was renown for its high-energy live sets, the sound of which was captured on their first two albums -- <I>In the City</I> and <I>This is The Modern World</I>. Even on these early albums the band was displaying a stronger melodic quality than most acts linked to the punk scene but Paul Weller's songwriting took a giant leap forward with 1978's classic <I>All Mod Cons</I>. The album earned a rabid critical reception and went Top Ten throughout Europe, a fate shared by the vastly more sophisticated <I>Setting Sons</I> (1979) and <I>Sound Effects</I> (1980), a vivid merging of '60s psychedelia and punk. The Jam kept up a hectic touring and recording schedule as they kicked off an extended string of No. 1 U.K. pop singles with "Going Underground." The band's final full-length effort, <I>The Gift</I> (1982), combined spiky rock with elements of classic soul and contained the Motown-etched, kitchen sink drama of "A Town Called Malice," which became an alternative radio staple in the U.S. The trio was at their peak of popularity when Weller broke up the band in 1982 (reportedly because he didn't want the band to end up like the Who and the Stones). Weller went on to have great success with the Style Council and a solo career but the Jam continue to be so popular in Britain that a costly retrospective box set of their work reached the U.K. Top Ten in 1997, fifteen years after the band called it a day.
- Nick Dedina]]></description>
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<title>Dead Kennedys</title>
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<category>Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
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<description><![CDATA[San Francisco's Dead Kennedys are arguably the most successful, well-respected American punk band of all time. Fronted by Jello Biafra, a political activist, spoken word artist and one-time San Francisco mayoral candidate, the Dead Kennedys combine astoundingly fast hardcore punk with Biafra's distinct, quavering vocals (the source of the nickname "Jello"). Strong adherents to Punk's D.I.Y. ethic, they formed their own record label, Alternative Tentacles, in 1981, to distribute their own as well as other, like-minded music. Although conservative audiences have objected to DK's highly politicized music and artistic decisions -- they were actually prosecuted for violating anti-obscenity laws with the poster insert to their 1985 <I>Frankenchrist</I> album (a move which resulted in Biafra's becoming one of the '80s most important proponents of free speech, although the emotional toll on the band resulted in their dissolution) -- the Dead Kennedys have nevertheless remained punk favorites. In the '90s and beyond, the band and Biafra began a bitter dispute over reunion efforts and the use of the DKs name. Bassist East Bay Ray launched a lawsuit against Biafra for royalty money; Biafra refused an offer to join a DKs reunion tour. The band continues to tour, minus Biafra and to his disdain, under the Dead Kennedys name.
- Mark Murrmann]]></description>
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<title>Anti-Flag</title>
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<category>Punk</category>
<pubDate>Fri, 30 Oct 2009 12:04:52 -0700</pubDate>
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<description><![CDATA[A caricature to some but heroes to a growing number of disenfranchised youth, these Pittsburgh gutter punks have emerged as leaders of the Old-School Punk revival. But more than merely reviving the sound, Anti-Flag have captured the spirit and energy of their Brit Punk heroes. Giving the finger to nationalism and fascism, the band rocks through infectious, fist-pumping songs with inspiring choruses that will bounce around your head for weeks: "You've Got to Die for the Government," "Kill the Rich," "I Don't Believe." Punk, Punk, Punk.
- Doug Russell]]></description>
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<title>The Sex Pistols</title>
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<category>Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:27 -0800</pubDate>
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<description><![CDATA[Let's get one thing straight: the Sex Pistols did not "invent" punk -- in fact, they were modeled after New York rockers the Heartbreakers. Piddling technicality aside, not since Elvis had a single act caused such a ruckus. Though their career was extremely short-lived (lasting from November 1976 to January 1978), their impact on rock 'n' roll -- and popular culture as a whole -- is absolutely immeasurable. By now the story of their birth is legend. Manager Malcolm McLaren owned a small boutique, original bassist Glenn Matlock (later replaced by Sid Vicious) was an employee. Guitarist Steve Jones, drummer Paul Cook and vocalist Johnny Rotten were regulars. Soon the simple coupling of Jones' aggressive guitar work and Rotten's total irreverence for authority had galvanized a growing legion of disgruntled, lower class youth and earned them an official ban across their home country. More than that (and at risk of aligning them with Situationism, Marcus-style), the Pistols were an assault on the norm by its outcasts, a powerful force that made kids around the world (and, paradoxically, the corporate music establishment) feel OK about rebellion. They may not have invented punk rock, nor operated on the principles that would later define it, but there wouldn't have been a punk rock movement without them.
- Doug Russell]]></description>
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<title>The Dead Milkmen</title>
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<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:19:32 -0800</pubDate>
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<description><![CDATA[The Dead Milkmen's 1985 debut <I>Big Lizard in My Backyard</I> was an instant college radio sensation and, for many listeners, their first indoctrination into the nuances of irony. ("You mean musicians don't always mean what they say?") First person accounts "Tiny Town" and "Bitchin' Camaro" dismantled bigotry and conformity from within, while "Thing That Only Eats Hippies" off <I>Eat Your Paisley</I> tipped some of rock's stodgiest sacred cows. The Dead Milkmen provided what every kid coming up in the '80s needed to keep it real: a reminder that the adult world was absurd and fads were fleeting -- even gloomy apocalyptic Disco fads (see "Instant Club Hit (You'll Dance to Anything)"). Neither exceptionally talented as musicians nor terribly profound, the Dead Milkmen deserve credit for restoring humor and satire to a Post-Punk scene bloated with self-importance and rutted in gloom. Though the band's humor stalled towards the end, their first few albums proved some of the funniest and most sarcastic of the era.
