Untamed Youth – Untamed Youth [7''] (1979, Hard Core)

 

The Untamed Youth 7-inch single from 1979 is one of those really obscure late-70s DIY punk-era records that mostly lives in collector circles today. It was released under the name 'Untamed Youth', but it’s important to know right away that this has nothing to do with the better-known garage/surf band from Missouri that used the same name in the late ’80s and ’90s. This is an entirely different, earlier act.

 
The record came out in 1979 on a tiny independent label called Hard Core, with what’s believed to be the catalogue number HAR 001. Like a lot of small punk and post-punk pressings from that time, it seems to have been produced in very limited numbers and never had wide distribution, which explains why almost no mainstream music databases mention the band at all. 

 
The single has two tracks. The A-side is a song titled “Untamed Youth,” credited to J. O’Keefe, and the B-side is “Runnin’ Wild,” credited to J. Loveday. Beyond those songwriting credits and the label info, there isn’t much solid documentation about who the band members were or where exactly they were based, which is pretty typical for ultra-small independent releases from that era. 

 
Because the pressing was so limited and the band didn’t go on to wider recognition, most of what we know about this single comes from vinyl collector communities rather than traditional music history sources. It’s basically one of those records that hardcore collectors stumble across and treasure, but casual listeners almost never hear about. 

 

 

Label: Hard Core – HAR 001 

Format: Vinyl, 7" 

Country: UK 

Released: Dec 1979 

Style: Mod, Punk Rock, Mod Revival

 

Tracklist: 

A Untamed Youth 

B Runnin' Wild 

 

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The Taxi Boys – The Taxi Boys [7''] (1981, Star Rhythm Records)

 

The Taxi Boys ' 'The Taxi Boys' 7″ single is a small but interesting slice of early-’80s American punk and garage rock history. It came out in 1981 in the United States and was released on Star Rhythm Records, with the catalog number SR-1002. Like a lot of indie singles from that era, it was pressed in relatively small numbers, which is why it tends to pop up today more as a collector’s item than a commonly documented release.

 
The band itself, The Taxi Boys, didn’t stick around for long. They were active for only a brief period around 1981 and are generally described as a raw rock-and-roll or punk-leaning garage band. As far as anyone can tell, this 7″ single is essentially their main official release, which adds to its obscurity and appeal among record collectors and fans of underground punk.

 
There’s also an important connection to John Felice, best known from the Boston punk band The Real Kids. According to stories that circulate in punk and collector circles, The Taxi Boys were formed by Felice during a short breakup or downtime period for The Real Kids. The Taxi Boys project didn’t last long, and Felice soon returned to The Real Kids, making this single feel like a quick side project rather than a fully developed band with a long career.

 
Details about the exact track listing and credits on the 7″ are surprisingly hard to pin down, which isn’t unusual for DIY releases from the early ’80s. Some references link the band to the song “Up Is Up,” which appears in online audio and video uploads, but official documentation is sparse. Discography sites like Discogs do list the single (and sometimes related releases under the same name), though even there the information is fairly minimal. 

Overall, 'The Taxi Boys' 7″ is one of those records that sits at the crossroads of punk history and collector culture: short-lived band, tiny discography, strong connections to a more famous act, and just enough mystery to keep people talking about it decades later. 

 

 

Label: Star Rhythm Records – SR-1002 

Format: Vinyl, 7", 45 RPM, EP, Stereo 

Country: US 

Released: 1981 

Style: Garage Rock, Power Pop 

 

Tracklist: 

A1 I Can't Kick 2:40 

A2 Down To You 2:12 

B1 Up Is Up 3:03 

B2 Some Love Like Yours 3:50 

 

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Solenoid – Norey Games [Cass] (1982, Not On Label)

Solenoid's 'Norey Games' from 1982 is one of those incredibly obscure artifacts that sits right at the heart of early DIY cassette culture. It isn’t a video game or a soundtrack tied to one -despite the name- but a privately released cassette by the Dutch experimental group Solenoid, who were active for a short time around 1981–1982 in Harderwijk, the Netherlands. 

