G.B.H.

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The influential, long-lived punk metal band G.B.H. rose to prominence in England during the early '80s when hardcore punk began inching toward heavy metal. Originally formed in 1979 in Birmingham, England, G.B.H. initially called itself Charged G.B.H. to differentiate itself from another band called G.B.H. The leather-clad, hair-spiked foursome began recording for the Clay label in the early '80s, releasing some singles before unleashing their influential debut album, City Baby Attacked by Rats, in 1982. City Baby's Revenge followed two years later in 1984...[more]

 

 

 

The mid-'90s was a time of tribulation for GBH, having in quick succession been dropped by their label, fired their manager, and seen their drummer deported. Thus, when the German indie label We Bite offered them a deal, the group bit quick. The resulting album refracts much of this turbulence, ferocious in sound and delivery, and echoing with the band's frustration and fury. It's also longer, by four tracks, than their previous sets, a reflection of the extra time they'd been saddled with between ful   [ read more ]

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Buzzsaw punk rockers G.B.H. are here captured live in the Land of the Rising Sun in 1991. It's a clamorous, loose affair, and certainly not to be taken as definitive of the group. However, they are able to look back and perform all their classic '80s material like "Give Me Fire," "Drugs Party in 526," and the "City Baby" songs. There are 17 tracks in all on this album for the serious G.B.H. collector. ~ Tom Schulte, All Music Guide

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Leather, Bristles, No Survivors and Sick Boys... is a compilation of several early G.B.H. singles and EP releases. As such, it has a bit of a hodgepodge quality, though the uniform crude production and rudimentary music and lyrics all make the individual tracks blend together somewhat. Compared to the slicker, sometimes more bloated production and music of later G.B.H. albums, Leather, Bristles sometimes sounds refreshingly rough and energetic. "Generals" and "No Survivors" are both scathi   [ read more ]

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Britain's G.B.H. exemplified what happened after the promise of 1977 punk and post-punk petered out: faster, fuzzier tempos that incorporated lightning-fast guitar licks and a greater volume to put the point across. The mingling of Marshall stacks and "screw you" attitudes has often made for an uneasy marriage -- as the endless debates in fanzines like Maximumocknroll show -- but it's undeniably potent when wielded in the right hands. G.B.H.'s rude and crude debut showed the band to be some d   [ read more ]

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Considered by many to be G.B.H.'s entry into thrash from the band's previous punk releases, No Need to Panic contains some of G.B.H.'s best music and some of its most peculiar. There's no shortage of punk fury and energy, certainly in tracks like "Makin' Whips" and "To Understand." There are also G.B.H.'s first attempts at guitar solos. But lyrically, the songs are a strange lot. "Gunning for the President" is a surprisingly explicit threat against Reagan, and {&"Hit the Dec   [ read more ]

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G.B.H.'s second album is worlds apart from its rough 'n' ready debut, but greatly improved: If anything, this is a more cohesive unit than ever, while the tracks benefit from a sharpened lyrical outlook. The title track is a black-humored sequel to the debut album's "City Baby Attacked By Rats," and ranks among punk's most vivid depictions of urban decay. (This same spirit of marginal restraint doesn't extend to their towering hairdos, though; hence, the in-joke of G.B.H. meaning "Great Big Hair   [ read more ]

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G.B.H.'s last straight-ahead punk release, Midnight Madness & Beyond, has some of the elements of the music that they would incorporate into their later albums. There's a hint of guitar solos in "Too Much" (an unusual love song) and "Chance for Living." Similarly, the production is cleaner than usual, though not as polished as it would be on later albums. There's also a hint of the increasingly odd lyrical directions the band would later go on to follow. "Blood" is a salute to werewolves a   [ read more ]

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The mid-'90s was a time of tribulation for GBH, having in quick succession been dropped by their label, fired their manager, and seen their drummer deported. Thus, when the German indie label We Bite offered them a deal, the group bit quick. The resulting album refracts much of this turbulence, ferocious in sound and delivery, and echoing with the band's frustration and fury. It's also longer, by four tracks, than their previous sets, a reflection of the extra time they'd been saddled with between ful   [ read more ]

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