- Chad Driscoll]]></description>
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<title>Gogol Bordello</title>
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<category>Balkans/Eastern Europe</category>
<pubDate>Tue, 27 Oct 2009 09:26:51 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Gogol Bordello</rhap:artist>
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<description><![CDATA[With members originating as far afield as Moscow, the Ukraine and Israel, Gogol Bordello could only have come together in a city a large and diverse as New York. Singer/lyricist Eugene Hutz came to the United States in 1996, after spending seven years trekking through Eastern Europe refugee camps after the Chernobyl meltdown. Over the years, Hutz met the eclectic group of talented musicians that make up Gogol Bordello, and together they have been putting on a unique show that, at times, resembles a three-ring circus! As Hutz puts it, "We create an insane party atmosphere to deliver messages of social and political commentary." With their first recorded effort, <I>Voi-La Intruder</I>, fiddles, accordions and an assortment of other instruments wage war against one another for ascendency. And as crazy as it sounds, the disc actually went a long way toward capturing the joie de vivre of the band's live shows. In 2002, Gogol Bordello released their sophomore album, <I>Multi Kontra Culti vs. Irony</I>, which seamlessly blended sounds as diverse as punk, gypsy, folk and cabaret. Darker in tone than its predecessor, <I>Multi Kontra Culti vs. Irony</I> added a dash of theatrics to the mix, creating what Russians call "cruel romance" music. Hutz, a skilled DJ who routinely blends elements of Balkan, Indian and Arab music with a heady dose of dancehall and electronic beats, drew upon this experience for 2004's <I>Gogol Bordello vs. Tamir Muskat</I>. The album's crazed, party atmosphere and ferocious beats was a slight left turn for the band, who chose a more "traditional" sound for the following year's <I>East Infection</I>. Never a band to rest on its laurels, Gogol Bordello also released <I>Gypsy Punk: Underdog World Strike</I> in the same year for the uber punk label, SideOneDummy. <I>Gypsy PunkÃÂ</I> was produced by noisemeister Steve Albini, and furthered Hutz's sonic cocktail of foot-stomping, traditional gypsy music with chaotic, anthemic punk. That summer, Gogol Bordello treated punks of all ages to their frenetic, sweaty live show when they toured as part of the Vans' Warped Tour.
- Linda Ryan]]></description>
</item><item>
<title>Black Flag</title>
<link>http://www.rhapsody.com/goto?rcid=art.4138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Hardcore</category>
<pubDate>Fri, 4 Dec 2009 13:21:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Black Flag</rhap:artist>
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<description><![CDATA[Black Flag have become one of the most enduring legacies of American Punk. The band's first two EP releases, <I>Nervous Breakdown</I> and <I>Jealous Again</I>, are paradigms of the original West Coast Hardcore sound: loud, fast, and abrasively unpolished. The group would undergo a number of lineup changes (including the departure of Keith Morris to form the equally legendary Circle Jerks), most notably the insertion of vocalist Henry Rollins, future spoken word artist/author/alterna-hero/Gap model. By the release of <I>Damaged</I>, their first full-length album, Rollins' influence was apparent -- the band had acquired an overt Heavy Metal sound rife with three-minute guitar solos and head-banging riffs. BF were astonishingly prolific -- producing up to three albums a year -- until their breakup in 1986, at which point founder Greg Ginn left to focus on running the notable Indie label SST.
- Kali Holloway]]></description>
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<title>The Distillers</title>
<link>http://www.rhapsody.com/goto?rcid=art.17438&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Wed, 20 May 2009 11:54:46 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Distillers</rhap:artist>
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<description><![CDATA[Dirty, raw Punk that screams of too many late nights drinking and smoking harsh cigarettes. Fast, loud and out of control, the Distillers have an uncompromising sound that's pure LA: well-produced, but also torn, ripped and rough around all the edges.
- Mark Murrmann]]></description>
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<title>The Damned</title>
<link>http://www.rhapsody.com/goto?rcid=art.4032&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Damned</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4032&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In 1976, the Damned released the first U.K. Punk single, their still-classic "New Rose," which set the pace for their highly volatile, stomping, three-chord sound. Their early songs were rooted in catchy, fist-raising Pub Rock, a sound they quickly developed into songs that were edgy, loud and sneering, while at the same time still wrapped in stupid fun. Right as Punk was at its peak in the late 1970s, the Damned fell apart, with various members quitting and starting other bands. New members stepped in, and by 1980, the Damned were back on their feet with a fairly stable lineup -- only headed in a much different direction. Songs got slower and became heavily cloaked in the dark vampire image that singer Dave Vanian adopted early in the band's career. Though the Damned are best known for their few explosive Punk songs, they performed as a Goth band considerably longer (almost ten years). In 1989 they called it quits, but they still get together for the occasional reunion. It was the Damned's sharp sense of ironic wit that carried them into the annals of Punk history.