 
Solenoid operated firmly in the underground. Their music leaned toward experimental pop, no wave, and early industrial sounds, mixing live instruments like guitar, bass, organ, and rhythm boxes with tape experiments and noise manipulation. This was very much in line with the early ’80s home-taping scene, where bands recorded cheaply, released tiny runs, and circulated music hand to hand rather than through labels.

 

'Norey Games' itself wasn’t a commercial release at all. The cassette was handed out at a private party in the summer of 1982 and was never intended for wider distribution. The recordings are mostly taken from live performances, mixed with lo-fi tape experiments and sound collages. Because of that, it plays more like a snapshot of a moment than a polished album -raw, uneven, and very much of its time. 

 
For decades, the tape wasn’t available online and existed only as a rumor among collectors and fans of obscure cassette culture. There’s no confirmed tracklist, no catalog number, and no official documentation beyond a few niche archival blogs that later mentioned it. That scarcity is part of what makes it interesting today: it’s a genuine example of how experimental music circulated outside the mainstream before the internet. 

 
Overall, 'Norey Games' is less about “songs” and more about atmosphere and context. It captures a brief moment in the early ’80s underground, when bands like Solenoid were experimenting freely, releasing music for friends and local scenes, and leaving behind tiny, hard-to-trace traces that only resurfaced decades later. 

 

 

Label: Not On Label (Solenoid Self-released) – none 

Format: Cassette, Album, C60 

Country: Netherlands 

Released: 1982 

Style: Industrial, New Wave, Experimental, Experimental Rock, Post-Punk

 

Tracklist: 

This Side 

A1 Alice Ou La Dernière Fugue 4:19 

A2 Absurd 4:30 

A3 Silex Hippopola 3:26 

A4 Dead Bodys 3:44 

A5 Den Beinen 3:08 

A6 Aliens 3:07 

A7 So Wie Es Ist 2:54 

A8 Gib Mir Das Licht 3:49 

The Other Side 

B1 Pop Art 2:58 

B2 Gorey Games 4:27 

B3 Ecoutez 3:30 

B4 The Idea 3:20 

B5 All Rights Reserved 3:47 

B6 T.L. Licht 3:35 

B7 Alkaloide 1:55 

B8 S.W. 4:18 

B9 Spoiling 2:19 

 

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Relèvement '82 – Red Hair / Glad Song [7''] (1984, M.M.P.)

 

Relèvement ’82's 'Red Hair / Glad Song' is an obscure but interesting early-80s Dutch post-punk/new-wave single that has gained a bit of cult status over time. It was released as a 7-inch in the Netherlands around 1984 on the small M.M.P. label (catalogue number MMPS 5110) and ended up being the band’s only official release. The A-side, “Red Hair,” runs for about four and a half minutes, while the B-side, “Glad Song,” is just over four minutes long. Musically, the record fits squarely into the moody, melodic post-punk sound of the period, with echoing guitars and an anthemic feel that many listeners note is strongly influenced by early U2. Relèvement ’82 formed around 1981 as a four-piece, and although they never released anything else under that name, the members later became involved in playing U2 tribute shows, eventually using the name U2pia in the mid-1990s. Because it was a small local release with no follow-up, the single is now fairly rare and mainly sought after by collectors of obscure European 1980s records. There’s very little documentation beyond basic release details, no chart presence, and almost no contemporary press, but that sense of mystery is part of what makes 'Red Hair / Glad Song' appealing to fans of forgotten underground music. 

 

Label: M.M.P. – MMPS 5110 

Format: Vinyl, 7" 

Country: Netherlands 

Released: 1984 

Style: New Wave, Post-Punk, Coldwave, Big Music 

 

Tracklist: 

A Red Hair 4:33 

B Glad Song 4:06 

 

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Quincy – Quincy [LP] (1980, Columbia)

 

'Quincy' is the self-titled debut album by Quincy, a New Jersey–based new wave and power pop band, released in 1980 on Columbia Records. It’s one of those albums that didn’t make a huge splash at the time but has slowly built a reputation as a hidden gem among fans of early-’80s power pop. 

The band came together in the late 1970s and was centered around two sets of brothers, Stephen and Brian Butler and Gerald and Alex Takach, with keyboards and drums filling out the lineup. They were part of the wider New York and New Jersey club scene, drawing energy from places like CBGB, but their music leaned more toward melody and smart songwriting than punk aggression. 

The album was produced by Tim Friese-Greene, who later became well known for his work with Talk Talk. Sonically, Quincy sits comfortably alongside records by The Cars, Elvis Costello, Joe Jackson, and The Knack. It’s tight, catchy, and polished, built on jangly guitars, strong harmonies, and punchy rhythms that feel very much of the era without sounding dated. 

Songwise, the record is consistent from start to finish. Tracks like “Critics’ Choice,” “Grow Up,” “Always in the News,” and “Can’t Live in a Dream” show off the band’s knack for memorable hooks and slightly sarcastic, everyday-life lyrics. There isn’t much filler here, just a run of concise, radio-friendly songs that deserved more attention than they got. 

Not long after the album came out, the band ran into trouble over their name. Quincy Jones objected to them using “Quincy,” and Columbia Records chose not to fight the issue. As a result, the band was forced to change their name to Lulu Temple, which effectively killed the momentum they had built. They released a small EP under the new name a few years later before breaking up.

 
At the time, Quincy passed by with little commercial impact, but over the years it’s become a cult favorite. For power pop and new wave fans, it’s a snapshot of that brief moment around 1980 when major labels were signing hook-heavy bands with big pop potential, and Quincy had the songs to justify the gamble. After the band ended, some members went on to form Smash Palace, which found more success in the 1980s power pop scene.

 

 

Label: Columbia – NJC 36471 

Format: Vinyl, LP, Album 

Country: US 

Released: 1980 

Style: New Wave, Power Pop 

 

Tracklist: 

A1 Turn The Other Way Around 3:15 

A2 Critics' Choice 3:47 

A3 Don't Knock On My Door 3:38 

A4 Always In The News 3:09 

A5 Dime Store Lies 3:34 

A6 Can't Live In The Dream 2:59 

B1 Just A Tragedy 3:32 

B2 Stop Now 3:12 

B3 Grow Up 2:44 

B4 Roamin' Catholic 3:49 

B5 Stuck On You 3:49 

B6 Ordinary Town 3:11 

 

Other Versions: 

'Quincy' LP, Album, Stereo CBS [S CBS 84451] (UK, 1980)

'Quincy' LP, Album, Stereo Columbia [NJC 36471] (Canada, 1980)

'Quincy' LP, Album Columbia [NJC 36471] (Spain, 1980)

'Quincy' Cassette, Album, Stereo, Dolby System Columbia [NCT 36471] (US, 1980)

'Quincy' LP, Album CBS [CLS-5708] (Mexico, 1980)

 

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Pitchfork – Needle In A Haystack [Cass] (1988, Not On Label)

Pitchfork were part of that late-80s moment when hardcore punk was starting to burn itself out and mutate into something harsher and more experimental. They came out of Southern California, with ties to the San Diego underground, which at the time was full of small, intense bands playing short sets in garages, community halls, and all-ages spaces. The scene was very DIY, and Pitchfork fit right into that mindset -no labels, no promotion, just recording music and putting it out themselves.

 
Their 1988 cassette 'Needle in a Haystack' is the main reason anyone still talks about them. The recording is rough and unpolished, but that’s part of the appeal. The songs are fast, abrasive, and confrontational, with a sound that sits somewhere between classic hardcore and the more angular, noisy post-hardcore that would take off in the early 90s. Compared to earlier hardcore, Pitchfork’s music feels darker and less straightforward, with a sense of tension rather than just speed and aggression. 