- Mark Murrmann]]></description>
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<title>Minutemen</title>
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<category>Indie/Alternative</category>
<pubDate>Fri, 4 Dec 2009 13:20:36 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Minutemen</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1216&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[They were from the moon, or maybe it was just <I>Pedro</I>, as singer d. boon used to sneer. Whatever the case, San Pedro natives d. boon, bassist Mike Watt and drummer George Hurley were ordinary guys -- so ordinary they shouldn't have gone anywhere, and certainly shouldn't have ended up cutting some of the most idiosyncratic albums of the 1980s LA punk scene. But perhaps that was what made the band -- and the scene -- so great. At that time, almost anything went -- even a band with a pudgy lead singer, a bassist who looked like a dock worker and a drummer who fell somewhere between pretty boy and bruiser. They sang about everything missing from the radio in those days -- and even from a lot of punk rock -- attacking American misadventures in Southeast Asia, evenhandedly explaining the life of a working man, and even touching on existential philosophy. They did all this in songs that often clocked in under two minutes and featured insanely clean, jazzy drum fills and the kind of tense literacy that comes from working class stiffs who had to work for it. Watt and boon first met in high school, when they discovered a shared love for music and politics. They spent years plugging away at '70s rock hit covers in d. boon's house -- with his open-minded mother's approval and encouragement -- until they finally found the courage to write their own songs after they discovered the burgeoning punk scene and its DIY aesthetic in 1976. They were called the Reactionaries in their first 1980 incarnation, but the band morphed quickly into the three-person outfit the Minutemen (so named for their short songs) and found its ideal configuration when George Hurley replaced former drummer Frank Tonche. The new lineup began releasing a stream of albums and EPs starting in 1981, and toured relentlessly. Their talent reached its pinnacle in 1984's <I>Double Nickels On The Dime</I>, a sprawling 43-song release, inspired by Husker Du's double album <I>Zen Arcade</I>, that was the culmination of their bizarrely timeless jazz-punk-rock aesthetic. Everything influenced that album, even funk, and you can hear it in d. boon's crisp, sparkling guitar and Watt's savage treatment of his bass -- not to mention the smart, angry, ironic lyricism which could disguise the group's earnest love of all kinds of music. And while no one would ever argue that d. boon was an ideal lead singer, his plainspoken and often muscular style fit the group perfectly. <I>Double Nickels</i> infiltrated the U.S.'s underground music scene, and the group continued its steady clip of touring and releases until tragedy struck in 1985, when d. boon and his girlfriend were involved in a fatal car accident. He was dead, at just 27 years old. Watt was -- and still is, in some ways -- devastated, and the band understandably dissolved. Watts and Hurley did go on to form fIREHOSE, which, while respected, never gained the same cult following that the Minutemen enjoy to this day.
- Sarah Bardeen]]></description>
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<title>X</title>
<link>http://www.rhapsody.com/goto?rcid=art.6442&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:36 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[Besides being an awesome rock 'n' roll band, X was extremely influential to American popular music. They had a major impact on the underground Punk rock movement and also the Roots, folk, and Americana revival scenes. Just as importantly, they were the band that put independent labels on the map (selling 100,000 copies seemingly out of the blue). They stood head and shoulders above the rest of America's Punk bands of the late '70s and quickly came to national prominence with their combination of raw energy, beatnik-style lyrics, intertwining vocal harmonies, and buzzsaw guitar (courtesy of Rockabilly veteran Billy Zoom). That diversity and a never-ending supply of good songs via John Doe and Exene Cervenka were the keys to their success. They never lived up to major label expectations and lost focus after their first three (essential) albums but their entire output has merit. They parted ways in the late '80s but still get back together from time to time to play for a whole new generation of fans.]]></description>
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<title>Bad Brains</title>
<link>http://www.rhapsody.com/goto?rcid=art.4489&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Hardcore</category>
<pubDate>Sat, 31 Oct 2009 11:42:52 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bad Brains</rhap:artist>
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<description><![CDATA[Bad Brains have long been considered one of the most important bands in the formation of hardcore punk. Formed in Washington D.C. in 1977, the band stood out first because all the members were black, and secondly because they incorporated reggae into their music. On top of all this, their jazz and prog rock background allowed them to play with an unmatched technicality: Bad Brains played faster and tighter than anyone had ever heard a band play at the time. Powered by H.R.'s insidiously menacing vocals and guitarist Dr. Know's preternatural abilities, the band had an immediate effect on the burgeoning D.C. hardcore scene. Their first two albums had the same effect on the rest of the country. Amid near constant inner band strife, they broke up several times between 1984 and 1995, with H.R. leaving to concentrate on reggae and only returning sporadically to perform with his compatriots. Over the years, Bad Brains reunions and sudden unexpected appearances would occur now and again, always considered major event in the punk rock world. In 2006, the classic era lineup played three shows during the final days of CBGB. They also reentered the studio to record new material for the first time in 10 years -- the result was <i>Build a Nation</i>.
- Mike McGuirk]]></description>
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<title>Buzzcocks</title>
<link>http://www.rhapsody.com/goto?rcid=art.4005&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Buzzcocks</rhap:artist>
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<description><![CDATA[Led by the perenially heart-broken Pete Shelley, the Buzzcocks took the angst and anxiety that punk thrived on and, instead of aiming their fully loaded guitars at everything around them, made implicitly self-mocking songs cut with a heavy dose of wry wit. Backed by the ringing guitars of Steve Diggle, the frenetic drumming of John Maher and the even-keeled bass of Steve Garvey, Shelley made light of adolescent troubles and adult love woes, offering self-deprecating lyrics to unrequited loves and explicitly frank tales of teenage sexual discovery. "Ever Fallen In Love (With Someone You Shouldn't've?)," and "Everybody's Happy Nowadays" expressed the desperation of failed relationships and disillusionment with love, while "Orgasm Addict" needs no explanation. And on "I Don't Mind," a nasal-voiced Pete Shelley remarked, "...Everything I see/Just makes me feel you're putting me down/And if it's true this pathetic clown'll/Keep hanging around/That's if you don't mind/I don't mind." The Buzzcocks are one of the smartest, most influential bands in punk, and their music sounds as relevant and impossibly perfect now as it did 20 years ago.
- Kali Holloway]]></description>
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<title>Descendents</title>
<link>http://www.rhapsody.com/goto?rcid=art.68602&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Skate Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[Way back in 1979, before everyone and your mother was playing punk rock, before frat boys were getting Black Flag bars tattooed on their forearms, before MTV and before Green Day, the Descendents were formed. The band gigged in L.A. for a bit, released a single, then temporarily disappeared. They reappeared in '81 with a new lead singer (Milo Auckerman), a new LP (<I>Milo Goes to College</I>), and a new, poppier sound, filled with self-effacing, goofy lyrics about girls, parents, and junk food. Auckerman then left the band to attend college -- hence the album title -- and drummer Bill Stevenson headed off to join Black Flag. The group disbanded until '85, when the original lineup reappeared for the <I>I Don't Want to Grow Up</I> LP, followed in '86 by <I>Enjoy!</I> Both albums laid the groundwork for future bands who would mimic their pop-punk playing style, and featured a host of classic Punk anthems, like "Pervert," "I Like Food" and "Sour Grapes."]]></description>
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<title>Face to Face</title>
<link>http://www.rhapsody.com/goto?rcid=art.38314&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Skate Punk</category>
<pubDate>Fri, 13 Nov 2009 12:38:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Face to Face</rhap:artist>
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<description><![CDATA[Setting the pace for tight, fast guitars and jump around vocals, Face to Face have become SoCal Punk legends. Their sound is infectiously catchy -- if you can keep up. The vocals bite and chop, keeping up with the spitfire pace of the band, who provide the soundtrack for the kids' mosh party.
- Mark Murrmann]]></description>
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<title>The Cramps</title>
<link>http://www.rhapsody.com/goto?rcid=art.44187&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Retro/Vintage</category>
<pubDate>Mon, 2 Nov 2009 10:53:10 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Cramps</rhap:artist>
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<description><![CDATA[From the swamps of B-movie back lots and the rays of cathode television tubes, the Cramps are, after over twenty years, still creeping out with their absolutely unique, horror-fried rock 'n' roll. Their music is blood and sweat. With a strong, basic rock backbeat and a loud, distorted, driving guitar pushing a repetitive rush of raucous rawk, the Cramps could take over any town. Like a family of zombies, there's no stopping them from crawling and slithering into and under your skin -- theyll shake your bones and make your soul dance like a wildcat on fire. Heated passion and comic book evil give rise to howls, hoots, and chanted vocals.
- Mark Murrmann]]></description>
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<title>New York Dolls</title>
<link>http://www.rhapsody.com/goto?rcid=art.4540&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Punk Pioneers</category>
<pubDate>Fri, 4 Dec 2009 13:21:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[The Dolls set the stage for punk to turn rock 'n' roll on its head in the late '70s. Their wild, burly, cross-dressed image together with their rough-and-tumble sound created an unforgettable rock 'n' roll Style-with-a-capital-S. Always teetering and stumbling, the Dolls' music, like the band itself, was in constant danger of falling on its face. David Johansen's howling vocals perfectly matched the ragged, dueling guitars of Johnny Thunders and Sylvain Sylvain. They twisted the '60s girl-group aesthetic to their own seedy purposes, steamrolling the lost sound into over-the-top performances. Their sneering attitude and rule-breaking sound spawned legions of admirers and detractors, gave birth to the New York punk scene, added flash to glam and fuel to early heavy metal.
- Mark Murrmann]]></description>
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<title>Television</title>
<link>http://www.rhapsody.com/goto?rcid=art.4829&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Punk Pioneers</category>
<pubDate>Fri, 4 Dec 2009 13:20:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[Television's ordered, insane, avant jazz-meets-garage rock is some of the most essential, mind-blowing music to come out of NYC's 1977 Punk explosion. The band's original lineup included future Voidoid Richard Hell, but it soon became apparent that Hell's nihilistic approach to music had little in common with bandleader Tom Verlaine's vision. This peculiar vision was very different from that of other bands working the early CBGB scene, and it ultimately led to a brand of atonal fret-strangling that sounds futuristic even today. Building their songs around the telepathic interplay of Verlaine and Richard Lloyd, Television broke the blues-based rumble of the Velvets down to its core, mutating it into a mechanical, austere psychedelia that touched on John Coltrane, Neil Young, and the Stones, among others. Their seminal record <i>Marquee Moon</i> has had an incalculable effect on the post-punk scene, most easily identified in the music of Sonic Youth but also directly related to all those indie fusion kids in Chicago. Imagine <i>White Light/White Heat</i> as interpreted by Rimbaud-quoting math rockers.