They never toured heavily or built a national profile, which kept them firmly underground. Most people who heard them at the time probably saw them live or got the tape through word of mouth, tape trading, or local distro networks. Because of that, the band never developed a big following, but they did leave an impression on people who were paying close attention to the scene. 

Pitchfork are often mentioned in retrospect as one of those “in-between” bands -not famous, not polished, but clearly part of the shift that led from hardcore punk to post-hardcore and noise-rock. Like many bands from that era, some members later moved on to other underground or alternative projects, which helped keep their name circulating among collectors and punk historians. Today, 'Needle in a Haystack' is mostly known through rips, old zines, and Discogs listings, and the band has become a small but interesting footnote in the history of American hardcore punk. 

 

Label: Not On Label (Pitchfork Self-released) – none 

Format: Cassette 

Country: US 

Released: 1988 

Style: Hardcore Punk 

 

Tracklist: 

A1 Sucked In, Spit Out 2:57 

A2 Caretaker 1:59 

A3 Orchestra 2:09 

A4 Cut And Dry 1:30 

A5 Acoustic 2:09 

A6 Soak It In 2:12 

B1 Freedumb 3:20 

B2 Mind Over Matter 2:13 

B3 Darshana 3:21 

B4 Blazing Saddles 1:52 

B5 It's A Nice Day 3:14 

 

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Orfeon Gagarin – Halibut-Vaporub [Cass] (1990, Toracic Tapes)

Orfeón Gagarin is the experimental music project of Miguel A. Ruiz, a Spanish electronic musician who has been active since the early 1980s. He’s closely linked to Spain’s underground cassette scene and is known for releasing music through small DIY labels and his own imprint, Toracic Tapes. His sound moves between experimental electronics, industrial, noise, and abstract atmospheres, often rough, lo-fi, and intentionally strange. 

 
Over the years, Ruiz has worked under several different aliases, with Orfeón Gagarin being just one of many outlets for his ideas. This project in particular reflects his interest in unconventional structures, surreal titles, and a very hands-on, tape-culture approach to making and releasing music. 

 
'Halibut-Vaporub' is a cassette release from 1990, originally put out by the Tragic Figures label. Like much of Orfeón Gagarin’s work from that period, it was designed for the cassette format and fits perfectly into the late-80s and early-90s experimental underground. 

 
The music on 'Halibut-Vaporub' leans toward industrial and experimental electronics, with abstract textures, odd rhythms, and a raw, homemade feel. The track titles are playful and surreal, matching the offbeat character of the sounds themselves. Over time, the release has become something of a cult favorite. 

 
Overall, 'Halibut-Vaporub' works as a snapshot of Orfeón Gagarin’s early style and of a moment when underground electronic music was driven by curiosity, experimentation, and DIY spirit rather than polish or mainstream appeal. 

 

 

Label: Toracic Tapes – none 

Format: Cassette, Album, C46 

Country: Spain 

Released: 1990 

Style: Industrial, Experimental, Minimal Synth 

 

Tracklist: 

A1 Halibut-Vaporub 2:15 

A2 Theory Of Raw Fish 1:35 

A3 Take Your Shotgun! 2:20 

A4 Life Under Your Seat 2:53 

A5 Un Improbable Omnibús 2:08 

A6 El Rencor De Un Viticultor 1:33 

A7 Procreation Dance 1:42 

A8 The Nameless Mussel 1:30 

A9 Un Malvado Hipocampo 1:40 

A10 Napalm Nap 3:17 

B1 Song Of The Glittering Sons 1:27 

B2 Ultimo Ritual En Nihombashi 1:55 

B3 El Error De Un Apicultor 2:12 

B4 La Premonición De Ismael 2:00 

B5 Perseguido Por El Vudú 3:08 

B6 Hípica Y Vida Birmana 0:50 

B7 Survol Du Pole Nord 3:01 

B8 El Címbalo Presuroso 1:50 

B9 Yo, Piscicultor 2:20 

 