- Mike McGuirk]]></description>
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<title>Circle Jerks</title>
<link>http://www.rhapsody.com/goto?rcid=art.3170&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Hardcore</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[After only one single with fellow Los Angeles punks Black Flag, singer Keith Morris left to form the Circle Jerks. Crude and unruly, the band played with middle fingers proudly outstretched and huge smirks smeared across their faces. First documented (and immortalized) in the 1980 film <I>Decline of Western Civilization</I>, their hyper-energetic live shows quickly became stuff of legend. Cram-packed with speedy skaters and jubilant misfits, a Circle Jerks show inspired the most stage diving of any band this side of Minor Threat, and made them one of the most beloved bands to come out of Los Angeles. They continued to release material on and off into the mid-1990s, the highlight being a guest appearance by Debbie Gibson on <I>Oddities, Abnormalities and Curiosities</I> (1995).
- Doug Russell]]></description>
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<title>D.R.I.</title>
<link>http://www.rhapsody.com/goto?rcid=art.2789&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Thrash/Speed Metal</category>
<pubDate>Fri, 4 Dec 2009 13:19:31 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2789&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[During the mid-'80s, the big guns in the American Punk scene began turning their sights more and more towards metal in their desire to stretch their legs musically. One can see this transition at work in D.R.I.'s releases from '82 to '88. The seminal <I>Dirty Rotten</I> LP from 1983 was the gust of innovation that blew many a Punk band in the direction of Thrash, while later releases such as <I>Four of a Kind</I> found the band slowing things down a bit and working with longer, more complex song structures. From the get-go, their irreverent and wickedly funny songwriting earned them a wide following in the skatepunk scene. Since then, they have managed to expand their following to include dyed-in-the-wool metal-heads and a whole new generation of punks via their appearance on the "Social Chaos Tour" of 1999.
- Chad Driscoll]]></description>
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<title>Vandals</title>
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<category>Skate Punk</category>
<pubDate>Sun, 22 Nov 2009 10:09:28 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[It's a testament to the importance and popularity of the Vandals that their cameo in the movie <i>Suburbia</i> happened not because they were scripted to appear, but because the film's cast voted them in. Also significant is the fact that a band founded in 1981 -- and not just any band, but a Punk band, no less -- continues to form a viable part of the output in the post-Post-Punk era. The Vandals' success rests on two identifiable reasons: their ability to laugh at almost anything without making themselves the butt of the joke, and their tireless touring, recording and fan recruiting. Along the way, they've moved from being mere pranksters in the Hardcore Punk world to VIPs.
- Kali Holloway]]></description>
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<title>The Undertones</title>
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<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<title>Fear</title>
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<category>Old School Punk</category>
<pubDate>Tue, 23 Jun 2009 17:24:58 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description />
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<title>Stiff Little Fingers</title>
<link>http://www.rhapsody.com/goto?rcid=art.61361&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Sun, 6 Dec 2009 09:55:48 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[Stiff Little Fingers' music has resonated for some 25-plus years because their songs meld personal experience with political ire. The members of Stiff Little Fingers  Jake Burns, Henry Cluney, Gordon Blaire (replaced by Ali McMordie) and Brian Faloon -- hail from Belfast, Northern Ireland. They were a New Wave cover band called Highway Star until one fateful night when they saw the Clash play live. Taking their name from a Vibrators' song, the band reinvented itself as Stiff Little Fingers, and started doing punk covers. Journalist Gordon Ogilvie saw them perform live one night, and liked what he heard enough to approach Burns. Ogilvie encouraged the band to write original material, and Burns took the advice to heart, penning "Suspect Device" and "Wasted Life" in the days that followed. Ogilvie helped the band start their own label, Rigid Digits, and together, they pressed up 350 copies of the single -- one of which went to legendary British DJ, John Peel. Peel played the single every night on his BBC Radio 1 show, and the demand for it grew so profoundly that Rough Trade stepped in to distribute it. By October, 1978, Stiff Little Fingers released their first "proper" single on Rough Trade, "Alternative Ulster." The song, which Burns has often introduced as a "song about nothing to do," would go on to become a punk rock classic, and an anthem of sorts for the Irish Catholics of Belfast. By the end of the year, SLF released, <I>Inflammable Material</I> and it debuted in the charts at number 14. With a handful of songs about the personal side of Northern Irish politics, the band made its mark. When, in 1979, the band decided to move to London, Brian Faloon decided to stay in Belfast. The heartache this caused the band surfaced in the song, "Wait and See." In the meantime, SLF recruited Jim Reilly to fill in on drums, and without missing a beat, released the blistering single, "Gotta Get Away." Chrysalis Records signed the band and in 1980, Stiff Little Fingers released <I>Nobody's Heroes</I>, which showed the band broadening its scope both musically and lyrically. Perhaps it was the fact that SLF couldn't get out from under the "Irish Clash" tag that dogged them throughout their career, but in 1981, the band shifted into a more pop-oriented sound, and released <I>Go For It</I>. The addition of horns and the continuing flirtation with the punk/reggae hybrid confused many fans. To get back on track, the band released a scorching live album, <I>Hanx!</I>, which successfully captured the Stiff Little Fingers at their most incendiary. Another personnel shake-up ensued, as Jim Reilly left the band to explore greener pastures in America, where he eventually joined the Red Rockers. Back at home, the band were fighting their own battles. With the release of <I>Now Then</I> in 1982, Stiff Little Fingers had all but lost their core audience and despite mostly positive press on the album, the band couldn't muster the fan support. In 1983, Stiff Little Fingers called it quits. Various incarnations of the band, including one that features the Jam's Bruce Foxton, continue to tour and record well into the new millennium.
- Linda Ryan]]></description>
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<title>Generation X</title>
<link>http://www.rhapsody.com/goto?rcid=art.43291&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[Elvis' Sneer, the Clash's vowels, T-Rex's riffs Generation X arrived on the punk landscape in 1977 with the look of a band who had rifled through rock's archives and swiped all the best bits. Formed from the remnants of London SS by bassist Tony James and lip curling singer Billy Idol (aka William Broad) their under-rated debut album <I>Generation X</I> was a speedy classic full of sharp, pop-culture referencing songs like "Ready Steady Go!," a tribute to show host Cathy Macgowan. Follow up <I>Valley Of The Dolls</I>produced by Mott the Hoople's Ian Hunterprovided the commercial breakthrough via Top 20 hit "King Rocker," but as superstardom beckoned they tragically imploded after third album <I>Love Me Deadly</I> (oddly accredited to Gen X). Not before they had made in-roads with swansong hit "Dancing With Myself," however, which Idol would later capitalise on with a fruitful U.S. solo career, dressed as Mad Max. Tony James, clearly burnt by the whole experience, went on to form industry fleecing weird-rockers Sigue Sigue Sputnik.
- Paul Moody]]></description>
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<title>The Queers</title>
<link>http://www.rhapsody.com/goto?rcid=art.68606&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Pop Punk</category>
<pubDate>Sat, 24 Oct 2009 12:06:52 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[The Queers have been making poppy, catchy, sing-along Punk rock for years now, picking up where bands like the Ramones and the Boys left off. Full of silly lyrics and as many swear words as they can pack into a three-minute song, their music is pure, goofy fun.]]></description>
</item><item>
<title>Dillinger Four</title>
<link>http://www.rhapsody.com/goto?rcid=art.68659&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Wed, 4 Nov 2009 12:13:50 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[One of the best Punk bands, ever. That's not an exaggeration. Dillinger Four are fast and tough, but they lace their songs with deadly sharp wit and dangerously catchy melodies. They don't screw around with wanking guitar solos and they don't whine about their girlfriends or girls they wish they had, or girls they wish they hadn't had. In both their tight, blustery sound and in their socio-politically conscious outlook, they embody Punk. And they like beer. A lot. Not everybody who likes Punk will be into Dillinger Four; Johnny Vomit spare changing in front of the liquor store will dismiss them as being sell-outs for some concocted reason (and besides, they don't have any facial tattoos). Max Thrash, still wearing the bloodied shirt he got at his first D.R.I. show, will call them slow and boring because you can -- gasp! -- almost make out what they're saying. A recent album is titled <i>D4 vs. God</i>; in this battle, our money's on D4, the Twin City Bruisers.
- Mark Murrmann]]></description>
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<title>Mission of Burma</title>
<link>http://www.rhapsody.com/goto?rcid=art.56759&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Post-Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.56759&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Post-punk big shots Mission of Burma formed in Boston in 1979. Guitarist Roger Miller, bassist Clint Conley and drummer Peter Prescott revitalized the Boston scene with a complicated, previously unheard mixture of Gang of Four and the Stooges, playing legendarily loud (and unpredictable) shows up and down the east coast. They scored a local hit on the radio with "That's When I Reach For My Revolver" and today their music remains some of the very first stirrings of what was to become "indie rock." The band stood apart from virtually every other act in the US at the time, due in part to both Miller's and Conley's backgrounds in classical music and their use of tape loops in songs and during live performances. Mission of Burma broke up just as they began to make a large national impact, mainly as a result of Miller's increasing hearing loss. Miller went on to form the more sedate Birdsongs of the Mesozoic while Prescott formed the big guitar psych metal band Volcano Suns, and later Kustomized. In 2002, Prescott, Miller and Conley reunited Mission of Burma for a tour and ended up resuming recording, releasing <i>OnoffOn</i> in 2004 and <i>Aluminum Washcloth</i> in 2006.
- Mike McGuirk]]></description>
</item><item>
<title>Mike Ness</title>
<link>http://www.rhapsody.com/goto?rcid=art.5360&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Tue, 17 Mar 2009 20:31:03 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Mike Ness</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5360&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Social Distortion leader Mike Ness fuses Punk's fury with the sound and style of country and blues; his direct influences seem more the Rolling Stones and Johnny Cash than the Sex Pistols or the Ramones. Ness was only seventeen at the start of Social Distortion's nearly-twenty-year career; his early musical efforts were simple, rebellious anthems that celebrated hard living. In 1982, the group released the successful <i>Mommy's Little Monster</i> LP, which established the group's sound with its ferocious guitar attacks, undaunted backbeats and sincere, telling lyrics. A short jail stint and Ness's subsequent sobriety seemed to fuel him even more, and '90s self-titled LP, recorded for Sony, was a major hit. And Ness's formative influences, especially Cash, snuck back in to the group's sound -- Social Distortion even covered Cash's "Ring of Fire" on that LP. With his latest solo set, Ness has elected to produce a stripped-down record, without the trademark wall of sound. But Ness's intensity is still palpable.