Other Versions: 

'Halibut-Vaporub' (Cassette, Album, C46) Tragic Figures [TFT017] (Portugal, 1990)

 

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N.O.T.A. – N.O.T.A. [LP] (1985, Rabid Cat Records)

 

N.O.T.A., which stands for None Of The Above, dropped their self-titled album in 1985 on Rabid Cat Records. They were a hardcore punk band from Tulsa, Oklahoma, and this LP is one of those rare gems from the mid-’80s US punk scene. The record came out on vinyl and packed a punch with 19 fast, thrashy tracks that mix raw hardcore energy with some surprisingly catchy riffs. 

The band themselves were around from roughly 1979 to 1987, tearing it up with high-energy shows and a bunch of EPs before splitting up (they did have a brief reunion in the ’90s). Their style is classic hardcore -fast, aggressive, politically tinged- but the album also throws in some slower, more melodic bits here and there, which makes it stand out from other hardcore acts of that era. People who heard it back then, like reviewers in Maximum Rocknroll, called it “rockin’, thrashin’, imaginative, and catchy.” 

Original pressings of the album on Rabid Cat are pretty rare today, making it a collectible for hardcore punk vinyl hunters. Before and after this LP, N.O.T.A. also put out a few EPs like 'Moscow' (1984) on Unclean Records and 'Toy Soldiers' (1984) on Rabid Cat. They also recorded demos and released other stuff later, mostly on smaller labels. 

All in all, if you’re into hardcore punk from the ’80s, this album is a solid piece of underground history -fast, raw, and a little sneaky with its catchy hooks.

 

 

Label: Rabid Cat Records – RAB-NOTA-006 

Format: Vinyl, LP, Album 

Country: US 

Released: 1985 

Style: Hardcore Punk 

 

Tracklist: 

A1 Ultra Violent 1:37 

A2 Den Of Thieves 1:03 

A3 I Should Kill You 1:30 

A4 Reckless 1:26 

A5 Takin' Away Your Rights 1:21 

A6 On The Pavement 2:50 

A7 Keeping You Out 1:14 

A8 Sick Society 1:45 

A9 Frustration 2:43 

A10 Self Destruct 1:50 

B1 Police Front 1:35 

B2 War On Wankers 2:17 

B3 Nightstick Justice 2:10 

B4 Propaganda Control 1:45 

B5 Redneck Mentality 0:42 

B6 Identity Crisis 3:11 

B7 Drugs And Sex 1:38 

B8 Cut The Shit 1:52 

B9 Summer Of 82 2:27 

 

Notes: 

Track A9 written in 1979. 

Track B3 written in 1980. 

Tracks A4, A6, A8, A10 & B4 written in 1982. 

Tracks A2, A7, B5 & B7 written in 1983. 

Tracks A5, B2 & B6 written in 1984. Tracks A1, A3, B1, B8 & B9 written in 1985. 

 

Other Versions: 

'None Of The Above' (LP, Album) Bonecrusher Records [Bone 002] Germany, 1985 

'N.O.T.A.' (Cassette, Album) Rabid Cat Records [RAB-NOT-006] US, 1985 

'None Of The Above' (LP, Album, Limited Edition, White) Bonecrusher Records [Bone 002] Germany, 1985 

 

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Moral Femenina – Moral Femenina [LP] (1985, Jaja Records)

Moral Femenina was a rock/new wave band from Tenerife, in the Canary Islands, active mainly during the first half of the 1980s. They came out of the local underground scene at a time when a lot of bands were experimenting with post-punk, pop and rock, but without much connection to the mainland Spanish industry. Moral Femenina developed a sound that felt raw and direct, very much tied to the atmosphere of the islands and the small venues where they played regularly. 

The band’s core members included Pablo Meneses on vocals and Juanjo Jorganes on guitar, with different bassists and drummers passing through over the years. Before becoming Moral Femenina, some of the musicians had played in an earlier group called Los Tumores, which helps explain their slightly edgy, alternative approach. 