- Mike Cloward]]></description>
</item><item>
<title>Agent Orange</title>
<link>http://www.rhapsody.com/goto?rcid=art.3789&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Skate Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:39 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Agent Orange</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.3789</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3789&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3789&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Anyone who was into skateboarding in the 1980s remembers the unintentionally funny <i>Skatevisions</i> video for Vision and Sims skateboards. Agent Orange was omnipresent back then. They were the soundtrack for this video as well as for a generation of skate punks. The Orange County power-trio gave birth to a sound that blended Surf with Heavy Metal and Power Pop. The guitar lead for their Skate Punk anthem "Blood Stains" was even ripped off by The Offspring on the chart-topping "Come out and Play." Although they haven't released anything since 1996's <i>Virtually Indestructible</i>, Agent Orange continue to play the club circuit.
- Eric Shea]]></description>
</item><item>
<title>G.B.H.</title>
<link>http://www.rhapsody.com/goto?rcid=art.44009&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:36 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.44009</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">G.B.H.</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.44009&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.44009&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[G.B.H. are back on the Punk track after getting lost in the mid-'80s in an attempt to cross over into Metal territory. These spiky-haired U.K. Punk legends have returned to their guitar-led, biting, sneering, kicking, fighting early '80s sound that justified punks around the world painting the G.B.H. logo on their leather jackets.
- Mark Murrmann]]></description>
</item><item>
<title>New Model Army</title>
<link>http://www.rhapsody.com/goto?rcid=art.28099&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Sun, 27 Sep 2009 09:56:15 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.28099</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">New Model Army</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.28099</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.28099&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.28099&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>The Riverdales </title>
<link>http://www.rhapsody.com/goto?rcid=art.6584&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Pop Punk</category>
<pubDate>Thu, 9 Jul 2009 12:13:26 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Riverdales </rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6584&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6584&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Dead Boys</title>
<link>http://www.rhapsody.com/goto?rcid=art.61184&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Fri, 30 Oct 2009 12:04:13 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.61184</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Dead Boys</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.61184</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61184&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.61184&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Probably one of the most nihilistic, disgusting and brutish bands to emerge from the 1970s CBGB scene -- and among its best -- the Dead Boys were the real life delinquents the Sex Pistols so desperately wanted to be. The Boys didn't just <I>play</I> rock 'n' roll; rather, they slashed it to sharp-as-glass-edged shards with their guitars, chewed it up into even tinier bits, and spit it out at anyone who would listen. If that wasn't enough, Stiv Bators' sandpaper-textured growl made their music even more aggressive and threatening. Their deliberate obnoxiousness and offensive nature helped shape Punk's wonderfully ugly attitude.
- Kali Holloway]]></description>
</item><item>
<title>Propagandhi</title>
<link>http://www.rhapsody.com/goto?rcid=art.1058&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Pop Punk</category>
<pubDate>Fri, 29 May 2009 09:33:49 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Propagandhi</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1058</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1058&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1058&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[While NOFX and the rest of the Fat Wreck Chords bands were busy cracking wise-guy jokes about girls, sex, guys and more sex, Propagandhi used their wit to sling some pointed political arrows. These Canadians' songs have a slight Hardcore crunch lurking in the polished, poppy SoCal Skate Punk sound they lifted from NOFX. Propagandhi are known and loved by most for their very vocal, in-your-face, barbed-tongue, leftist political stance. Animal rights, gay rights, imperialism, capitalism, racism...there are few issues that have escaped Propagandhi's soapbox. As serious as they are about politics (<i>very</i>), they aren't afraid to have fun, which is part of why so many people like them. Their songs are catchy and full of energy, anger, urgency...and an unmatched wit. Punk bands that are smart and fun are hard to come by; it figures one of the best of the 1990s would be from Canada.
- Mark Murrmann]]></description>
</item><item>
<title>Lyres</title>
<link>http://www.rhapsody.com/goto?rcid=art.2358&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Garage Rock Revival</category>
<pubDate>Wed, 22 Apr 2009 22:01:16 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Lyres</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2358&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2358&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Lyres are born from the ashes of the legendary DMZ. Jeff "Monoman" Connolly carries on his maniacal style, playing raging authentic '60s Garage rock 'n' roll. One of the Lyres charms is their animalization of '60s rock songs -- souped up and blasted out as rabid hyenas.]]></description>
</item><item>
<title>The Adolescents</title>
<link>http://www.rhapsody.com/goto?rcid=art.1718&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Fri, 4 Dec 2009 13:20:39 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.1718</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Adolescents</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1718</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1718&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1718&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Not to be quickly dismissed as just another Hardcore band, Rikk Agnew and company wrote killer catchy songs that brim with snide attitude and perfectly capture feelings of anger, isolation and frustration. Short, fast songs spit out with a sense of urgency rarely seen these days. Classic for a reason.
- Mark Murrmann]]></description>
</item><item>
<title>Hanoi Rocks</title>
<link>http://www.rhapsody.com/goto?rcid=art.3485&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Pop Metal</category>
<pubDate>Fri, 4 Dec 2009 13:20:15 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Hanoi Rocks</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3485&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3485&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>The Germs</title>
<link>http://www.rhapsody.com/goto?rcid=art.1321&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Fri, 4 Dec 2009 13:21:21 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.1321</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Germs</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1321</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1321&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1321&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In both lifestyle and sound, the Germs personified the live fast/die young stereotype of Punk. Their early recordings featured an art-like monotone drone of guitars and drums that stumbled through simple, single-chord songs, as well as Darby Crash's ramblings that ranted over the whole noisy mess. They quickly tightened up their sound and developed what would become the prototype for L.A. Punk. Guitars crunched out a blurring, fuzzy, manic rush of riffs, while Crash's vocals maintained the same breathless pace, charging through words with intensity few other bands could muster. The intensity of the Germs' sound mirrored the life many early L.A. punks lived, and their sound still stands as a model for punks around the world.]]></description>
</item><item>
<title>The Dickies</title>
<link>http://www.rhapsody.com/goto?rcid=art.1400&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Sun, 4 Oct 2009 09:42:36 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.1400</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">The Dickies</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1400</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1400&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1400&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Jumpy, hyperactive Punk that replaces the genre's stereotypical anger, frustration and angst with campiness, goofiness and hilarity. Fast, simple, poppy songs are powered by three chords and an amazingly witty sense of humor. The Dickies are Punk's comic book superheroes.
- Mark Murrmann]]></description>
</item><item>
<title>Anti-Heros</title>
<link>http://www.rhapsody.com/goto?rcid=art.68528&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Oi/Street Punk</category>
<pubDate>Tue, 17 Mar 2009 20:31:34 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Anti-Heros</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.68528&amp;variant=play&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.68528&amp;variant=data&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[From the moment of Oi!'s inception in its native England, it seemed so quintessentially British in nature that the very idea of it crossing the Atlantic and landing on American shores seemed a near impossibility. Nevertheless, Atlanta, Ga.'s Anti-Heros -- who were among the very first stateside bands to lead the Oi! brigade into battle -- offered boot-stomping, fist-flailing Oi! that bore a resemblance to their British antecedents' work, but also carried a heavy load of Hardcore tonnage along on its hell-for-leather ride. The chants and rants from soccer matches could still be heard in the choruses -- and lager was considered just as dear (and occasionally, worth fighting over) -- but the guitar blasts gained speed and the music moved more recklessly than the Oi! bred abroad. The spawn may have differed heavily from the music that sired it, but it struck a chord with skins and punks all over, making their first aggro-filled, beer-soaked, muscle-flexing album <I>That's Right/Don't Tread On Me</I> an inimitable Oi! classic.
- Kali Holloway]]></description>
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<title>Dwarves</title>
<link>http://www.rhapsody.com/goto?rcid=art.5562&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Mon, 30 Nov 2009 10:00:49 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[The Dwarves, who formed in 1983 and now approach the throne of punk legend, aren't only praised for their brutal Garage Punk and speedy playing style. The band's various shenanigans -- faking their own guitarist's death, consistently writing songs with lewd and lurid lyrics, an obsession with bizarre leather garb -- have also drawn attention. And anyone who's ever seen them live can attest to the fact that even on a tame night, they're still pretty over the top (although rumors of bizarre, on-stage mutilation ceremonies are somewhat overblown). Even if they're only doing it for attention, at least they're never boring.]]></description>
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<title>Saccharine Trust</title>
<link>http://www.rhapsody.com/goto?rcid=art.6983&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Old School Punk</category>
<pubDate>Thu, 22 Oct 2009 13:23:52 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<title>The Living End</title>
<link>http://www.rhapsody.com/goto?rcid=art.6924&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss</link>
<category>Pop Punk</category>
<pubDate>Tue, 9 Jun 2009 15:02:25 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=138&amp;rws=%2Falt-punk%2Fpunk%2Fold-school-punk%2Fartist-chart.rss">Top Old School Punk Artists on Rhapsody Online</source>
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<description><![CDATA[Australian trio comes off like punks shedding their skin in an effort to make it big. The Living End effectively drive squinty-faced Punk-Pop vocals headfirst into songs loaded with bristling guitars. The result is catchier and friendlier than Rancid, but not nearly as innocuous as Green Day. For a trio, these Aussies make a hell of a lot of noise, yet they keep themselves in check enough to find their way into regular MTV and radio rotation.
- Mark Murrmann]]></description>
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<title>The Vindictives</title>
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<category>Pop Punk</category>
<pubDate>Thu, 22 Oct 2009 13:23:51 -0700</pubDate>
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<description><![CDATA[The snotty vocals are unmistakable. The Power Pop guitar riffs and the simple Ramones 1-2-3-4 rhythms are dead giveaways. The Vindictives have been making a loud name for themselves for the past eight years. Their sound has the feel of their hometown, Chicago. Beautiful, but in a dirty, gritty and pock-marked kind of way.
- Mark Murrmann]]></description>
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