Their self-titled album 'Moral Femenina' came out around 1985 and was released as a mini-LP on a local Tenerife label. It’s the only proper official record the band put out during their original run, which gives it a kind of cult status today. The album was recorded locally and has a very “of its time” feel: lean songs, punchy guitars, and lyrics that move between irony, desire and everyday tension. The cover artwork, inspired by Botticelli’s "The Birth of Venus", added a touch of art-school attitude that matched the band’s image. 

The track “Sexo” ended up being their most well-known song and is usually the one people mention first when talking about the band. Other songs on the record balance energy and moodiness, mixing straightforward rock with more reflective moments, which fits well with the post-punk and new wave spirit of the era. 

Moral Femenina never really broke out nationally, but they were well respected in the Canary Islands and are still remembered as an important part of the local 80s scene. The band eventually split up in the 1990s, though their music never completely disappeared. Over the years, recordings have circulated online and among collectors, and there have even been occasional reunions or special performances, showing that interest in the band is still very much alive. 

Today, the Moral Femenina album is often seen as a small but significant snapshot of Canary Islands alternative music in the 80s: not flashy or overproduced, but honest, local, and full of personality. 

 

Label: Jaja Records – JA-JA-8 

Format: Vinyl, LP, Album 

Country: Spain 

Released: 1985 

Style: New Wave, Post-Punk, Goth Rock, Jangle Pop 

 

Tracklist: 

A1 La Noche Es El Calor 3:24 

A2 Sexo 2:53 

A3 Electricos 3:06 

A4 Flores Olvidadas 3:03 

B1 Esperando 5:00 

B2 Los Peces En El Rio 3:13 

B3 Amor De Madre 3:57 

 

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L'Aventure Imaginaire – La Fin De L'Innocence [LP] (1982, Not On Label)

'La Fin de l’Innocence' is an obscure and very limited vinyl LP from the early 1980s by L’Aventure Imaginaire, a band with a French name but actually based in Germany. The record was self-released sometime between 1980 and 1982, without an official label, and only about 300 copies were pressed. Because of this extremely small run, it has become a sought-after item among collectors of underground electronic music. 

Musically, the album fits into the minimal synth and dark wave world, with touches of early synth-pop and experimental electronics. It has that raw, DIY feel typical of early ’80s European underground scenes, where artists were more focused on atmosphere and experimentation than polish or commercial appeal. 

The tracklist is full of evocative and sometimes surreal titles, ranging from romantic and melancholic pieces to more abstract, experimental ones. Songs like 'The Endless Armada of Red Frogs Is Crossing the Scottish Highlands', 'Paris Theme', 'One More Night', and the title track 'La Fin de l’Innocence' give the album a dreamlike, slightly mysterious character. 

Very little is known about the band itself, which adds to the album’s mystique. The project involved Nicole Zunker and Joachim Stender, with Stender later connected to other experimental electronic projects in Germany during the same period.

 
Overall, 'La Fin de l’Innocence' is one of those cult records that lives quietly in the background of music history -not famous, but deeply appreciated by listeners who enjoy rare, atmospheric, early electronic sounds. 

 

Label: Not On Label – RP 10217 

Format: Vinyl, LP, Limited Edition 

Country: Germany 

Released: 1982 

Style: Synth-pop, Minimal, Minimal Synth 

 

Tracklist: 

A1 The Endless Armada Of Red Frogs Is Crossing The Scottish Highlands 

A2 Pierrot And Columbine 

A3 Dance With Me (L'Espace De La Nuit) 

A4 Paris Theme A5 Cos I Love You 

A6 Athen 

B1 One More Night 

B2 The Only Sun I've Ever Seen 

B3 La Fin De L'Innocence 

B4 L'Aventure Imaginaire 

B5 Perfect Creatures 

B6 Todeskommando Im Hexenkessel 

B7 Kubistic Jungle 

 

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